SiMON FRASER UNIVERSITY
?
S-75
4
9
MEMORANDUM
SENATE
F
?
SENATE COMMITTEE ON UNDERGRADUATE
From
STUDIES ............................................................................
G.S. 102-3 - MUSIC IN HISTORY I
Su6ject
.......G..S......103-3 -MUSIC ..IN ... HISTORY .... I.I..................Date... FERUARY...J-.2.3....1.9.75
MOTION: ?
"That Senate approve, and recommend approval to
the Board of Governors, as set forth in S.75-44,
that G.S. 102-3 - Music in History I, and G.S. 103-3
- Music in History II, be acceptable as regular
offerings until such time as a Fine Arts Program
is developed, at which time they will be thoroughly
reviewed as regards continuation and/or placement."
6
SiMON FRASER UNIVERSITY
?
S-7544
.
?
MEMORANDUM
To
..............
.........................................................................................................From ........ ..
Subject
General Studies 102-3: Music in
If ?
ran.d•••G ?
3 3
UNDERGRADUATE
STUDIES
Date ........ .
ebruay
.
lg7S
................................ .... ....... ..........
....
At its meeting of the 11th of February, the Senate Committee on
Undergraduate Studies considered the attached proposals for General
Studies 102-3:
Music in History I
and General Studies 103-3: Music in
History II. It also considered the recommendation of the Faculty of
Interdisciplinary Studies
that,
pending the establishment of a University
program in the Fine and
Performing Arts
at which time these courses will
be reviewed, they be included permanently in the University calendar.
These proposals are now forwarded to Senate for its consideration, with
the Committee's recommendation that they be approved.
I^
ggre
:j
eh
att.
.
7,r-
SIMON FRASER UNIVERSITY
MEMORANDUM ?
To ?
rry..'V.
Sent ............ .
From
.............Rq.0....
4q
Pity ...
Qf
..........
Cozmnittee ...
Qfl.
..Undergraduate...S.tudieS..
...............
Subject ... ..... G...S ......
0.2-3 ... and ... G.S.....10.3-.3. ........... .......
...............
Zerdisc.iplinary...Studies...............................
D
ate .... . ......
27th. January.,...19.7.5. ............ ..... .... ...... ....... ..... ........
Senate, at its meeting of the 5th November, 1973, approved the course proposals
for G.S. 102-3 Music
in
History I, and G.S. 103-3 Music in History II. A caveat
to the approval of the courses was that they must be reviewed by Senate prior to
their being offered a second time. The reason for this restriction was that courses
of this type might impinge upon the possible establishment of the Fine Arts Depart-
ment within which they might more properly be placed. Since it appears unlikely
that a credit program in the Fine Arts will be initiated during the next academic
year, I wish authorization to re-offer these courses.
G.S. 102-3 was offered during the 1974-3 semester and G.S. 103-3 is being offered
during the present semester. Copies of the outlines for the courses are attached.
G.S. 102-3 was attended by 57 students. The course evaluations were highly.
positive and I am personally quite pleased with the development of the course.
G.S. 103-3 presently has 63 students enrolled and would have had considerably more
had the Images Theatre been completed in time for use this semester. We were forced
to limit enrolments because of the special space requirements involved.
.
RCB/et
Enclosures
RECEIVED
fE84 1975
REGISTRAR'S OFFICE
?
(Office Services
Robert C. Brown
• ?
:
0
?
' ' ?
:
r
/
st
DIVISION or
CEP\L
STUDIES
NEW COURSE PROPOSAL
•0'
0,
?
.
.
1.
?
CALENDAR
IiFORNATION
Program. GencraiStudies
?
Course Number: IOZ
.
?
Title:SIC IN. HISTORYT
Sub-title or Description
?
A
detailed survey of
?
ic in histor
y
with copious
examples
from all periods discued and, judgment
of contemporary criticism.
"
Gregorian Chant to 18th Century.
Credit Hours
?
3 ?
Vector Description
2-.-0
Pre-Requisite(s)
?
NONE
2
?
NROL1t'T
AND SCIIIDU1ThG
•0
Estimated Enrolment
?
65
•
? .', ?
'-'
- ?
r€'rv
cnrne ?
twice
yearly, Fall and
Spring):
even Fall
I-Then will
course
first be offerLd'
743
3.
?
JLSTIFICAfIO
N ?
(e attaed)
'
A. ?
Tnat
is the detaildd description of the course including .
?
•:
.
differentiation from lower level courses,
?
from similar courses
in the same departeflt, and from courses in
other departments
.
: ?
•
0•
in
the
.
see
attachment
IIj
B.
?
j1hat
is
the range of topics that may be dealt
with in the course?
see
attachment
0•
0• ?
'.: ?
k
•'' ?
, ?
•
I
I
Ar
H
C Now does this course fit the goals of the program?
• ? N/A
D.
How does this course affect
degree requirements?
General Elective
E. What are the
calendar changes
necessary.to
reflect
the addition
of this
course?
Calendar addition removal of G. S. 101-3 from Calendar.
F What course,
if an
y ,
is being dropped from the calendar
if
this course is
approved? ?
• ? . ?
.
GS 101-3
C. What is the nature of student demand for this course?.
High student demand (see evaluation of CS 101)
H. Other reasons for introducing the course.
Should be available to studeritsat a
Univers.ty. ?
••
? •
.,—\
?
•0
?
.
?
•
,
4r
3.
4. ?
ThETARY
AND SPACE FACTORS
A.
'hich faculty will be available to teach
this course?
To be arranged.
B.
What are the special space
and/or
equipment requirements
for
this course?
Large room, tape recorder, additional records for all works discussed which
are, at present, not available in the library.
C.
Any other budgetary implications of mounting this course:
Some funds required for acquisiton of records, tapes to be added to
the library holdings.
Approval:
Dean
of Division:
Senate:
General Studies 102-3
?
Music in History I
?
I. Buch
G.S. 102-3 is designed to promote an appreciation of Western art music
from its beginnings to 1750. The course surveys major stylistic develop-
ments, forms and composers by means of recordings and occasional live
performances. Emphasis is placed on music within the context of contemporary
social and political events and in relation to the-other arts. No previous
musical knowledge or courses are necessary.
0I
k
HISTORY OF MUSIC I
Elements of Music
The following terms are used to describe music from all historical
periods.
timbre - refers to the tone quality or tone colour of a voice or
instrument.
tempo - the speed of music. Tempo is perceived in the beat: i.e.
the steady recurring pulsations felt in varying degrees in almost all
music.
rhythm - that feeling of forward motion created by the repetition of
a pattern of notes of differing time values. The notes with longer duration
receive greater stress than notes of short duration
(d
(
l
j S!
j ).
This
pattern of "stress-release provides music with forward, propelling movement.
volume - the intensity of a tone; infinite shadings from very soft to
very loud are possible.
pitch - "height" or "depth" of a sound. Pitch is determined by its
frequency (i.e. number of vibrations per second).
Texture - the manner in which tones are arranged in musical space.
There are basically 3 types:.
(a)
monophonic - 1 melody
(b)
polyphonic or contrapuntal - two or more independent lines sounding
together (note: "polyphony" is also used in a general sense to mean the
opposite of "monophony" and as such includes both contrapuntal and chordal
textures)
(c)
homophonic or chordal - a single melody and chords; all parts are
proceeding in the same or nearly the same rhythm
melody - a series of successive tones; the "horizontal" aspect of a
composition.
harmony - the chordal or "vertical" aspect of music. Chords are heard
as tones piled on top of one another.
Terms associated with the melodic aspect of a composition
phrase - roughly equivalent to a sentence in language. Without phrases,
the melody would go on interminably in meaningless monotony. Phrases vary
in length between different composers and epochs. In the Renaissance, for
example, they tended to be long and flowing.
? .
.
2
.
??
cadence - Cadences in a musical phrase are roughly equivalent to
punctuation in a sentence. A full cadence is equivalent to a period, and
a half-cadence to a comma.
scales and modes - The theoretical basis for any melody is some kind
of scale. Each period in music history is associated with a particular
type of scale system, e.g. up to 1600 (Medieval-Renaissance) - church modes
were used.
•
?
1600-1900 (Baroque, Classical, Romantic Periods) - major and minor
scales of the tonal system were favoured.
1900 - At present composers have largely abandoned the tonal system and
are using chromatic scales.
imitation - The repetition in close succession of a melody (theme,
motive) by another voice or voices in a contrapuntal texture.
(a)
strict imitation - the re-statement is exact
(b)
free imitation - the re-statement is similar but not exact
(c)
canonic imitation - exact imitation, continued for more than a phrase,
of the melody by another voice or voices.
Terms associated with the harmonic aspect of a composition
interval - the theoretical basis for all harmony. An
.
interval is the
• distance between any 2 given notes. Thus "C" to "G" is a "5th" (CDEFG)
W
?
because C to G are 5 notes apart.
chord - 3 or more notes sounded together. The simplest kind of chord
is a triad made up of 3 different notes each a 3rd apart.
consonance and dissonance - Consonance results from an agreeable blend-
ing of 2 or more tones producing repose; dissonance is a combination of
tones which produces tension or unrest. This unrest must be "resolved" by
a consonance. Each period of music history has had its own idea of what
constitutes dissonance and how it should be treated.
musical form - the mold or pattern in which a composer organizes his
musical material. Each historical period has its favoured musical forms:
13th C - conductus, organum, motet
16th C - mass, motet
18th C - symphony, sonata, etc.
musical style - The preferred ways of using the various elements of
music which are more or less stable in an artis, era, or local constitute
musical style. Within each historical period, one can group certain traits
together which may be termed the "common musical language". The under-
standing and appreciation of the common musical expression of the various
epochs in our cultural past is the principal object of this course. By
knowing the characteristics of the various periods, one can listen more
•
?
intelligently, and appreciatively to any composition from any period.
Terms and definitions associated with music to 1650
chant (or "Gregorian" chant - so named for Pope Gregory (reigned 590-
604)
- the official liturgical melodies used in the Roman Catholic Church
are collectively known as chant. They constitute the oldest body of Western
music in existence. Most were written from the 5th to 8th C's.
- a knowledge of chant is not only invaluable in itself, but essential
for understanding medieval and Renaissance polyphonic compositions based on
a borrowed chant melody.
- most chant texts are taken from the psalms. Hymns atwi sequences
have non-Biblical texts
- the musical style of these 100's of sacred melodies is as follows:
(a)
single line melody (monophony)
(b)
free, unmeasured rhythm
(c)
melodies are "modal" - i.e. based on the 8 church modes
(d)
intended to be sung with no instrumental accompaniment; some were•
sung by a choir (schole), others by a soloist (cantor)
- chants can be grouped according to how many notes are used per
syllable of text:
(a)
syllabic - 1 to 2 notes per syllable
(b)
neumatic - up to 4 or 5 notes per syllable
(c)
melisma tic - long melodic passages to a single syllable
mass - is the most important service in the Catholic Church, and it is
S ?
comprised of sung prayers and praise to God and ends with communion. For
the first 800 years AD, chant was the only music used in the mass.
- it was to the music of the mass that polyphony was first applied
- it is divided into the "Ordinary" - i.e. those portions whose texts
never change and the "Proper" - i.e. those texts which change according to
what day on the Church calendar is being celebrated.
- the Mass Ordinary is most important for musicians since it is this
portion of the mass which has been set as a complete musical form since the
14th C. The Ordinary consists of
(a)
kyrie - a plea to God for mercy
(b)
gloria - based on the angels song "Glory to God in the Highest"
sung at Christs birth; a song of praise
(c)
credo - the statement of the believer's faith or "creed". It
begins, "I believe in one God . . .
(d)
sanctus - another song in praise to God. The test is taken in
part from the words of the Old Testament prophet Isaiah.
(e)
agnus dei - a prayer to Christ for peace, mercy and salvation.
The text is the pronouncement of John the Baptist: "Behold the Lamb of
God that taketh away the sin of the world."
office - "offices" or "office hours" are held 8 times a day in the
Roman Catholic Church. (Only monasteries hold all 8 services, however.)
Principal parts of the office and chanting of psalms and other scripture
passages, and the singing of hymns.
.-
4
hymn - has a non-Biblical sacred text.
- written in strophic form (i.e. all stanzas are sung to the same
melody)
- generally syllabic in style
- originally intended for
congregational
singing but later sung by
the choir
- by 14th C, some hymns were set polyphonically in a simple chordal
style
later developments of chant
(1)
trope - fl. 10th to 12th C's.
- consisted of words and music inserted between the phrases
of liturgical chant
- usually composed in neuma tic style
- tropes were originally monophonic, but later were frequently
given polyphonic settings
- almost all were abolished at the 16th C Council of Trent
(2)
sequence - many written from 10th to 12th C's; all but 5 were
abolished at the Council of Trent
- developed as a. result of adding words to the long "jubilus"
on the final "a" of the "Alleluia" chants
- usually in syllabic style and had a poetic, non-Biblical
text
(3)
liturgical drama - medieval plays representing Bible stories (in
Latin) by acting and
monophonic
music
medieval secular
monophonic
song - sung by the Goliards, Jongleurs,
Troubadours and TrouvereS, MinnesengerS
- texts in vernacular and most deal with love
- musical style: monophonic, with 1 to 4 or 5 notes per syllable
- an instrument might be used to give an introduction or postlude but
there was no idea of a "chordal" accompaniment to support the singer
Terms associated with early polyphony - 900-1300
parallel organum - the earliest
known
polyphonic music (c.900)
- style: a second voice (vox organalis) sang a melody at the interval
of a 5th or 4th below the principal voice (vox principalis). The principal
voice sang the chant.
free organum (c.1050) - in 2 parts; one part singing the chant, and
the other part weaving a melody around the chant
melismatic organum (1150) - in two parts; chant melody is in lower
voice in long held notes called the tenor and the upper voice sings long
rnelismas in free rhythm
.p
5
..' ?
Notre Dame
0ranum (1150-13
00
) -
during
this period all important
developments
in
pol'phony take place at Notre Dame Csthedral
in P:ris.
The two most important composers are
(a) Leonin (1175-1200)
?
(b)
Perotin (1200-1240)
The gretest achievement of this school wao its organization of rhythm
into "rhythmic modes" (i.e. 6 short rhythmic patterns all in triple
metre which are repeated over and over).
Leonin style organum - 2 parts; long held notes in the tenor;
upper line organized into rhythmic modes.
Perotin style organum - expanded organum to 3 & sometimes 4 parts
- represents the culmination
of orgenum
composition; after rnid-13th C, composers preferred writing motets
- lowest voice of Perotin organa (i.e. the
tenor) still in long held notes; upper 2 or 3 voices in rhythmic modes.
These upper voices all sing in the same range & frequently cross each
other.
Note: Both Leonin and Perotin inserted discantclaUsUlae within their
organa. The difference between organwn & a discant clausula was that in
the latter, the tenor was written in faster notes so that it also went
into rossared rhythm 1i:e the upper parts.
Polyp
hon ic
Conductus (important from 1200-1250)
- consisted of 2, 3, or 4 voices which sang the
same
text (unlike
the polytextual motet) and the same rhythm thus giving the effect of
chords
- used no borrowed material; it is the first expression of
completely original polyphony
- text was a Latin poem of a serious (though not necessarily
religious) nature.
13th C Motet (fl. 1250-1300)
- most important polyphonic form of the 13th C
- originated when words ("mots") were added to the upper parts of
discant clausulae.
- style: slow moving rhythmic mode used for chant melody
in
tenor;
upper parts move in faster rhythmic modes and each has its own text
(i.e. polytextuality)
- early motets used Latin texts for the upper parts; later, French
secular texts were also used; sometimes even the tenor borrowed a secular
rather than chant melody.
14th C (Ars Nova) otet & 14th C Polyphonic Secular Song
14th C (Ars Nova) motet - was not as important as 13th C motet
- generally the .ame characteristics as 13th C motet but with one
main difference: the tenor was now laid out in long repeated rhythmic
phrases instead of the short repeated patterns of 13th C rhythmic modes.
• ?
Motets in this style
were
called jsorhythmic.
14th C (Ars Nova)yphcnic Secular Son - (a) in France - The
standard musical forms were the bllade, vireiai, & ronde. These
3 are called the "fixed forms" orrormes fixe. All make use of repeated
musical material. The favoured tyi of these pieces was that developed
Li
by Machaut. It is variously called the "ballade" style or "treble
o r ?
dominated" style:
3
parts;
upper
part usually for high tenor voice with
2 lower more slowly moving instrumental parts which lend oupport&
accompaniment for the soloist.
- texts usually dealt with love.
(b) in Italy - The favoured forms in Italy were the
madrigal, ba.11ata (usually in treble dominated style) & the
caccia. The latter was a three part "hunting song": the two upper voices
moved in canon; the lower part was independent & probably performed on
an instrument.
The Muss 1300-1600
The mass is not a musical form in itself; however, during the 14th
C, composers (notably Machaut) began setting the Mass Ordinary with some
semblence of unity among the various sections. This unity was achieved
by using motives common to each section, similar mood, etc.
During the 15th & 16th C's, the Mass Ordinary became the most
important vocal form. It was the only large composite form in existence.
It was made up of a series of movements similar in style & form to the
motet (i.e. usually 4 to 6 voices; contrapuntal imitative texture).
The two most important types of masses in the Renaissance (1450-
1600) are:
(a) Cantus Firmus Mass - most frequently used type in henaissence
- the term "cautus firmus" becomes operative around 1500. It
._
?
describes any existing melody which becomes the basis of a composition
through the addition of contrapuntal voices. The C. F. appears most
often in the tenor', but could appear imitatively in the other voices as
well.
- the cantus firmus could be
i)
a melody borrowed from chant
ii)
a secular melody - perhaps a folk tune, or the tenor
or soprano (superius) of a polyphonic secular song
iii)
a melody derived from a 'name (soggetto cavato),. etc.
(b) .Parody Mass - a special type of 16th C mass which was bared
not on a single tune but on a whole polyphonic motet. 'The motet--used as
the basis for imitative development--could appear appear in its entirety
or in fragments.
The Motet - 1400-1600
The motet was set in various ways in the early 15th C. Some, were
written in the old isorhythmic style while others used the treble domin-
ated style; however, the principal style of the motet from c. 1480 to
1600 was that established by 'Josquin (1450-1521):
- 4 to 6 parts in contrapuntal imitative texture
- texts always in Latin; taken either from Mass or Bible
- consisted of a no. of sections, non-repetitive, each of which
treated a portion of the text. Each section had its own musical motive
which was treated imitatively by each voice in turn. The "joins" between
sections were concealed by overlapping a voice from one section to another
- contrast was achieved by "pairing" voices & using a choral
texture periodically.
- a motet would frequently be built on a cantus firmuc
- as with the mass, the preferred medium was now a choir (two or
3
singers on a part) with no instrumental accompaniment. This is in
7
strong contrast to medieval sacred polyphony which used instruments
S
and soloists (i.e. only one singer per part).
Pol
yphonic
Secular Song in the Renaissance
(a)
Chanson - this term covers all polyphonic composition
set to French secular texts in the 15th & 16th
C's.
-
In the 15th C, chanoons were generally in the repetitive "fixed
forms" of the ballade,
virelai,
& rondeau and were usually in treble-
dominated style.
- In the 16th C, the fixed forms were abandoned.
?
sny chansons
were written In the imitative style of the contemporary motet but
with a quicker, lighter rhythm, tendency toward homophonic texture,
and short sections marked with simultaneous cadences in all voices.
(b)
Frottola - the most important atrophic form developed in Northern
Italy in the late 15th & early 16th C's.
- written in Italian; for
3
or 4 voices (lower parts often played
on instruments)
- generally has a simple chordal texture
(c)
Madrigal - most important secular vocal form in 16th C
- originated in Italy but composers all bver Europe worked in the
form
- do not confuse with 14th C madrigal. Only the name is the same.
Style: used Italian poems, most were about love
- written for 3 to 5 voices
- generally had a "through-composed" (i.e. non-repetitive) musical.-
. structure
- varied from chordal texture to imitative contrapuntal examples.
Sometimes chordal and imitative sections would alternate in one compositioi
- excelled in "word painting" - i.e. attempts to make the music
illustrate the text by rhythmic & melodic means, eg. chromaticism, etc.
Note: The madrigal was introduced in England in the 2nd half of the 16th
C and enjoyed great popularity there during the Elizabethan age.
(d)
Ayre or Lute song - very popular in England at beg. of 17th C.
- was a purely homophonic song in strophic form
- usually performed as a piece for vocalist and lute • In many
cases, however, an alternative vocal accompaniment was provided.
(e)
Polyphonic Lied - the term "Lied" iGerman for "song"
- written to ermsn texts (usually about love)
- almost always the Lied was a polyphonic setting of a folk song
melody. Sometimes the texture
w;S
chordal, but imitative treatment ws
increasir1y favoured in the late 15th, early 16th C's.
i1usic of the 16th C Protestant Reformation
German Chorale - a hymn tune of the German Protestant Church
- txts
were
it.
the German vernacular
- tunes were
often
taken from older Latin hymns or specifically
composed to appropriate texts, but a rich source was secular folk songs.
- the polyphonic setting most often associated with the chorale is
a simple chordal texture with the tune in the top voice; however, more
complicated imitative styles were also used.
- all polyphonic chorale settings were sung by the chcir. The
congregation sang the chorale tunes in unison.
8
English Anthem- is roughly analagous to the Catholic motet.
.
?
Anthems were sung in the !ngliean church service nd their texts were
always in English. Two types emerged:
(a)
"Full" nthems - for chorus only; usually in imitative style
and (ideally) unaccompanied.
(b)
"Verse" Anthems - one or more solo voices alternating with
choral passages; organ or viola accompanied.
Instrumental Music in the Ptiddle Ages, Renaissance, & Early Baroque
There was likely a great deal of instrumental music in the
Middle ages but since it wss Seldom written down, we have little
way of knowing how it sounded. The earliest instrumental pieces to
actually be written down were dances called estampies. They constitute
the most important inst'umental form of the 13th & 14th C's. Both
monophonic and polyphonic examples have survived; instrumentation was
never specified.
The
1ienisssnce saw a great growth in the amount of notated.
instrumental pieces and the development of several instrumental forms.
in the early Lcnaisssrioe there was no distinct idiomatic writing for
instruments and pieces were often designated "apt for voices or instru-
ments." Graduall: r
a more idiomatic style was developed, especally for
keyboard. henaiss:.:.nce and early Baroque instrumental music can be
divided into piece
s
. for solo lute, ensemble, and solo keyboard (harpsichord,
organ). The main forms are as follows:
(a) hieercar - written for lute, keyboard, or ensembles. In the
early 16th C it waa the instrumental counterpart of the motet (i.e.
constructed in ueveral interlocking sections with each section having
a different theme treated imitatively). In the 17th C, the number of
themes was reduced to one, thus leading to the development of the fugue.
(h) Canzona - written for lute, keyboard, or ensembles. In the
early .16th C it was the instrumental, counterpart of the chanson (i.e.
usuall.y imitative and with clearly marked sections were all parts cad-
enced at once). In the early 17th C, ensemble type canzonas became
Thnger, often had 1ternating chordal & contrapuntal sections and finally
around 1650 became identified with the sonata.
(c)
Toccata - primarily a form for solo keyboard. It featured
a free, idiomatic, and often highly virtuosic style
Note: instrumental music became very im::ortant with 16thC Venetian
composers (especially G. Gabrieli) who wrote not only independent instru-
mental pieces but important sections for instrumental ensemble in the
large polychoral motets.
'
Sometimes G. Gabriell specifies instrumentation
thus often earning him the title of "father of orchestration".
New Vocal Forms of the Early Baroque 1600-1650
1. New styles of Composition
.
?
? (a) concertato style (stilo concertato) This style
originated in thelarge polychoral motets of the 16th C Venetian
composers. It is a general term used to describe those early 17th C
compositions in which contrast is the principle festure; i.e. soloists
vs full chorus, voices vs. instruments, etc. The concertato style was
9
used in both sacred and secular works.
(b) Monody - originated (late 16th 0) in the circle of
.
?
Florentine scholrs arid musicians known as the Camerata as an attempt
to revive the music of Classical Greece. it consisted of a single
melody line supported by a few simple chords played on a keyboard instru-
ment or lute. The rhythm of the vocal line followed the accents of the
text and the melody itself largely followed the natural inflections of
the Italian language. The accompaniment was known as the basso continuo
or figured bass. The composer would merely write out the bass line and
add a series of si-ns and numbers below it which would indicate the chords
to be "filled in"
t
(imprcvized) by the keyboard or lute player. Basso
continuo accompaniment Was used not only in monody, but in choral works
and instrumental ensembles throughout the entire Baroque.
Thousands of mohodies (sacred & secular) were published during the
early 17th C as independent pieces but historically, their greatest cont-
ribution was to the development of opera. Through monody, a plot could be
conveyed clearly, quickly, & with dramatic expression. Later outgrowths
of monody were the recitative & aria (see below).
2.
New Dramatic Vocal Forms
(a) Opera - the most important composite vocal form originating
in the Baroque. Opera may he briefly defined as an elaborate stage
presentation involving scenery & costumes in which the plot (usually
secular & called th' libretto) is set entirely to muaic. Choruses & other
vocal ensembles occur but the most important musical element is the solo
singing. The to most important types of the latter are:
i)
recitative - gives a speech—like treatment of the text;
S-.
?
including many quick repeated notes & irregular rhythm. It is used to
convey the action of the drama to the listener (i.e. gets the plot across).
ii)
aria - the aria is always set in a definite musical form
and emphasizes melodic rather than textual considerations. It is used to
comment or reflect on the action rather than to advance it.
The first operatic experiments were made around 1600 by Pen &
Caccini (members of the Camerata) &consisted primarily of monody with
continuo. The first real masterpiece was Monteverdi's Orfeo of 1607
which employed monody, florid solo song, choruses, duets & instrumental
ensembles. Before the opening of the first public opera house (Venice,
1637), opera had been performed to private audiences. Partly as a result
of going "public", drama & plot became less important & beautiful arias
(& the virtuoso singers who performed them) became paramount.
(b) Oratorio - is like opera in its use of continuous music set
as recitatives, arias, etc., but is unlike opera in that it has a religioue
subject, a narrator, makes significant use of a chorus, & is performed
without staging or costumes. The greatest Italian oratorio composer of
the 17th C was Carissimi (most important work: Jepthe, 1650).
(c) Cantata - As developed in Italy in the early 17th C, the
cantata was a short work with a secular plot set in recitatives & arias
for one or two solo voices & continuo. Like the oratorio, it had no
staging or costumes.
0p
CW
w
-71
?
L)lI1SON OF
STUD
(;:rtAL
IIS
N1! counsi
IOPOSAL
1.
CALENDAR 1:o'TION
Cc:crai
Sc
?
Con ?
Number: 103
?
Title: ?
US1C IN 1iIST0Y
, , ,;b-title or Descr
?
ion; ,. co:tinuation of
UIC IN HISTORY I: lPt.h Centur;. to
the
Credit hours:
?
3
?
Vector Descr'.':
?
2-1-0
Pre-Requis ftc(s):
none
2.
ENROLMENT AND SCHEDULING
.Jtim3ted Enroltcnt:
65
S2mestcr Offered (e.g. yearly
Spring):
every Spring,
Lwi
every Spring
'Theri will course first be offered?
75-1
3.
JUSTIFICAfION
?
(tc)
A.
tlhai is the detailed description of the course including
diffcrenLLtion
fvom lower level courses., from similar courses
th
the
same department, and from courses in other departments
in the University?
- ?
Sec
attached
B.
What is the range of topics
that may be dealt with in the course?
.-
sec attached
2.
C.
flow does this course fit the goals of the program?
N/A
D.
how does this course aifct degree requirements?
General
Elective
Iz
E.
What are the calendar changes necessary to reflect the addition
of this course?
Calendar addition; removal of C.S. 101-3 from
Calendar.
F.
That course, if an
y
, is being dropped from the calendar if
this course is a1)prOVCd!
Cs 101-3
C. What is the nature of stu den
t
, demand for this course?
High student demand (sec evaluation of CS ioi).
H. Other reasons for introducing the course.
Should be available to students at a University.
Oc
3.
4. ?
'Y
A)
SPAC FACTC
A. Which f.,ctv wi I h
?
I .iIe to teach this cource?
To be arraiged.
i. What are the special space and/or equipment reqeirerefltS
for this course?
Larc room, tape recorder,
additional
records for alworks discussed which
are, at
presentS,
not available in the
.Library.
C. Any other budgetary implications
of
mounting this course:
Or.
Some funds for the
acquisit
i on of
records, tapes for addition to.
library
.
hold n g s.
Approval:
<7
Dean
of
Division:
FbI ?
1)
Senate:
0—
General Studies Program
a- ?
Spring 1975
?
G.S. 103-3
?
Instructor: Ingrid Buch
MUSIC IN HISTORY II
Required Text: Scholl & White, Music & The Culture of Man
G.S. 103 is designed to promote an appreciation of Western art music
from 1650 to the 20th Century. The course will survey major styles, forms,
and composers by means of recordings and occasional live performances.
Emphasis will be placed on music within the cohtext of contemporary social
and political events and in relation to the other arts. Several sessions
will include guest lecturers, artists and films. No previous musical
knowledge or courses are required.
The following material will be covered:
I. Music in the Late Baroque (1650-1750)
A.
The late 17th Century
B.
Contemporaries of Handel and Bach
C.
Handel
D.
J.S. Bach
II. Music of the Classical Period (1750-1800)
A.
Contemporaries of Haydn and Mozart
B.
Haydn
c. Mozart
L. van Beethoven
III. The Romantic Era (1800-1900)
A.
Artistic Ideals and Social Mileu of the Century
B.
Music for Orchestra
C.
The Art Song
D.
Music for Solo Piano
E.
Chamber Music
F.
19th Century Opera
G.
The End of an Era:
Impressionism
Growth of National Idioms
IV. The 20th Century
A.
Survey of the Major Styles and Tendencies of the Century
B.
The Composer as Social Critic
C.
Inspiration from the Past: The Neo-classical Movement
D.
Sounds from New Sources: Electronic Music, etc.
E.
Opera in the 20th Century: Film of Berg's Wozzeck
F.
Music in Canada
.__
Course Outline - G.S. 103-3?
MUSIC IN HISTORY II (1650-1975)
Jan. 6
?
Vocal Music in the late Baroque
(excl. Bach and Handel) 1650-1750
Jan. 8
?
Instrumental Music in the late Bag
(excl. Bach & Handel) 1650-1750
Jan. 13
?
George Frederic Handel (1685-1759)
Jan. 15
?
Johann Sebastian Bach (1685-1750)
Jan.
20
Introduction to the Classical Period
Franz Joseph Haydn (1732-1809)
Jan.
22
Haydn Pt. II; Wonfgang Amadeus Mozart (1756-1791)
Jan. 27
Mozart Pt. II; Film on the Drottningholm Theatre
in Sweden (opera in the 18th century)
Jan. 29
Ludwigt'an Beethoven (1770-1827)
Feb. 3
"An Evening of 20th Century music written for old instruments"
performed by members of the U.B.C. Collegiim, Dr. J. Sawyer,
director.
Feb.
5
Introduction to the19th CenturLl
Feb.
10
Piano Music: in the 19th Century
- a lectura-recital
Feb.
12
19th Century Chamber Music; Music for Orchestra Pt. I
Feb. 17
Music for Or::hestra, Pt. II; 19th C Opera Pt. I
Feb.
19
eLe
ja Pt. II; Impressionism
Feb.
24
Mid-term
112 hour listening exam
1 hour written exam
?
Feb. 26
?
Solo Song inthe 19th C - a lecture-recital
?
March 3 ?
Brass Ensemble Recital; and "An Introduction to the 20th
Century" by guest lecturer Dr. C. Friedrichs
?
•
March 5 ?
An Introduction to the 20th Century, Pt. II
,-
.'
2
March
10
New Ways of Organizing Musical Materials
1) atonality and polytonality
2) 12 tone music and serialism
3) micro-tone music
4) •chance music
March 12
"Resurrections" - the 20th century
neo-classical
movt.
March 13
String Quartet Literature performed by the Purcell String
Quartet
March 17
Experiments with new sound sources
1) new sounds from voices, and traditional instruments
2) inspiration from the machine
3) musique concrete
4) electronic music
March 19
The Composer
as
Social Critic
1) expressionism
2)
existentialism
3) futility of war
March
24
Opera in the 20th Century:
a filmed performance of Berg's Wozzeck
March 26
Impact of Other Musical Traditions on Western Art Music
1) Folk idioms of the West
2) non-western cultures
3) influence of jazz and popular music
also:
?
Music in Canada
March
31
no class
April 2
review
.,-
