Links

• Syllabus
• Blackboard
• Download PDF of this page

Weekly Meeting Times

• Tuesdays and Thursdays, 2-3:15 pm, main class with Prof. Cashner
• Fridays, 3:00–3:50 workshop with TA Lauren Berlin
• On Zoom or in Dewey 1-305 (TBD)

Calendar

UNIT 1. MAPPING MUSIC-MAKING IN THE EARLY MODERN WORLD

Week 1. Thinking historically about music; thinking musically about history

Th 1/13. Orientation

• Sonic and social connections
• Tradition, canon, and values
• Notated, oral, and improvised traditions
• What is Western music?

Music

1. George Frederic Handel, Messiah: “Hallelujah” (chorus)
2. Blue Spring Mississippi Baptist Delegation, Glory, Glory Hallelujah Since I Laid My Burden Down
3. Akwesasne Women Singers, Water Song
4. “Píng Yùn Chuàn” (平韵串) (“A String of Serene Harmonies”), from the collection “Qīng gù gōng wángfǔ yīnyuè” (清故恭王府音乐)

F 1/14. Workshop

Week 2. Styles, genres, techniques

Class note slides for weeks 1–2

(Tip: If you print the notes page from your browser, it will make a single PDF of the whole presentation. Landscape mode and 60% scale are recommended.)

M 1/17. No class: Dr. Martin Luther King, Jr., Day

T 1/18. Four style worlds

1. “Renaissance”, stile antico (16C)
2. “Early Baroque”, stile concertato (17C)
3. “High Baroque” (17–18C)
4. “Viennese Classic”, galant (18C)

Music

1. Vicente Lusitano, Inviolata, integra et casta es
2. Chiara Maria Cozzolani, O Jesu meus amor
3. Antonio Vivaldi, Nulla in mundo pax sincero: Mvt. I
4. Wolfgang Amadé Mozart, “Coronation” Mass: Agnus Dei

Reading

1. Wendy Heller, Music in the Baroque: Ch. 1–2

Th 1/20. Polystylism; Style vs. genre

• style + social function = genre
• topics, tropes, and communication

Music

1. Claudio Monteverdi, Vespers for the Blessed Virgin, opening:
   • Deus in adjutorium
   • Dixit Dominus
2. Mozart, Piano Sonata in F, K. 332: Mvt. I

F 1/21. Research methods and resources

Week 3. Places, people, priorities

T 1/25. Venues: Church, theater, home/concert

• social elements of music: composer, patron, audience, medium, venue, canon
• economic aspects, social class
• men, women, children, and others

Music

• Giovanni Battista Pergolesi, Stabat mater dolorosa: Mvt. I, “Stabat mater”
• Pergolesi, La serva padrona: “Ah, quanti mi sta male”, “Son imbrogliato io già”
• Pergolesi, Sinfonia in F for violoncello and continuo

Reading

1. John Rice, Music in the Eighteenth Century: ch. 1–2

Th 1/27. Ethics of music history

• The history of “music history”
• Indigenous and colonial perspectives on “Western civilization”

Music

• Bill Crouse, Sr., Standing Quiver Songs (Onöndowa’ga:’/Seneca social dance)
• Jean-Philippe Rameau, Les Indes galantes: “Les sauvages”
  • “Self-aware ironic” performance directed by William Christie
  • Staging with KRUMP dancers directed by Clément Cogitore (read YouTube comments on both videos)

Reading

1. Linda Tuhiwai Smith, Decolonizing Methodologies: Ch. 1, “Imperialism, History, Writing and Theory”
2. Nicholas Cook, “Western Music as World Music” (in The Cambridge History of World Music)

F 1/28. Roundtable preparation

To top

UNIT 2. THEATER

Week 4.

T 2/1. Roundtable 1

Th 2/3. Italian 17C opera: Spectacle, entertainment, commerce

• private (court) opera in Florence, Mantua, etc.
• public (commercial) opera in Venice
• the social worlds of early opera

Music

• Barbara Strozzi, Mercè di voi
• Claudio Monteverdi, L’Orfeo:
  • Prologue
  • “Tu se’ morta”
  • “Possente spir’to”
• Francesca Caccini, La pastorella mia (aria)
• Francesco Cavalli, La Calisto, Act III: “Restino imbalsamate”

Reading

1. Heller: ch. 3, 6

F 2/4.

Week 5

T 2/8. French 17C musical theater: Spectacle, tragedy, royal power

• national experiments with opera in France, England, and Spain
• dance, spectacle, and the projection of royal power under Louis XIV

Music

• Jean-Baptiste Lully, Armide:
  • Overture
  • Act II: “En fin il est en ma puissance”
• Elisabeth Jacquet de la Guerre, Cephale et Procris: Prologue
• Tomás de Torrejón y Velasco, La púrpura de la rosa: “Y bien, ¿qué es lo qe adviertes?”, “Corred, corred, cristales”
• Henry Purcell, Dido and Aeneas: “When I Am Laid in Earth”

Reading

1. Heller: ch. 7; ch. 8 (portions relevant to theater/opera)

Th 2/10. 18C Italian “serious opera”: Society on stage, take 1

• castrati and celebrity culture
• affective expression and drama
• ritual and sovereignty
• stylistic changes into the galant era

Music

• Carlo Broschi, Son’ qual nave
• Wilhelmine von Bayreuth, Argenore: “Un certo freddo errore”
• George Frederic Handel, Rinaldo: “Cara sposa”

Reading

• Heller: ch. 11; ch. 14 (parts relevant to opera)

F 2/11. Workshop

Week 6

T 2/15. 18C Italian, French comic opera, reforms: Society on stage, take 2

• buffa style and social class
• the French querelle des bouffons and the seeds of revolution
• opera as slavery in Russia and Haiti; celebrated women opera singers: Praskovia, Minette and Lise

Music

• Giovanni Battista Pergolesi, La serva padrona (review scene from Week 3)
• André Grétry, Zémire et Azore: “La Fauvette”
• Christoph Willibald Gluck, Orfeo:
  • Act I, scene 1: “Ah, se intorno a quest’urna funesta”
  • Act III: “Che farò senza Euridice?”

Reading

1. John Rice, Music in the Eighteenth Century: ch. 3, 4, 6, 8

Th 2/17. Opera in late 18C Vienna and Paris: Enlightenment, revolution

Music

• Mozart, Le nozze di Figaro:
  • Overture and Act I through “Se vuol ballare, Signor Contino”
  • “Dove sono i bei momenti?”
• Mozart, Die Zauberflöte:
  • “Dies Bildnis ist bezaubernd schön”
  • “Die Vogelfänger bin ich, ja”
  • “Der Hölle Rache”
  • “O Isis und Osiris”
• Jean-François Le Sueur, La Caverne: “Dans ce péril certain”

Reading

1. Rice: ch. 13–15

F 2/18. Roundtable preparation

To top

UNIT 3. CHURCH

Week 7

T 2/22. Roundtable 2

Th 2/24. Roman Catholic missions and reforms

Music

1. Isabella Leonarda, Magnificat
2. Juan Correa de Araúxo, Tiento de tiple séptimo tono
3. Hernando Franco, Sancta Maria in ilhuicac
4. Joseph-Marie Amiot, Mass for the Jesuits in Beijing: Sanctus, Agnus Dei, Communion
5. Domenico Zipoli, Misa San Ignacio: Gloria in excelsis
6. José Maurico Nuñes García, Laudate Dominum

Reading

1. Heller: ch. 5, 9
2. Paulo Coelho, “Music in New Worlds” (in The Cambridge History of Seventeenth-Century Music)

F 2/25. Workshop

Week 8

T 3/1. Devotion and colonial life in New Spain

Music

1. Gaspar Fernández, Xicochi conantzintle
2. Juan Gutiérrez de Padilla, Voces, las de la capilla
3. Gutiérrez de Padilla, Al establo más dichoso
4. Manuel de Sumaya, Albricias, mortales

Reading

1. Andrew Cashner, Hearing Faith: Music as Theology in the Spanish Empire (Leiden: Brill, 2020), 4–18, skim 53–98 (Blackboard)
2. Andrew Cashner, “Imitating Africans, Listening for Angels: A Slaveholder’s Fantasy of Social Harmony from Colonial Puebla, 1652” (Journal of Musicology, 2021) (Blackboard)

Th 3/3. The Lutheran “Piety Movement”: Personal devotion amid catastrophe

Music

1. Heinrich Schütz, “O güter, o freundlicher, o gütiger Herr Jesu Christe” from Kleine geistliche Konzerte
2. Schütz, “Siehe, wie fein und lieblich ist” (Psalm 133)
3. Schütz, “Die mit Tränen säen” from Geistliche Chor-Musik
4. Johann Crüger, Praxis pietatis melica: “Nun danket alle Gott”, “O Haupt voll Blut und Wunden”, “Frölich soll mein Herze springen”
5. Matthias Weckmann, Komm, heiliger Geist

F 3/4. 12 p.m. noon, Essay 1 (historical or analytical) due (no class)

3/5–13. No class: Spring break

Week 9. Sacred music in J. S. Bach’s Leipzig

T 3/15. Tradition and innovation; worship and craft

Music

1. Dieterich Buxtehude, Praeludium in E
2. Johann Sebastian Bach, Prelude and Fugue in A minor for organ, BWV 543
3. Bach, Clavierübung III: “Dies’ sind die heil’gen zehn Gebot’”, BWV 678
4. Bach, Mass in B minor, Credo: Confiteor unum baptisma, Et expecto resurrectionem

Th 3/17. Expression and symbolism

• Class notes

Music

1. Bach, The Passion according to St. Matthew (St. Matthew Passion):
   • Opening chorus
   • Last Supper scene
   • Trial and arrest
   • Burial

F 3/18. Roundtable preparation

To top

UNIT 4. HOME, CONCERT HALL

Week 10.

T 3/22. Roundtable 3

Th 3/24. Keyboard music for edification and enjoyment

• Class notes

Music

1. Jacquet de la Guerre, Suite in D minor
2. Johann Jakob Froberger, Lament for Ferdinand IV from Suite in C
3. J. S. Bach, The Well-Tempered Clavier, Book I: Preludes and Fugues in C, Cm, C#m, Eb, Bm

F 3/25. Workshop

Week 11

T 3/29. Chamber music and Baroque court culture

Music

1. Arcangelo Corelli, Sonata da chiesa in F, Op. 1, no. 1
2. Antonio Vivaldi, L’estro armonico, Op. 3: Concerto in B minor for four violins, RV 580
3. Wilhelmine von Bayreuth, Concerto in G minor for Harpsichord and Strings: Mvt. 1
4. Bach, Brandenburg Concerto no. 4 in G, BWV 1049

Th 3/31. Galant music in aristocratic homes

Music

1. Baldassare Galuppi, Sonata no. 5 in C
2. Marianne d’Auenbrugger, Sonata in E flat: Mvt. 1
3. Mozart, Sonata in F, K. 332
4. Joseph Boulogne, Chevalier de Saint-Georges, Quartet no. 4 in C minor, Op. 1
5. Mozart, Clarinet Quintet in A
6. Ludwig van Beethoven, Sonata for Violin and Piano no. 9, Op. 47, “Bridgetower”: Mvt. 1

F 4/1. Workshop

Week 12

T 4/5. Galant music and the rise of public concerts

• Class notes

Music

1. Anna Amalia von Braunschweig Wolfenbüttel, Erwin und Elmire: Entr’acte with violin solo
2. Johann Stamitz, Symphony in D, Op. 3, no. 2
3. Boulogne, Symphonie concertante in G
4. Mozart, Piano Concerto no. 23 in A
5. Haydn, Symphony no. 99 in E flat

Th 4/7. Oratorios, art religion, and classics

Music

1. Handel, Messiah (review from week 1)
2. Mozart, Mass in C minor: Gloria in excelsis
3. Mozart, Requiem: Confutatis, Lachrymosa
4. Haydn, The Creation: “Vorstellung des Chaos”, The First Day
5. Beethoven, Missa solemnis in D: Agnus Dei

F 4/8. Workshop

To top

UNIT 5. MUSIC IN EARLY NORTH AMERICA

Week 13

T 4/12. Roundtable 4

Th 4/14. Indigenous traditions: Haudenosaunee earth songs

• Special guest teacher: Bill Crouse, Sr., Onöndowa’ga:’ musician

Music

1. Allegany River Dancers, Social dance songs (various)
2. Bill Crouse, Standing Quiver
3. Old Moccasin Dance, various recordings

F 4/15. Workshop

Week 14

T 4/19. Sound and space: Turtle Island and New England

Class notes

Th 4/21. Song and dance in settler, immigrant, and enslaved communities

Music

Psalm and hymn singing

1. William Billings, CREATION
2. Psalm tune, Old 100th
3. Lined-out Gaelic psalmody in the “old way of singing” on the Isle of Lewis
4. Kentucky Old Regular Baptists, I Am a Poor Pilgrim of Sorrow
5. “Dr. Watts” singing: Blue Spring Missippi Baptist Delegation, A Charge to Keep I Have
6. Shape-note singing in the Great Smoky Mountains
7. Amazing Grace (NEW BRITAIN), Sacred Harp singing in Holly Springs, Georgia
8. Oneida Hymn Singers, “On the Beautiful Beyond”
9. (in class) Joy to the World (words by Isaac Watts, music arranged from Handel by Lowell Mason)
10. (in class) When I Survey the Wondrous Cross (words by Watts, music arranged from Gregorian psalm tone 1 by Mason)

Parlor song, dance music

1. George Bridgetower, Henry: A Ballad
2. Old-time fiddle music from the Catskill, New York
3. Ignatius Sancho, Twelve Country Dances
4. Francis Johnson, Victoria Gallop

F 4/22. Roundtable preparation

Week 15

T 4/26. Roundtable 5

4/28-5/1. Reading days

Finals Week

F 5/13, 12 p.m. noon, Essay 2 (historical or analytical) due