MUSC 220

Music History I

Instructor: Larry Hamberlin

Office hours: Carr 201, Wed 10–12; MCFA 303, Thurs 10–11; and by appointment
Phone: x5095
Email: lhamberl@middlebury.edu

Class meeting times: Tuesday & Thursday, 11:00a.m.–12:15 p.m., MCFA 221

A survey of Western art music from the earliest notated Medieval music through the
Renaissance, Baroque, and Classical periods. Beginning with Gregorian chant and
troubadour song, we will explore Renaissance vocal polyphony, the development of opera
and instrumental music in the seventeenth century, the late Baroque music of Bach and
Handel, and the Viennese classicism of Haydn and Mozart. Analysis of the music is
supplemented by consideration of the ways in which music relates to the other arts and
reflects the history and culture of its time.

REQUIREMENTS
Course textbooks and resources:
NAWM 1: J. Peter Burkholder and Claude V. Palisca, Norton Anthology of Western Music, 6th
ed., vol. 1, Ancient to Baroque
NAWM 2: J. Peter Burkholder and Claude V. Palisca, Norton Anthology of Western Music, 6th
ed., vol. 2, Classic to Romantic
HWM: J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca, A History of Western
Music, 8th ed.
Listening guides, chapter outlines, and practice quizzes are available at
http://www.wwnorton.com/college/music/grout8/.
FIX Sound files for all required listening, along with scores for pieces not in NAWM, are
posted at the course website. [add URL]

FIX Exam schedule:

Wed 9/17: Unit 1
Wed 10/1: Unit 2
Wed 10/20: Unit 3
Mon 11/3: Unit 4
Fri 11/14: Unit 5
Thurs 12/10, 9–12: Final exam: unit 6 and comprehensive
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FIX Written assignments:

Specific instructions for each assignment will be distributed in class and placed on the Segue
website in advance of the due dates listed below:

Assignment 1 (chant notation): due 9/10

Assignment 2 (constructing medieval scales): due 9/15
Assignment 3 (isorhythm): due 9/26
Assignment 4 (divisions on a ground bass): due 10/17
Assignment 5 (French embellishments): due 11/7

FIX Evaluation:
45% = Exams 1–5 (9% each)
20% = Final exam
20% = Written assignments (4% each)
10% = In-class presentations (5% each)
5% = Class participation: preparation, discussion

Theory help:
“Ricci Adams’ Music.net” is a useful website for anyone wanting to brush up on basic theory
skills and concepts. It has a series of lessons ranging from "What is a staff?" to Neapolitan
chords, a series of exercises for self-testing, and a few tools, including a staff paper
generator for printing out blank staff paper. Visit the site at
http://www.musictheory.net/index.html and try the first five exercises, set to advanced
levels (multiple clefs, all key signatures, etc.). If you encounter problems, start working
through the relevant lessons.

On matters of academic integrity, please consult Middlebury College’s Academic Honesty

Statement at http://www.middlebury.edu/academics/acadinfo/honorcode/statement.htm.

All reading and listening assignments are due on the dates listed in this syllabus.

Class schedule and assignments are subject to change at the instructor’s discretion. Updates
and new information will be posted on the Segue website.
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HOW TO STUDY FOR THIS COURSE

Historical perspective comes from building a repertoire of pieces you know well, not from
memorizing abstract “facts.” The best approach, then, is to make your highest priority the
study of the specific assigned musical works. Also, when you get to know the music, it’s easy
to separate the essentials from the nonessentials in the reading, and you’ll do that work
more efficiently. Thus, I recommend the following sequence, which you may choose to
modify to suit your own personal learning style.

1. In preparation for each class meeting, listen to the first piece in the assignment for that
day, following the score.
2. Read the commentary following the piece in NAWM or posted on the course website.
3. Listen to the piece again. How many points made in the commentary can you relate to
what you hear?
4. Repeat steps 1–3 for any additional pieces assigned for the class meeting.
5. Next, divide your time among any or all of the following options:
• Read the relevant pages in HWM.
• Read the assigned source reading(s) in MWW.
• Do the written assignment, if any, for that day.
• Take an on-line quiz on the assigned pieces at the W. W. Norton website,
http://www.wwnorton.com/college/music/grout7/home.htm.
6. Give each piece a third listening, with or without the score. How many points made in
HWM and MWW can you relate to the music?

How much time should I spend doing this? College is a full-time job—no more, no less. With
careful study habits, you can accomplish much and still have time for extracurricular
activities and play. That means your four courses per semester should occupy you about 40
hours per week, or 10 hours per course, including time spent in class. Plan to spend two
hours preparing for each class; steps 1–4 should fill the first hour of class prep, leaving steps
5–6 for the second hour. Three hours of class plus six hours of prep equals nine hours per
week. The tenth hour per week can be used for extra study before exams, preparation for in-
class presentations, and extra attention to written assignments, as needed.

What if I fall behind? Sometimes we all get behind in our work; what’s important is knowing
how to get back on track. In this course, always give your highest priority to the listening
and score study. Falling behind in the listening will make all the other work more difficult. At
“crunch” times, if something has to give, ease up on the readings in HWM. Though not easy,
it is possible to cram this material the night before the test. But don’t try to cram the
listening that way—it doesn’t work. Remember, when you know the music, it’s easy to
separate the essentials from the nonessentials in the reading; you’ll be able to work more
efficiently. The opposite (reading first, then listening) is not true.

If you find yourself putting in the hours as recommended above but still not achieving the
level of mastery you hope for, do not hesitate to come see me, either during my office hours
or at another time (we can set up an appointment via email). I’m here to help you make the
most of this learning opportunity.
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Class schedule

Week 1
Tuesday 9/7 Intro to course; Prologue: the ancient world
read: HWM, Preface, pp. xxiii–xxiv; Part 1 intro, p. 3; ch 1 excerpts:
“Babylonian writings on music” through “The earliest notated music,” pp. 8–9
“Music in Ancient Greek life and Thought,” p. 9 only
“Greek Musical Thought” through “Greek Music Theory,” pp. 12–18
“The Greek Heritage,” p. 21

Unit 1. The Middle Ages

Unit 1 reading: HWM, chapters 2–6

Thursday 9/9 Roman liturgy and chant

NAWM 3a. Anonymous, Puer natus est nobis (Introit, Mass Proper, date unknown)
NAWM 3d. Anonymous, Viderunt omnes (Gradual, Mass Proper, date unknown)
NAWM 4b. Anonymous, Christe Redemptor omnium (Hymn for Vespers, date unknown)
NAWM 7. Hildegard of Bingen, In principio omnes, from Ordo vitutum (sacred music drama,
ca. 1151)
read: HWM, chapters 2 & 3 (pp. 22–67)

Week 2
Tuesday 9/14 Secular song and dance; early polyphony
NAWM 10. Adam de la Halle, Robin’s m’aime, from Le jeu de Robin et Marion (musical play,
ca. 1284)
NAWM 13. Anonymous, La quatre estampie royal, from le manuscrit du roi (estampie, late
13th cen.)
NAWM 14. Anonymous, organa from Musica enchiriadis (parallel and oblique organa, ca.
850–900)
NAWM 17. Léonin, Viderunt omnes (organum duplum, late 12th cen.)
NAWM 19. Pérotin, Viderunt omnes (organum quadruplum, late 12th/early 13th cen.)
read: HWM, ch. 4 complete; ch. 5 through p. 102 (pp. 68–102)
Assignment 1 due: Transcribing chant notation

Thursday 9/16 The early motet; music in the 14th century

NAWM 22. Adam de la Halle, De ma dame vient/Dieus, comment porroie/Omnes (motet, ca.
1260s–1280)
NAWM 23. Anonymous, Sumer is icumin in (rota, ca. 1250)
NAWM 24. Philippe de Vitry, In arboris/Tuba fidei/Virgo sum (motet, ca. 1320)
NAWM 25. Guillaume de Machaut, Kyrie, from La Messe de Nostre Dame (mass ordinary
cycle, ca. 1364)
NAWM 27. Guillaume de Machaut, Rose, liz, printemps, verdure (rondeau, mid-14th cen.)
NAWM 31. Francesco Landini, Non avrà ma’ pietà (ballata, late 14th cen.)
read: HWM, ch. 5, p. 102 to end; ch. 6 complete (pp. 102–43)
Assignment 2 due: Constructing medieval scales
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Unit 2. The Renaissance

Unit 2 reading: HWM, chapters 7–12

Week 3
Tuesday 9/21 England and Burgundy in the 15th century
NAWM 33. John Dunstable, Quam pulchra es (motet, early 15th cen.)
NAWM 37a. Guillaume Du Fay, Se la face ay pale (ballade, 1430s)
NAWM 37b. Guillaume Du Fay, Gloria from Missa Se la face ay pale (cantus-firmus mass, ca.
1450s)
read: HWM, part 2 intro; ch. 7 through “The New Counterpoint”; ch. 8 complete (pp.
144–57, 167–90)
Assignment 3 due: Isorhythm

Thursday 9/23 Sacred music through the Reformation

NAWM 40. Henricus Isaac, Innsbruck, ich muss dich lassen (Lied, ca. 1500)
NAWM 41. Josquin des Prez, Ave maria . . . virgo serena (motet, ca. 1484–85)
NAWM 44a. Attributed to St. Ambrose (4th cen.), Veni redemptor gentium (hymn, prob. 12th
cen.)
NAWM 44b. Martin Luther, Nun komm, der Heiden Heiland (chorale, 1524)
NAWM 46. William Byrd, Sing joyfully unto God (full anthem, 1580s–90s)
NAWM 47b. Giovanni Pierluigi da Palestrina, Agnus Dei I from Pope Marcellus Mass (mass,
ca. 1560)
read: HWM, ch. 9, intro and “Political Change,” then “The Next Generation” to the
end; ch. 10 complete (pp. 191–93, 198–239)

Week 4
Tuesday 9/28 Madrigal and secular song in the 16th century
NAWM 51. Marco Cara, Io non compro più speranza (frottola, ca. 1500)
NAWM 52. Jacques Arcadelt, Il bianco e dolce cigno (madrigal, ca. 1538)
NAWM 55. Carlo Gesualdo, “Io parto” e non più dissi (madrigal ca. 1600)
NAWM 56. Claudin de Sermisy, Tant que vivray (chanson, ca. 1530s)
NAWM 59. Thomas Morley, My bonny lass she smileth (ballett, ca. 1595)
NAWM 60. Thomas Weelkes, As Vesta was (madrigal, ca. 1601)
read: HWM, ch. 7, “New Compositional Methods” to end; ch. 11 complete (pp. 157–
66, 240–63)

Thursday 9/30 The rise of instrumental music

NAWM 62. Tielman Susato, Basse dance “La morisque” and Pavane and Galliard “La dona,”
from Danserye (dances, ca. 1551)
NAWM 63b. Luis de Narváez, Cuatro diferencias sobre “Guárdame las vacas” (variation set,
ca. 1538)
NAWM 61. John Dowland, Flow, my tears (lute song, ca. 1600)
NAWM 64. William Byrd, Pavana Lachrymae (pavane variations, ca. 1600)
NAWM 65. Giovanni Gabrieli, Canzon septimi toni a 8 (ensemble canzona, ca. 1597)
read: HWM, ch. 12 (pp. 264–85)
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Unit 3. The Early Baroque

Unit 3 reading: HWM, chapters 13–17

Week 5
Tuesday 10/5 New styles in the 17th century
NAWM 66. Claudio Monteverdi, Cruda Amarilli (madrigal, late 1590s)
NAWM 67. Giulio Caccini, Vedrò ’l mio solo (solo madrigal, ca. 1590)
NAWM 69. Claudio Monteverdi, excerpt from act 2 of L’Orfeo (opera, 1607)
Website: Claudio Monteverdi, Lamento della ninfa
read: HWM, part 3 intro, chs 13 & 14 complete (pp. 286–328)

Thursday 10/7 Music for chamber and church in the 17th century
NAWM 72. Barbara Strozzi, Lagrime mie (cantata, 1650s)
NAWM 76. Giacomo Carissimi, excerpt from the Historia di Jephte (oratorio, ca. 1648)
NAWM 78. Heinrich Schütz, Saul, was verfolgst du mich, SWV 415 (sacred concerto, ca.
1650); also see commentary to NAWM 77
NAWM 80. Girolamo Frescobaldi, Ricercare after the Credo, from Mass for the Madonna
(ricercare, ca. 1635)
NAWM 81. Biagio Marini, Sonata 4 (sonata for violin and continuo, ca. 1626)
read: HWM, ch. 15 (pp. 329–53)
Assignment 4 due: Divisions on a ground bass

Week 6
Tuesday 10/12 France, England, and Germany in the 17th century
NAWM 82. Jean-Baptiste Lully, excerpts from Armide (opera [tragédie lyrique], 1686)
NAWM 85. Elisabeth-Claude Jacquet de la Guerre, excerpts from Suite no. 3 in A minor
(keyboard suite, ca. 1687): a. Prelude, b. Allemande, f. Chaconne, h. Menuet
NAWM 86. Henry Purcell, conclusion of Dido and Aeneas (opera, 1689)
NAWM 92. Dieterich Buxtehude, Praeludium in E major, BuxWV 141 (organ prelude, late
17th cen.)
read: HWM, ch. 16 through “The public concert”; ch. 17 from “Germany and
Austria” through “The German Synthesis” (pp. 354–79, 399–410)

Thursday 10/14 Italy in the late 17th century

NAWM 89. Alessandro Scarlatti, conclusion of Clori vezzosa, e bella (cantata, ca. 1700)
NAWM 91. Arcangelo Corelli, Trio Sonata, op. 3, no. 2 (trio sonata, 1680s)
Website: Arcangelo Corelli, La Follia, op. 5, no. 12 (variations, 1700)
read: HWM, pp. 391–400, 413

Week 7
Tuesday 10/19 Midterm recess: no class meeting

Thursday 10/21 MIDTERM EXAM

Unit 4. The Late Baroque

Unit 4 reading: HWM, chapters 18–20
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Week 8
Tuesday 10/26 The concerto
NAWM 93. Concerto for violin and orchestra in A minor, op. 3, no. 6 (concerto, ca. 1710)
Website: Georg Philip Telemann, Concerto for recorder, flute, and orchestra in E minor,
mvts. 3 & 4 (concerto, before 1740)
read: HWM, part 4 intro; ch 18 through “Vivaldi’s Position and Influence”; ch. 19
through “Mixed Taste” (pp. 412–27, 436–39)

Thursday 10/28 France in the early 18th century

Website: Couperin, Prelude in B flat from L’Art de toucher le clavecin (1716); “Les Baricades
mystérieux” and “La Moucheron,” from 6e Ordre in B flat (keyboard suite, 1716)
Website: Marin Marais, Tombeau pour M. de Sainte-Colombe (tombeau, 1701)
NAWM 95. Jean-Philippe Rameau, conclusion of act 4 of Hippolyte et Aricie (opera, 1733)
read: ● HWM, ch 18, “Music in France” to end (pp. 427–35)
● Entry for Marin Marais in Grove Online http://www.oxfordmusiconline.com
● (optional) view performance of the Tombeau by Wieland Kuijken on YouTube at
http://www.youtube.com/watch?v=cycwzUfsKzs.

Week 9
Tuesday 11/2 Bach’s sacred music
NAWM 97. Johann Sebastian Bach, Chorale Prelude on Durch Adams Fall, BWV 637 (chorale
prelude, ca. 1716)
NAWM 98. Johann Sebastian Bach, Cantata 62, Nun komm, der Heiden Heiland, BWV 62
(cantata, 1724)
read: HWM, ch. 19, “Johann Sebastian Bach” (pp. 439–54)

Thursday 11/4 Bach’s secular music

Website: Johann Sebastian Bach, Passacaglia and Fugue in C minor for organ, BWV 582
(organ work, ca. 1708–12)
Website: Johann Sebastian Bach, Brandenburg Concerto no. 2 in F major, BWV 1047, mvt. 1
(concerto; 1721)
read: ● Tom Parsons and Time Smith, analysis of BWV 582 at BACH: BinAural
Collaborative Hypertext, http://bach.nau.edu/BWV582/BWV582b.html
● (optional) view performance of BWV 1047/i by Freiburg Baroque Orchestra at
http://www.youtube.com/watch?v=EC1E4_imS0A

Week 10
Tuesday 11/9 Handel
NAWM 99. George Frideric Handel, act 2, scenes 1–2, from Giulio Cesare (opera, 1724)
NAWM 100. George Frideric Handel, act 2, scene 10, from Saul (oratorio, 1738)
read: HWM, ch. 19, “George Frideric handel” to end (pp. 454–67)
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Unit 5. The Classical Era

Thursday 11/11 Opera at midcentury

NAWM 101b. Giovanni Battista Pergolesi, “Son imbrogliato io,” aria from La serva padrona
(intermezzo, 1733)
NAWM 102. Johann Adolf Hasse, “Digli ch’io son fedele,” aria from Cleofide (opera seria,
1731)
NAWM 104. Christoph Willibald Gluck, excerpt from Orfeo ed Euridice, 2.1 (opera, 1762)
Read: HWM, ch. 20, ch. 21, beginning through “Gluck’s influence” and “Opera and
the New Language” (pp. 483–500, 505)

Week 11
Tuesday 11/16 Classical forms I: binary, ternary, rondo, variations
Website: Joseph Haydn, Piano Sonata no. 40 in G major (ca. 1784)
NAWM 111. Joseph Haydn. String Quartet in E-flat, op. 33, no. 2, “The Joke,” mvt. 4 (1781)
Read: HWM, ch. 22, beginning through “Binary Forms,” “Other Forms,” and “The
Singing Instrument”; ch. 23, beginning through “Compositional
Process,” “String Quartets” (pp. 506–11, 515, 525–36, 542–44)

Thursday 11/18 Classical forms II: Sonata form

NAWM 114. Wolfgang Amadeus Mozart, Piano Sonata in F major, K. 332, mvt. 1 (1781–83)
Website: Wolfgang Amadeus Mozart, Clarinet Quintet, K. 581, mvt. 1 (1789)
Read: ● HWM, ch. 22, “Sonata Form”; ch. 23, from “Wolfgang Amadeus Mozart”
through “Chamber Music” (pp. 511–15, 546–56)
● Website: “Classical Sonata Form”

Week 12
Tuesday 11/23 Mozart’s operas and concertos
NAWM 115. Wolfgang Amadeus Mozart, Piano Concerto in A major, K. 488, mvt. 1 (1786)
NAWM 117. Wolfgang Amadeus Mozart, Don Giovanni, act 1, scenes 1–2 (1787)
Website: Joseph Haydn, Piano Sonata no. 32 in B minor, mvt. 1 (1776)
Read: HWM, ch. 22, “Concerto”; ch. 23, “[Mozart’s] Piano Concertos” and “Operas”
through “Achievement and Reputation” (pp. 522–24, 557–59, 561–65)
Assignment 1: Sonata form

Thursday 11/25 THANKSGIVING

Week 13
Tuesday 11/30 Haydn’s symphonies
Website: Joseph Haydn, Symphony no. 104 in D major, “The London,” complete (1795)
Read: HWM, ch. 22, “Symphony”; ch. 23, “[Haydn’s] Symphonic Form,” “The
Symphonies,” “Achievement and Reputation,” box: “The Sublime and
the Beautiful” (pp. 520–22, 536–42, 545–46)

Thursday 12/2 Mozart’s symphonies

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Website: Mozart, Symphony no. 40 in G minor, K.550, complete (1788)

Read: HWM, ch. 23, “[Mozart’s] Symphonies,” “Achievement and Reputation,”
“Classic Music” (pp. 559–60, 565)

TBA FINAL EXAM