Three-Summer Master of Music in Choral Conducting
___________________________________________________________________
MUS 530A
Advanced Style Analysis
Chronological Survey to 1700
Mondays and Wednesdays, 9:00 a.m. to 11:50 a.m.
Room: TBA
Instructor: Joseph Schubert
E-mail: [email protected]
Office: MUS 122
Phone: (Cell) 714-290-1139 or 343-323-4068
Office hours: Mondays, Wednesdays, Fridays from 3:30 to 5:00, or at another pre-arranged time
Course Description
Advanced analytical techniques applied to study of musical styles as related to period, genre, geographic
region, and individual composers.
Course Goals and Student Learning Objectives
The objectives for this course are twofold:
1. To provide the student with an overview of the literature from the Medieval era through the
Baroque era, as well as in-depth study of specific examples; and
2. To utilize appropriate methodologies to analyze and define stylistic traits of these eras in general,
as well as to identify and define stylistic characteristics of certain composers in particular.
Course Content Learning Outcomes
Content and Structure
This course will have elements of both lecture and seminar, and each student will be expected to make
individual contributions for the benefit of the entire class. Assignments to be prepared for class sessions
will include the following:
1. Homework and/or individual presentations on general and specific topics pertaining to the era,
literature, and composer being studied
2. Quizzes and Final exam comprising concepts, vocabulary, and analysis.
3. Final Project: Written analysis and/or presentation on one or more selected and/or assigned
pieces.
MUS 530A– Advanced Style Analysis
Learning Outcomes
Upon successful completion of this course,
1. Students will be able analyze music from the Medieval era through the Baroque era using
techniques and methodologies appropriate to the literature;
2. Students will be able to identify and define aspects of structure and style as they pertain to general
and specific repertoires;
3. Students will be able to identify and define aspects of structure and style as they act as markers to
a particular composer’s individual musical rhetoric;
4. Students will have gained a broad overview of the theoretical, stylistic,and compositional trends in
the literature from these eras.
Attendance Policy
It is assumed and expected that each student will attend each class session in its entirety, neither arriving
late nor leaving early. Exceptions to this should be reserved for dire emergencies only.
Grading
•
•
•
50%: Attendance; homework and/or presentations on assigned topics
30%: Quizzes and Final exam
20%: Final project
Required Texts/Readings
LaRue, Jan. Guidelines for Style Analysis (Second Edition). Warren, Michigan: Harmonie Park Press,
1992.
Burkhart, Charles, and William Rothstein. Anthology for Music Analysis (Sixth Edition, with Postmodern
Update). Belmont, CA: Schirmer/Thomson Learning, 2007 [sometimes listed as 2008].
ISBN-10: 9780495189763; ISBN-13: 978-0495189763; ASIN: 0495189766
University Policies
Student Handbook
Information on student rights and responsibilities, academic honesty, standards of conduct, etc.,
can be found in Schedule of Classes (http://www.calstatela.edu/classschedule/) under Policies
and Procedures.
Americans with Disabilities Act (ADA)
Reasonable accommodation will be provided to any student who is registered with the Office of
Students with Disabilities and requests needed accommodation.
MUS 530A– Advanced Style Analysis
MUS 530A – History and Literature of Large Vocal Forms
Course Schedule
Week
Date
Topics
June 23 10:00 a.m. Theory Placement exam
1
2
Topics:
1. Ancient Greek music theory and its influence upon Medieval thought
2. Cantus
a. The Carolingian era and and its implications
b. the Mass and the Divine Office
c. sequences, tropes
3.
Monophonic
secular song
June 25
4. Discussions from LaRue, Guidelines for Style Analysis:
a. Melody
b. Growth
5. Navigating pitch-space: competing conceptions of pitch material
a. Implications for tuning
b. Implications for compositional techniques
Topics
1. Early polyphony
a. The Ars Antigua
i. Theory and theorists
June 30
ii. Notation
b. Composers, techniques, forms, and repertoire:
i. Leonin and Perotin
ii. conductus, organum, the motet
iii. modal rhythms
2. Discussions from LaRue, Guidelines for Style Analysis
a. Harmony
b. Rhythm
July 2
Topics:
1. The Ars Nova and Trecento
a. the motets of Phillipe de Vitry and Guillaume de Machaut
b. The works of Francesco Landini
2. Theory and theorists
a. New paradigms of rhythm
b. Changes in modal conception
c. Scalar and modal constructs
d. Cadential paradigms
MUS 530A– Advanced Style Analysis
Week
Date
July 7
Topics
Topics:
1. Quiz #1: Concepts, Vocabulary, and Analysis
2. Paradigm shift: the Countenance angloise and the early Renaissance
a. Implications for polyphony and voice leading
b. Implications for the development of triadic harmony
3. Theory and theorists
a. Changes in modal conception
b. Mensuration
3
July 9
Topics
1. The Early to Middle Renaissance
a. The masses and motets of Dunstable and Dufay
2. Polyphonic virtuosity
a. Johannes Ockeghem
3. Theory and theorists
a. Changes in tuning theories
b. Musica ficta and the power of the semitone
Topics:
1. The High Renaissance
July 14
a. The mass and motet
i. Polyphonic purity: Josquin des Prez and Giovanni Pierluigi da
Palestrina
b. Secular forms: chanson, madrigal
c. Ideals of Prima Prattica
2. Mannerist composers
a. Gesualdo, and other madrigalists
4
5
Topics:
1. Seconda Prattica, and the early Baroque
a. The rise of instrumental music
b. The rise of meter
c. “Between Key and Mode”—the path to major/minor tonality
2. Composers
July 16
a. Monteverdi: Vespers and Madrigals
3. Theory and theorists
3. Discussions from LaRue, Guidelines for Style Analysis
a. Harmony
b. Sound
c. Rhythm
July 21-25
MUS 530A– Advanced Style Analysis
FESTIVAL WEEK
Week
Date
Topics
Topics:
1. Quiz #2: Concepts, Vocabulary, and Analysis
July 28
2. The High Baroque—an overview of the literature
a. “National” styles
b. Instrumental repertoire, selected from some or all of the following
i. Organ and Harpsichord
ii. Ensemble music
iii. Suites and concerti
6
Topics:
1. The High Baroque—an overview of the literature, continued
a. Vocal repertoire, selected from some or all of the following:
i. Opera
ii. Cantata and oratorio
iii. Masses, passions, and Grandes Motets
July 30
2. Theory and theorists
a. Figurenlehre and Affektenlehre
b. Jean-Philipe Rameau
3. Discussions from LaRue, Guidelines for Style Analysis
a. Contrapuntal procedures
b. Growth
August 4
Review and/or Completion of Topic Presentations
August 6
Final Exam and Projects due
7
MUS 530A– Advanced Style Analysis