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Music History I (Music 235):The Middle Ages through the Baroque Era

(Central Connecticut tate !ni"ersity# $ring 2%&')

IT!CT*: Dr. Elizabeth LorenzoEMAI+: loren,oela-ccsu.eduC+A MEETI/: T/R 9:25 – 10:40 a.m. (HW 112*00ICE H*!: Th!r"#a$" %:00&':00 a.m. an# b$ aointment1H*E: (')0 *29&500' (+ell. Te,t" onl$- "!be+t m!"t be +la""&relate#.

Course escri$tion

Thi" +o!r"e i" the ir"t in the three&"eme"ter m!"i+ hi"tor$ "erie" an# oer" a +lo"e"t!#$ o m!"i+ rom the i##le 3e" to the en# o the aro!e era. Thro!3h a+ti6e an#inorme# li"tenin3 an# thro!3h the "t!#$ o rere"entati6e +omo"er" an# m!"i+al

7or8" in hi"tori+al an# +!lt!ral +onte,t "t!#ent" 7ill #e6elo "trate3ie" or meanin3!l+on"i#eration o earl$ art m!"i+ reertorie". To7ar#" thi" en# the +o!r"e in+l!#e" a"i3nii+ant anal$ti+al +omonent a" 7ell.

Course Materials

IM1*TAT: lea"e ma8e "!re that $o! !r+ha"e the correct (ne7e"t: 9th e#ition o the te,t and antholo3$. l"o ma8e "!re that $o!r +o$ o the te,tboo8 in+l!#e" a +ar#near the ront o the boo8 ro6i#in3 a++e"" to re!ire# li"tenin3 "ele+tion". We 7ill be!"in3 ol!me 1 o the ntholo3$ in thi" +o!r"e (altho!3h $o! 7ill nee# ol". 2&* a" 7ella" the te,tboo8 or !t!re m!"i+ hi"tor$ +la""e" at ;;ro!t/ali"+a A History of Western Music   (9th e#..  W.W. ?orton 2014.

2. equired Anthology: Norton Anthology of Western Music  (9th e#.ol!me 1. W.W. ?orton 2014.

3. Blac4oard: @ 7ill be !"in3 the la+8boar# +o!r"e mana3ement "$"teme,ten"i6el$. ll 7ritten material or the +o!r"e ("$llab!" a""i3nment" o7er oint"-"t!#$ 3!i#e" et+. 7ill be a6ailable or #o7nloa# rom la+8boar#. @ 7ill al"o o"tlin8" to "+ore" an# re+or#in3" not a6ailable in NAWM  an# to 7eb&ba"e# re"ear+h"o!r+e" rele6ant to thi" +o!r"e. lea"e "ee me i $o! ha6e an$ !e"tion"+on+ernin3 la+8boar# !"a3e.

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Course equire6ents and E"aluation

&) Attendance and 1artici$ation: Thi" +o!r"e i" a"t&a+e# an# hea6$ in &%7  +ontent an# it a##re""e" reertorie" that ma$ 7ell be !namiliar to $o!.

 " "!+h it i" +riti+al that $o! +ome to +la"" on a re3!lar ba"i" an# that

$o! are reare# to #i"+!"" the a""i3ne# material.• Ao! are allo7e# one !ne,+!"e# ab"en+e 7itho!t enalt$. Ho7e6er $o! are

"olel$ re"on"ible or an$ mi""e# material +o6ere# in +la"".

•  b"en+e" ma$ be e,+!"e# or the ollo7in3 rea"on": illne"" er"onal

emer3en+$ or an oi+iall$&"on"ore# !ni6er"it$ a+ti6it$. @n all "!+h+a"e" $o! m!"t ro6i#e me 7ith 6eriiable 7ritten #o+!mentation.

• @ $o! +on"i"tentl$ arri6e late to +la"" (or lea6e earl$ $o!r atten#an+e

an# arti+iation 3ra#e 7ill be re#!+e# a++or#in3l$. 2) Ho6e8or4 Assign6ents: Ao! 7ill be a""i3ne# 7ritten (an# o++a"ionall$ 2%7  non&NAWM  li"tenin3 a""i3nment" #e"i3ne# to "oli#i$ $o!r 8no7le#3e o

+o!r"e material an# to "tim!late a+ti6e +la"" #i"+!""ion".  Late a""i3nment" 7ill be 3ra#e# on a re#!+e# "+ale.

 

Ho7e6er a""i3nment" more than a 7ee8 late 7ill not be a++ete#.

3) 1a$er: Ao! are re!ire# to +omlete a re"ear+h aer (a minim!m o i6e 2%7  a3e" on a +o!r"e&relate# toi+.

aer toi+" are li"te# on la+8boar#.

• The aer i" #!e no later than 0riday# May &3th. I6$ortant: aer"

"!bmitte# ater the +omletion o E,am B* on a$ 10 th m!"t be "!bmitte# tome 6ia email.

• Detaile# 3!i#eline" re!irement" an# re"ear+h/7ritin3 "!33e"tion" are

o"te# on la+8boar#.

9) Ea6s (3): There are three e,am" in thi" +o!r"e. The e,am" are ?CT 9%7  +!m!lati6e er "e b!t $o! ma$ be a"8e# to +on"i#er broa# m!"i+al an#

"t$li"ti+ +onne+tion" a+ro"" m!"i+al erio#" an# 3enre".

• E,am" 7ill +on"i"t o li"tenin3 an# "+ore i#entii+ation" (or +omare/

+ontra"t anal$"e" "hort&an"7er !e"tion" an# e""a$".

• Ao! 7ill re+ei6e a #etaile# "t!#$ 3!i#e at lea"t one 7ee8 rior to ea+h

  e,am. @ 7ill al"o ro6i#e e""a$ toi+" t7ent$&o!r ho!r" in a#6an+e.Ea6 &: T!e"#a$ ebr!ar$ 2*r# 

Ea6 2: Th!r"#a$ ar+h *1"t

 Ea6 3 (;0inal

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Additional Course In>or6ation

') Etra Credit. E,tra +re#it oort!nitie" are a6ailable or the +o!r"e.?) @ou 6ay ring co6$uters to class.  Ho7e6er +om!ter" m!"t be !"e# "olel$  or the !ro"e o ta8in3 +la"" note" or 6ie7in3 o7er oint re"entation".

  ;om!ter" m!"t remain oline !nle"" other7i"e #ire+te#. @ re"er6e the ri3ht to  #i"allo7 +om!ter !"a3e in +la"" i thi" oli+$ i" ab!"e#.=)  Cell $hones and other electronic de"ices 6ust re6ain o>> or e turned to silent  6ode during class# and tet 6essaging is si6ilarly $rohiited.  @ $o! i3nore thi"  oli+$ $o! 7ill re+ei6e a re#!+e# arti+iation 3ra#e an# $o! ma$ be a"8e# to lea6e

+la"". @ there are e,ten!atin3 +ir+!m"tan+e" that re!ire $o! to be a6ailable b$hone in +la"" lea"e "ee me.

) 1lease e res$ect>ul o> your instructor and >ello8 class6ates.  rri6e on timean# "ta$ or the entire +la"" erio#. Do not ha6e ri6ate +on6er"ation" 7ith+la""mate" 7hile +la"" i" in "e""ion- i $o! #o not !n#er"tan# the material rai"e $o!r 

  han# @ $o!r beha6ior in +la"" i" #i"r!ti6e or #i"tra+tin3 to the in"tr!+tor an#/orother "t!#ent" $o! 7ill re+ei6e a re#!+e# arti+iation 3ra#e an# $o! 7ill be a"8e#to lea6e +la"".

&%) Class Cancellations. @n the !nli8el$ e6ent that @ nee# to +an+el a +la"" @ 7ill o"tan anno!n+ement on la+8boar# an# "en# o!t a +la"" email a" ar in a#6an+e a"o""ible. The #eartment 7ill al"o o"t a +an+ellation noti+e on the +la""room #oor.

&&) 1olicy on Ma4e!$ ui,,es and Ea6s: @ #o not oer ma8e&! !izze" or   e,am". The C?LA e,+etion" to thi" oli+$ in6ol6e me#i+al an# er"onal  emer3en+ie" or i $o! nee# to mi"" +la"" #!e to an oi+iall$&"on"ore#  "+hool a+ti6it$. @n all "!+h +a"e" $o! m!"t ro6i#e me 7ith 6eriiable 7ritten  #o+!mentation "!+h a" a #o+torF" or +oa+hF" note.&2) 1olicy on +ate Assign6ents: @ 7ill a++et late a""i3nment" on a re#!+e#  3ra#in3 "+ale. Cn+e a3ain the onl$ e,+etion" to thi" oli+$ in6ol6e me#i+al  an# er"onal emer3en+ie" an# oi+iall$&"on"ore# "+hool a+ti6itie". @n all  "!+h +a"e" $o! m!"t ro6i#e me 7ith 6eriiable 7ritten #o+!mentation.

 ""i3nment" o6er one 7ee8 late 7ill not be 3ra#e#.&3) 1olicy on Acade6ic ishonesty. ;;

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&5) tate6ent on iscri6ination and Harass6ent. ;entral ;onne+ti+!t >ice o>i"ersity and Equity (*E) at ')0&'*2&1)52 tudent A>>airs at ')0&'*2&1)01

  or hi"/her a+!lt$ member. The CDE i" lo+ate# on the main loor o Da6i#"on Hall  Room 102.&') eual Misconduct# Inti6ate 1artner iolence# and tal4ing. ;entral

;onne+ti+!t

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C*!E CA+EA

lea"e be a#6i"e# that the ;o!r"e ;alen#ar ma$ be mo#iie# in or#er to a++ommo#ate7eather&relate# +an+ellation" an# to a+ilitate "t!#ent learnin3. ?ote: the ollo7in3a""i3nment" reer to re!ire# rea#in3 an# li"tenin3 an# are a6ailable on la+8boar#.

Home7or8 a""i3nment" 7ill be i""!e# in +la"".

Dee4 & (&F&# &F2&). The Catholic Church and +iturgical Chant   ""i3nment B1

Dee4 2 (&F2'# &F2=). +iturgical Chant# continued   ""i3nment B1 +ontin!e#

Dee4 3 (2F2# 2F9). acred 1oly$hony in the Middle Ages  ""i3nment B2

Dee4 9 (2F# 2F&&). ecular Traditions in the Middle Ages  ""i3nment B*

Dee4 5 (2F&'# 2F&=). Introduction to the enaissance: England and Burgundy  ""i3nment B4

Dee4 ' (2F23# 2F25). The 0ranco0le6ish chool  ""i3nment B5  Ea6 &: Tuesday# 0eruary 23rd

Dee4 ? (3F 3F3). Gosquin

   ""i3nment B)

Dee4 = (3F=# 3F&%). The enaissance Madrigal and Hu6anis6  ""i3nment B%

Dee4 (3F&5# 3F&?). +ate enaissance Church Music  ""i3nment B'

Dee4 &% (3F22# 3F29). 1I/ BEA

Dee4 && (3F2# 3F3&). The ise o> Instru6ental Music  ""i3nment B9  Ea6 2: Thursday# March 3&st

Dee4 &2 (9F5# 9F?). Baroque ocal Music  ""i3nment B10

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Dee4 &3 (9F&2# 9F&9). Baroque Instru6ental Music  ""i3nment B11

Dee4 &9 (9F&# 9F2&). The Music o> Handel   ""i3nment B12

Dee4 &5 (9F2'# 9F2=). The Music o> Bach  ""i3nment B1*

Dee4 &' (5F3). e"ie8 >or Ea6 3 (;0inal