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A chronological and themed history of Western Art Music from Medieval through to the early 20th century, exploring some of the key genres, styles and composers of those times.
This course explores four topics in the history of Western music: France during the era of Louis XIV, London and its environs in the early eighteenth century, Paris and Vienna in the wake of the French Revolution, and the growth of the Austro-German tradition in the second half of the nineteenth century.Students will be introduced to a variety of approaches to the study of musicology, including perspectives from cultural and social history, scholarly editing and use of primary sources, and musical analysis.Topics covered in this course are:Topic one: Versailles in the era of Louis XIV.Music, power and prestige. The role of music and dance at the French court. The Vingt-quatre violons and the birth of the orchestra. Historical performance practices and the French baroque. The Paris Opéra as a social and cultural focus. Liturgical music in Versailles and Paris. Topic Two: London and its environs in the early eighteenth century.The English operatic heritage. Italian opera in England. English Oratorio. Handel as an English composer? Catch and glee clubs and a native “English” music. Music in church: the Cathedral and the West Gallery tradition.Topic Three: Revolution, displacement, and the classical style.The French revolution, the nobility, and musicians. Music of the revolution, revolutionary music. Vienna and Paris: a tale of two cities? Classical form and style. Eighteenth-century “topics” in opera and instrumental music. The supremacy of instrumental music.Topic Four: Towards the imaginary museum of musical works: the rise of the German concert culture.Concert-hall culture, and a “canon” in Western Art Music. The growth of the orchestra. The War of the Romantics. Programme music. Nineteenth-century nationalism and the Austro-German tradition.
Students who pass this course will:* Be able to describe specific developments in Western Art Music, and contextualise them in wider European history and culture;* Be able to critically evaluate primary source documents relevant to musicological research;* Be able to demonstrate basic skills in scholarly editing.* Possess sophisticated skills using library and information resources related to musicology, including library databases, bibliographic tools, scholarly editions, and electronic resources;* Be able to demonstrate high-level oral and written communication skills, including language appropriate for digital publishing and scholarly communication.
One of MUSA231-234
MUSA231
Student workload (150 hours) will be allocated to:• 22 hours attending lectures• 11 hours attending tutorials• 40 hours completing assigned readings and listening excerpts• 30 hours preparing and writing blog posts• 30 hours researching and preparing essay or creative project• 17 hours preparing for listening test
Francis Yapp
Blog: You are expected to maintain a blog that reflects criticism of the assigned readings and listening excerpts. You are encouraged to express yourself through the blog and to create a positive web presence. You may use either a public blogging site such as Wordpress or Blogger, or use the blogging tool in Learn. In either case, your blog should be accessible to other students in the course. You should include images and audio and video examples in your blog, and link to relevant content on the web as appropriate.All MUSA331 students are expected to facilitate one discussion session related to the blogs in the Monday tutorial slot.Due dates for blog posts: 28 February, 6 March, 13, 20, 27 April, 3 May. All blog posts are due at midnight.Essay or creative project EITHER an essay of 2500 words OR a creative project, as follows: Propose a creative project (such as a lecture recital with extensive and focused program notes, lesson plan, website or other multi-media project, or scholarly edition) that relates to topics covered in the course. Your project must involve research and writing, and it may employ a variety of methodologies. All creative projects must be agreed with the course co-ordinator by the start of Term 2.Listening testThe listening test will take place in the usual lecture time (10 am) on Wednesday, 4 June in A7.You will be given a list of 15 extracts from works covered in the course. Ten of the extracts will be played in the test. You will need to identify each extract and answer a series of short-answer questions related to it.
Use of TechnologyThis course assumes that you have sufficient information and technology skills to use a computer confidently to access material for your course. Your written work should be submitted typed, using standard word-processor software. The School of Music has iMacs you are able to use.You will be required to access our learning management system—Learn—and to become familiar with its tools. Learn provides easily-accessible information about the course and assessments, topics and deadlines, and supports the learning you will gain from attending all lectures and tutorials. For help using Learn, refer to: http://learn.canterbury.ac.nz/course/view.php?id=2157
The following shows how to translate grades to numerical scores:A+ 90–100; A 85–89; A- 80–84; B+ 75–79; B 70–74; B- 65–69; C+ 60–64; C 55–59; C- 50–54; D 40–49; E 0–39In a course at 100- or 200-level examiners may grant restricted credit (R) which will be equivalent to a pass for all purposes except as a prerequisite.
Domestic fee $748.00
International fee $3,388.00
* All fees are inclusive of NZ GST or any equivalent overseas tax, and do not include any programme level discount or additional course-related expenses.
For further information see Humanities .