Prof.
Massimo Ossi
Week 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15
Course Requirements And Information
Framework 1: Liturgical year; Mass structure; Mass books
Reading: David Hiley, Western Plainchant: A Handbook, 1-25; also Hoppin, Medieval Music, chapter 5 ("The Roman Mass")
Framework 2: A full Gregorian Mass
Listening: Norton Anthology of Western Music, # 3 (complete); listening guide
Mass proper movements; St Martial; Compostela; Winchester tropers
Reading: Hoppin, Medieval Music, chapter 8 ("The Rise of Polyphony")
Listening:
1) Jubilemus, exultemus (NAWM 14)
2) selections from Sons of Thunder: Music for St. James the Apostle, Codex Calixtinus
Alleluia, Vocavit Jhesus (track 10)
Benedicamus domino settings (track 21)
3) Winchester tropers
Monday, 17 January: Martin Luther King's Day (no classes)
Leonin, the Magnus Liber Organi
Reading: Craig Wright, "Leonin, Poet and Musician" JAMS xxxix (1986); C. Wright, Music and Ceremony at Notre Dame of Paris 500–1500
Listening: Messe du Jour de Noel
Perotin
Reading: Hoppin, Medieval music, chapter 9 ("The School of Notre Dame, I")
Listening: Organum quadruplum, gradual, "Sederunt"
Repertory in the 12th and 13th Centuries: Las Huelgas, Worcester
Reading: Hoppin, Medieval music, chapter 14 ("Sacred and Secular Polyphony in the 13th Century")
Ars nova: mass movements; mass ‘cycles’
Reading: Hoppin, Medieval music, chapter 16 ("Liturgical Polyphony in the 14th Century"); P. Gossett, ‘Techniques of Unification in Early Cyclic Masses and Mass Pairs’, JAMS, xix (1966), 205–31
Machaut: Messe de Notre Dame
Reading: Daniel Leech-Wilkinson, Machaut, Messe de Notre Dame
Listening: Ensemble Gilles Binchois
Machaut: Messe de Notre Dame (2)
Machaut: Messe de Notre Dame (3)
Italy
Reading:
K.
von Fischer: ‘The
Sacred Polyphony of the Italian Trecento’, PRMA,
c (1973–4), 143–57
England: Old Hall Manuscript
Reading: G.
Reaney: ‘The
Social Implications of Polyphonic Mass Music in Fourteenth-Century England’, MD,
xxxviii (1984), 159–72
Listening: The Old Hall Manuscript
Power: Mass movements and Mass
Dunstable and the Trent Codices
Listening: Mass Movements (tracks 3 and 4)
The motet and the Mass: a new relationship
Reading: Andrew Kirkman, “The Invention of the Cyclic Mass,” JAMS 54 (2001)
Overview, 1400-1500
The Mass and princely patronage
Dufay (1)
Reading: Craig Wright, “Dufay’s Nuper rosarum flores, King Solomon’s Temple, and the Veneration of the Virgin,” JAMS xlvii (1994); A.E. Planchart: ‘Guillaume Dufay’s Masses: a View of the Manuscript Traditions’, Du Fay Conference: Brooklyn, NY, 1974, 26–60
Listening: Missa "Se la face ay pale"
Dufay (2)
Dufay (3)
Listening: Missa L'homme arme
Mass traditions: Caput, L’homme arme, polyphonic chanson masses; imitation and competition
Reading: L. Lockwood: ‘Aspects of the “L’homme armé” Tradition’, PRMA, c (1973–4), 97–122; Richard Taruskin, “Antoine Busnois and the L’Homme armé Tradition,” JAMS xxxix (1986); Leeman L. Perkins, “The L’Homme arme Masses of Busnoys and Okeghem: A Comparison,” JM iii (1984); R.C. Wegman: ‘Another “Imitation” of Busnoys's Missa L'homme armé – and some Observations on Imitatio in Renaissance Music’, JRMA, cxiv (1989), 189–202
Listening: Busnois, Missa L'homme arme
Ockeghem (1)
Listening:
Missa L'homme arme
Ockeghem (2)
Obrecht
Reading: M. Jennifer Bloxam, “Plainsong and Polyphony for the Blessed Virgin: Notes on Two Masses by Jacob Obrecht,” JM xii (1994)
Listening: Missa Maria zart (not yet digitized)
Josquin: Mass types; problems of chronology and attribution
Reading: Michael Long, “Symbol and Ritual in Josquin’s Missa di Dadi,” JAMS xlii (1989); Lora Matthews and Paul L. Merkley, “Josquin Desprez and His Milanese Patrons,” JM xii (1994)
Listening: Missa Hercules Dux Ferrariae (Variations: not there)
Josquin (2)
Listening: Missa Pange Lingua:
Choir of Westminster Cathedral
Josquin (3)
Reading: Lewis Lockwood, Ferrara; Barton Hudson, “Two Ferrarese Masses by Jacob Obrecht,” JM iv (1985-86); J. Peter Burkholder, “Johannes Martini and the Imitation Mass of the Late Fifteenth Century,” JAMS xxxviii (1985); Christopher A. Reynolds, “The Counterpoint of Allusion in Fifteenth-Century Masses,” JAMS xlv (1992)
Spring Recess: 12-20 March
The post-Josquin generation: La Rue, Gombert
Reading: M. Jennifer Bloxam, “In Praise of Spurious Saints: The Missae Floruit egregiis by Pipelare and La Rue,” JAMS xliv (1991); Patrick Macey, “Savonarola and the Sixteenth-Century Motet,” JAMS xxxvi (1983)
Composers of the mid-XVI century: Willaert
Reading: L. Lockwood: ‘A View of the Early 16th-Century Parody Mass’, Queens College 25th Anniversary Festschrift, ed. A. Mell (Flushing, NY, 1964), 53–78; L. Lockwood: ‘On “Parody” as Term and Concept in 16th-Century Music’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 560–75 Howard Mayer Brown, “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance,” JAMS xxxv (1982);
The Council of Trent; Palestrina
Reading: Gary Towne, “Music and Liturgy in Sixteenth-Century Italy: The Bergamo Organ Book and its Liturgical Implications,” JM vi (1988); Lynn Halpern Ward, “The Motetti Missales Repertory Reconsidered,” JAMS xxxix (1986)
Listening: Pope Marcellus Mass (Variations: http://www.music.indiana.edu/cgi-bin/var/access?ACM6929)
Palestrina (2)
Reading: Lockwood, The Masses of Vincenzo Ruffo and the Counterreformation; Lewis Lockwood, Palestrina: Pope Marcellus Mass, Norton Critical Score; George Nugent, “Anti-Protestant Music for Sixteenth-Century Ferrara,” JAMS xliii (1990)
England: William Byrd
Listening: Proper for the mass (Gradualia; Variations, http://purl.dlib.indiana.edu/iudl/variations/sound/CAK3214); Mass for five voices (VARIATIONS Sound Recording aay7785)
Continuation of the a cappella tradition (1) Venice: Andrea Gabrieli, Claudio Monteverdi, the three a cappella masses (2) Rome: Anerio, Nanino
Reading: G. Dixon: ‘Tradition and Progress in Roman Mass Settings after Palestrina’, Studi palestriniani II: Palestrina (1986), 309–24
Listening:
Anerio, Missa pro defunctis (Variations: not there)
Early 17th Century: Overview of the aesthetic issues—affect, style, function
Reading: Colleen Reardon, “Music and Musicians at Santa Maria di Provenzano, Siena, 1595-1640,” JM xi (1993)
Venice (1): Andrea and Giovanni Gabrieli, Monteverdi
Listening: Giovanni Gabrieli, Missa Bell'amfitri'altera (Variations, http://www.music.indiana.edu/cgi-bin/var/access?AEC8007
Claudio Monteverdi, Concerted movements
Reading: James H. Moore, “Venezia Favorita da Maria: Music for the Madonna Nicopeia and Santa Maria della Salute,” JAMS xxxvii (1984)
Venice (2): Rovetta, Cavalli
Listening: Giovanni Rovetta
Francesco Cavalli
Rome and elsewhere: toward the Cantata Mass (mid-century and later)
Listening:
Frescobaldi
Reading: M.N. Schnoebelen: "The Concerted Mass at San Petronio in Bologna, ca. 1660–1730" (diss., U. of Illinois, 1966)
Paris: Charpentier
Listening: Messe de Noël
Naples and the “cantata Mass”
Listening: Scarlatti, St. Caecilia Mass
The Mass in the first half of the 18th Century
Listening: Jommelli, Leo
J. S. Bach and the Mass
Listening:
J. S. Bach: The B-minor Mass (1)
Reading: John Butt, The B-Minor Mass
Listening:
J. S. Bach: The B-minor Mass (2)
Mozart: Masses
Reading: B.C. MacIntyre, The Viennese Concerted Mass of the Early Classic Period” (Ann Arbor, 1986)
Listening:
Mozart: Requiem K 626
Reading: Christoph Wolff, Mozart’s Requiem
Listening:
Last updated: 9 January 2002
Copyright © 2002 Massimo Ossi