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Dr. Jerry Curry
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MUSC 715 - Analysis and Performance |
Scores:
Palestrina, Masses and Motets
Bach, Mass in B Minor
Mozart, Piano Concertos Nos. 23-27
Beethoven, Late String Quartets and the Grosse Fuge
Brahms, Symphony No. 4
Stravinsky, The Rite of Spring
Recordings
Palestrina, Missa Papae Marcelli
CD 717 Tallis Scholars/Phillips
CD 892 Voices of Ascension/Keene
CD 988 The Sixteen/Christophers
CD 1287 Wiener Motettenchor/Klebel
CD 3636 Tallis Scholars
CD 4283 Westminster Cathedral/Hill
CD 4284 Oxford Camerata/Summerly
Palestrina, Missa L’Homme Armé
CD 4503 S. Petronio de Bologna/Vartolo
Palestrina, Missa Veni Sponsa Christi
CD 4264 St. John’s College, Cambridge/Guest
Palestrina motets
Veni Sponsa Christi, CD 4264 St. John’s College, Cambridge/Guest
O Magnum Mysterium, CD 973 King’s College Choir
Ascendo ad Patrem, CD 3365 Voices of Ascension/Keene
J.S. Bach, B-Minor Mass
CD 104 English Baroque Soloists/John Eliot Gardiner
CD 3372 Amsterdam Baroque/Ton Koopman
Mozart, Piano Concertos. CD 556 v.7
Mozart, Piano Concerto No. 24, K. 491
CD 128 Perahia/English Chamber Orch.
Mozart, Piano Concerto No. 25, K. 505 & No. 26, K. 537
CD 100 Bilson (fortepiano)/English Baroque Soloists
Mozart, Piano Concerto No. 27, K. 595
CD 126 Perahia/English Chamber Orch.
CD 351 O’Conor/Scottish Chamber Orch.
CD 2036 Schmalfuss/Böhmisches Staatsorch.
CD 3199 deLarrocha/English Chamber Orch.
CD 4506 Goode/Orpheus Chamber Orch.
Beethoven, Late String Quartets
CD 42, Alban Berg Quartet
CD 1968, Budapest St. Q.
CD 4098, disk 5, Emerson St. Q.
Brahms, Symphony No. 4
CD 416, v. 4, NBC Symphony Orchestra/Toscanini
CD 1565, Berliner Phil/von Karajan
Stravinsky, Le Sacre du Printemps. CD 2571, CD 2223, CD 2136,
CD 70, Philadelphia/Muti
CD 1175, Hamburg/Stravinsky
CD 1666, Columbia Symphony Orchestra/Stravinsky (1960)
CD 2136, Israel Symphony/Noam Sheriff
CD 2223, Minneapolis Symphny/Dorati
CD 2571, Pasadena/Jorge Mester
CD 3465, San Francisco Symphony/Michael Tilson Thomas
CD 3968 vol. 1, Columbia Symphony Orchestra
Student Journal
You are asked to keep a journal of all work completed during the summer term. This usually takes the form of a loose-leaf notebook. In particular, the journal should be a summary of all the work you do in connection with this class. It might include class handouts and notes, a list of readings and any notes taken while completing the readings, notes on listening, etc.
We will spend three class days studying the music of each of the composers. On the third day, each class member will give a short oral report on what he or she has learned about the composer and his works. In addition, you are to write a short summary of the information you have learned for each composer studied. In some cases this will include an outline of one or more movements of the composer’s work. This material will also be included in the notebook.
Readings
You could read the entry on each composer in the Grove’s Dictionary of Music for general background. There is a plentitude of material about composers and their works available on the internet. Also, the following books or articles are suggested reading for specific composers and works.
Readings (Palestrina)
Malcolm Boyd, Palestrina’s Style
Robert Gauldin, A Practical Approach to Sixteenth-Century Counterpoint
Palestrina: Pope Marcellus Mass, ed. Lewis Lockwood (Norton Critical Scores, 1975)
Oliver Strunk, Source Readings in Music History
Richard Bobbitt, “Harmonic Tendencies in the Missa Papae Marcelli,” The Music Review XVI 1955, 273-88
Howard Mayer Brown, “Choral Music in the Renaissance,” Early Music, April 1978
Irving Godt, “A New Look at Palestrina’s Missa Papae Marcelli,” College Music Symposium, XXIII/1 1983 22-49
Readings (Bach)
*John Butt, Bach: Mass in B Minor
Stephen Daw, The Music of J. S. Bach: The Choral Works, 160-67, 174-78
Donald Tovey, Essays in Musical Analysis, Vol. 5, Choral Music, 20-49
Christoph Wolff, Bach: Essays on His Life and Music, “Origins
of the Kyrie of the
B Minor Mass,” 141-51
Elmer Thomas, “J. S. Bach’s B-Minor Mass: Symbolism and Twentieth-Century Performance Practices,” Choral Journal XXXV/8 (March 1995) 21-29
Readings (Mozart)
Denis Forman, Mozart’s Concerto Form: the first movements of the piano concertos, ch. 10-11
C. M. Girdlestone, Mozart’s Piano Concertos
*Arthur Hutchings, A Companion to Mozart’s Piano Concertos
Philip Radcliffe, Mozart Piano Concertos, 56ff.
Donald Tovey, Essays in Musical Analysis, Vol. 3, Concertos, 3-27, 37-46
Scott L. Balthazar, "Intellectual History and Concepts of the Concerto: Some Parallels from 1750 to 1850," JAMS XXXVI/1 (Spring 1983) 39-72
Floyd K. Grave, “On Punctuation and Continuity in Mozart’s Piano Concertos,” The Piano Quarterly XCV Fall 1976 20-25
Jane R. Stevens, "An 18th-Century Description of Concerto First-Movement Form," JAMS XXIV/1 (Spring 1971) 85-95
Jonathan P. J. Stock, “Orchestration as Structural Determinant: Mozart’s Deployment of Woodwind Timbre in the Slow Movement of the C Minor Piano Concerto K. 491,” Music and Letters LCCVIII/2 May 1997 210-219
Joseph P. Swain, "Form and Function of the Classical Cadenza," Journal of Musicology VI/1 (Winter 1988) 27-59. (Concentrate on Mozart, pp. 27-44 and 56-59)
Readings (Beethoven)
Daniel K. L. Chua, The “Galitzin” Quartets of Beethoven: Opp. 127, 132, 130, (Princeton U. Press, 1995)
Joseph Kerman, The Beethoven Quartets (New York: Knopf, 1971)
Joseph de Marliave, Beethoven’s Quartets (New York: Dover, 1961, first published in French in 1925, translated into English in 1928)
*Philip Radcliffe, Beethoven’s String Quartets (Cambridge U. Press, 1978)
Robert Winter, Compositional Origins of Beethoven’s Opus 131 (Ann Arbor, UMI Research Press, 1982)
The Beethoven Quartet Companion, ed. Winter & Martin (Berkeley: U. California Press, 1994)
Readings (Brahms)
Edwin Evans, Handbook to the Chamber & Orchestral Music of Johannes Brahms, v.2 (New York: Burt Franklin, 1970)
Walter Frisch, Brahms: The Four Symphonies (New York: Schirmer Books, 1996)
*Johannes Brahms: Symphony No. 4 in E minor Op. 98, ed. Kenneth Hull (Norton Critical Scores, 2000)
Readings (Stravinsky)
William W. Austin, Music in the 20th Century from Debussy through Stravinsky, 252-65
Pierre Boulez, Stocktakings from an Apprenticeship (Oxford: Clarendon Press, 1991) "Stravinsky Remains" pp. 55-110
Carl Dahlhaus, Schoenberg and the New Music (Cambridge: Cambridge U., 1987) "Problems of Rhythm in the New Music" pp. 46-54
Allen Forte, The Harmonic Organization of "The Rite of Spring" (New Haven and London: Yale U., 1978)
Reviewed in:
Journal of Music Theory XXIV/1 (Spring 1980) 97-107
MLA Notes XXXV/4 (June 1979) 881-82
Pieter C. van den Toorn, The Music of Igor Stravinsky (New Haven and London: Yale U., 1983), pp. 99-143
*Pieter C. van den Toorn, Stravinsky and "The Rite of Spring": The Beginnings of a Musical Language (Berkeley and Los Angeles: U. California, 1987)
Reviewed in:
Music Theory Spectrum XIII/2 (Fall 1991) 252-59;
Journal of Music Theory XXXIII/1 (Spring 1989) 198-210
Music and Letters LXX/3 (August 1989) 430-31;
Stephen Walsh, Music Of Stravinsky
*Richard Taruskin, "Russian Folk Melodies in The Rite of Spring," JAMS (Fall 1980) 501-43