Historical Perspectives II

MUSC 2050
Fall 2023
Dr. Alice Chuaqui Baldwin

Assignment #6:
Lully/Beauchamp and Baroque Dances Score Exploration

In this assignment we’ll be looking at some music from Louis XIV’s court, as well as
some stylized dances in a Baroque keyboard suite.

Please type-up your answers to the following questions and complete and submit your
work for the following tasks.

Part 1: Music by Pierre Beauchamp

Originally attributed to Jean-Baptiste Lully, the music to the Ballet des fâcheux (LWV 16)
was most likely composed, instead, by Pierre Beauchamp, private dance instructor of
Louis XIV.

Take a look at the attached score, which has "Ouverture" written under the piece title.

1. Based on what we discussed in class, what type of overture is this? [4

points]

2. What are the two French Baroque practices not notated on the page that
one would apply to this overture in performance (one is specifically
related to this type of overture, and one applies to French Baroque music
in general)? [12 points]

3. Please briefly describe/define both of the practices that you mentioned in

question #2 above. [24 points]

Now that you’ve written about this movement, let’s do something a little more musical.

4. Using music notation software or pen/pencil and staff paper, please write
out the top line (only) of the A section (mm.1-11) of this overture in treble
clef (in the score it is written in French violin clef). Please turn in to
WyoCourses what you write out, along with the rest of your assignment.
I’ll get you started: the first three notes are G, D, and G. Remember:
Accidentals during this time period may simply cancel out a previous accidental
or a sharp/flat in the key signature; this is the case for the sharps in m.5 and
m.9. [12 points]

5. Now that you’ve written out the melody of the A section for this piece,
 Historical Perspectives II
MUSC 2050
Fall 2023
Dr. Alice Chuaqui Baldwin

please record a video of yourself playing this line of music on your

primary instrument or singing this line of music (if that is your emphasis)
in whatever octave makes the most sense for your instrument/voice. [24
points]
TEMPO: = 100♩
*IMPORTANT*: Make sure you play/sing this line using both of the practices
you identified and described in items #2 and #3 above.

Another important note: You do not have to play these measures at concert
pitch. If you play a transposing instrument, you may play this excerpt in that
transposition (i.e. playing what’s on the page despite that it will be in a different
key in relation to the original at concert pitch). If you so choose, you may
certainly transpose the line for your instrument and play it at concert pitch, but
this is not required.

A note for percussionists: After you have written out this except in treble clef,
you may choose to play it on either a pitched or unpitched instrument; if you
choose to do the latter, what will be of importance is, of course, the rhythm as it
is affected by the practices you outlined in items #2 and #3.

A note for vocalists: You may play along on the piano (or have someone else
play along with you) while you sing, if you wish.

On to Part 2. . .

Part 2: Baroque Dance Suite

In the attached scores below you’ll find four dance movements (all from the same
harpsichord suite) with their titles removed. Each dance (there’s one of each type) is
either an allemande, courante/corrente, sarabande, or gigue/giga.

1. Please state what type each dance (#’s 1–4) is and briefly explain your
reasoning for identifying each dance as the type that you did. Make sure
to include whether the French or Italian versions of the courante/corrente
and gigue/giga are used. [24 points; 6 points for each dance with its
description]

Note: The handout from Friday’s class will be a great help in remembering the
defining characteristics of each dance. If you weren’t in class on Friday, or if
you have misplaced your copy, you can find a digital copy of the handout on
the same WyoCourses page as this assignment.
Dance #1, p.1
Dance #1, p.2
Dance #2, p.1
Dance #2, p.2
Dance #3, p.1
Dance #3, p.2
Dance #4, p.1
Dance #4, p.2