A.

List of Names and Concepts for Music History I (Antiquity to Early Baroque)

•Academy of Music and Poetry (France, 1570s)

•Aeolian, Ionian modes (history)
•Aristotle (attitudes towards music in Politics, book 8)
•Ars nova
•Ars subtilior
•Attaignant, Pierre
•Aulos
•Ballade
•Bodin, Jean (musical theory of government in the last of his Six Books of the Republic, 1576)
•Camarata fiorentina
•Chorale (German tradition)
•Color (in the context of the thirteenth- to fifteenth-century isorhythmic motet)
•Council of Trent
•Diatonic, Chromatic, Enharmonic (sense in Greek music, influence on sixteenth-century practice)
•Faburden/Fauxbourdon (in English and Continental fifteenth-century music)
•Franconian notation (Franco of Cologne, Ars cantus mensurabilis, ‘Art of measurable song’, c. 1250-1280)
•Glareanus, Heinrich (Dodecachordon, 1547)
•Gregorian Chant
•Hexachord (hard/soft, in modal theory)
•Isorhythm
•Lyre
•Madrigal (fourteenth- and sixteenth-century sense of this term)
•Madrigalisms (Word-painting)
•Mass (especially the parts of the Ordinary)
•Mensuration canon
•Minnesinger
•Modes (Greek, Church, differences between these and reasons for the differences, concepts of final, reciting tone in
church modes)
•Motet (different senses of this word between the thirteenth and the seventeenth centuries)
•Musica ficta
•Neumes (history of different types for example, ‘heightened’, in early music notation)
•Opera (beginnings of…)
•Organum (history of…)
•Parallel fifths, octaves (history of use and prohibition)
•Petrucci, Ottaviano
•Plato (attitudes towards music in Republic, book 3)
•Protestantism and the Reformation (Luther, Calvin, Zwingli). Attitudes towards music
•Rhythmic modes
•Rondeau
•Sequence (in medieval chant)
•Solmization (Guido of Arezzo)
•Strophic form
•Talea(e)
•Tempus (Time) and Prolation (perfect and imperfect)
•Tenor
•Tetrachord (in Greek music)
•Tinctoris, Johannes (De arte contrapuncti, c. 1477)
•Troubadours/Trouvères
•Virelai

(A final note: You do not need to know how to read post-Franconian, late-medieval notation, although you should
be able to transcribe Gregorian chant, and understand, in a basic, way, how late-medieval notation makes practices
like mensuration canon in, for example, Johannes Ockeghem’s Missa prolationum possible.)

B. List of Listening Tracks for Music History I

Tracks for Weeks 1-6 (Antiquity-Medieval)

1. Anonymous, Epitaph of Seikilos

2. Euripides, Orestes: Stasimon chorus (chromatic and enharmonic performance)
3. Mass for Christmas Day (all tracks)
7. Hildegard of Bingen: Ordo virtutum: closing chorus, In principio omnes
9. Comtessa de Dia: A chantar
11. Walther von der Vogelweide: Palästinalied (Nû alrêst lebe ich mir werde)
17. Leoninus and colleagues: Viderunt omnes
19. Perotinus: Viderunt omnes
21. Motets on Tenor Dominus
24. Anonymous, c. 1250, English: ‘Sumer is icumen in’
25. Philippe de Vitry: Cum statua/Hugo, Hugo/Magister invidie
26a and b. Guillaume de Machaut: La Messe de Nostre Dame, Kyrie, Gloria
27. Guillaume de Machaut: Douce dame jolie
28. Guillaume de Machaut: Rose, liz, printemps, verdure
29. Philippus de Caserta: En remirant vo douce pourtraiture

In addition:

(a) Anonymous, 12th century (Trouvère song) ‘Bele Doette’

(https://www.youtube.com/watch?v=-dccRxlaUAo)

(b) Guillaume de Machaut :

•Motet 7 (https://www.youtube.com/watch?v=uaXKQgUDOyM)
•Motet 8 (https://www.youtube.com/watch?v=-5vI2i2yjbE)
•Rondeau 14, ‘Ma fin est mon commencement’ (https://www.youtube.com/watch?v=dcfPr4IN2MM)

(c) Baude Cordier

•Tout par compas (https://www.youtube.com/watch?v=iaeOWdXM4Pg)

•Belle, bone, sage (https://www.youtube.com/watch?v=I-k11GGpYjk)

B. Tracks for Weeks 7-13 (15th-17th centuries, Renaissance and Early Baroque)

33. Anonymous, Alleluia, a newë work (NAWM 33)

34. John Dunstable, Quam pulchra es (NAWM 34)
35. Gilles Binchois, De plus en plus (NAWM 35)
36. Guillaume Dufay, Resvellies vous (NAWM 36)
38a-b. Guillaume Dufay, Se la face ay pale; Missa Se la face ay pale (NAWM 38a-b)
39. Antoine Busnoys, Je ne puis vivre (NAWM 39)
40. Jean de Ockeghem, Missa prolationum (NAWM 40)
43 Josquin Desprez, Mille regretz (NAWM 43)
44. Josquin Desprez, Ave Maria..virgo serena (NAWM 44)
45. Josquin Desprez, Missa Pange lingua (NAWM 45)
46a-b. Martin Luther, Nun komm, der Heiden Heiland and Ein feste Burg, Veni redemptor gentium (NAWM 46a-b)
48. Thomas Tallis, If ye love me (NAWM 48)
51a-b. Giovanni Pierluigi da Palestrina, Pope Marcellus Mass (NAWM 51a-b)
52a-b. Tomás Luis de Victoria, O magnum mysterium, Missa O magnum mysterium (NAWM 52a-b)
58. Luca Marenzio, Solo e pensoso (NAWM 58)
59. Carlo Gesualdo, "Io parto" e non più dissi (NAWM 59)
60. Claudin de Sermisy, Tant que vivray (NAWM 60)
62. Claude Le Jeune, Revecy venir du printans (NAWM 62)
64. Thomas Weelkes, As Vesta was (NAWM 64)
71. Claudio Monteverdi, Cruda Amarilli (NAWM 71)
74a-d. Claudio Monteverdi, L'Orfeo, excerpts (NAWM 74a-d)

In addition:

(a) Guillaume Dufay, Motet: ‘Nuper rosarum flores’ (for the dedication of the Duomo in Florence in 1436)
(https://www.youtube.com/watch?v=P9yzTTwAj5U. Piece starts at 1:18)
(b) Josquin Desprez, ‘Nymphes des boys: Deploration on the death of Ockeghem’ (1497)
(https://www.youtube.com/watch?v=2on2P7syDzQ)
(c) Jacques Arcadelt, ‘Il bianco e dolce cigno’ (https://www.youtube.com/watch?v=e80pobrCT5Y)
(d) Guillaume de Costeley, ‘Seigneur Dieu, ta pitié’ (https://www.youtube.com/watch?v=wT6-Ndx1EbM)
(e) Nicola Vicentino: Musica prisca caput, 1555,
(https://www.youtube.com/watch?v=0akGtDPVRxk&index=1&list=RDwT6-Ndx1EbM)