University of Southern California

Thornton School of Music

MUCM 541: CHORAL LITERATURE I

Course Outline – Autumn 2019

Tuesday, Thursday 9:30 – 10:50, in MUS 319 Dr. Strimple

Office Hours: Tuesdays, 4-5pm (except 22 Oct.) MUS 418;

Wednesdays, 2-4 (except 11 Sept., 23 Oct., 27 Nov.) MUS 418
(or by appointment via Woody in 416, <woody.gatewood@usc.edu>
email: strimple@usc.edu cell phone: (310) 867-4707 Office phone (213) 821-5756

Historical survey of choral literature, style and performance practice

from the late Middle Ages to 1792.

Texts: Cambridge Companion to Choral Music, edited by André de Quadros

Choral Literature I Course Reader (4 Volumes) - available at USC Bookstore
and online
Repertoire for the Soul, by Nick Strimple (Available from Dr. Strimple)
Online Readings as assigned: found in Grove Online, unless otherwise specified
G. P. da Palestrina – Pope Marcellus Mass (Norton Critical Scores)
Claudio Monteverdi: Vespers (1610) (Oxford Performing Score, ed. J. Kurtzman)
J. S. Bach: Cantata 140 “Wachet auf!” (Norton Critical Score)
J. S. Bach: Mass in B Minor (Edition Bärenreiter Study Score)
G. F. Handel: Messiah (Carus Verlag study score)
(These scores may be in the bookstore; if not, they can be ordered on
Amazon or from the publishers. Make sure you order the Study Score – or,
if you prefer, the Full Score [Partitur] - and NOT the vocal scores!)

The purposes of this course are to trace the development of choral literature and
performance practice from the late Middle Ages to the death of W. A. Mozart, and to
evaluate this literature in light of musical and cultural history.

The objectives are 1) to provide the student with a thorough knowledge of the standard
repertoire from this period; 2) to introduce important, but unfamiliar repertoire; 3) to
acquaint the student with the performance practices of each epoch; and 4) to demonstrate
the continued (and in some cases, growing) relevance of this repertoire.

Assignments

1) Class participation not counting the class presentation (10% of grade)

2) Listening (and/or score ID) quizzes, each class; identify musical epoch and
 national school. Required listening for the Midterm and Final Exams is listed
below, after the Class Schedule. (10% of grade)
3) Flash quizzes (Suzi Digby) (10% of grade)
4) Midterm Exam.
Exam in class will consist of a variety of listening, matching, short answer,
multiple-choice, score ID and/or essay questions. You will be responsible
for all the readings, whether or not they’ve been discussed in class, as well as
the composers, compositions and other information listed in the syllabus as
“Know” or included in Repertoire for the Soul, as well as additional works
provided in the Readers and any other material provided as handouts or
discussed in class (including the daily listening quizzes and materials provided
by Suzi Digby). (10% of grade)
Take-home portion: On 27 August you will be given pages from twenty-two
compositions. You must identify each work and its composer. (10% of grade)
You will be directly responsible for knowing two of these in detail, which
will be chosen by drawing lots. You will write a paper (no more than five
pages, not counting bibliography and examples) on one of them (double-
spaced, twelve-point type), discussing the music and issues that confront
anyone who conducts this work. If an example is an excerpt of a large work,
you will report on the complete composition. Use Chicago Manuel of Style
(16th Edition). The take-home portion (list of 22 identified works and 5-
page paper) is due before the beginning of class on 10 October. Please
submit via email to Dr. Strimple as a Word.doc
Late papers will not be accepted. (10% of grade)

5) You will present the other example (complete work) to the class towards the end
of the semester. You will have 25 minutes (including questions) for the presentation.
Also, be prepared for Dr. Strimple to interrupt your presentation with
comments and questions. Your object is to convince the class of the worth of the
composition that you’re presenting. (10 % or Grade)

5) Final Exam, which will consist of two parts.

Part I: Prepare a list of at least fifteen (15) compositions composed during the
time period covered in this class which seem particularly significant to you. Describe
each work’s significance in one or two sentences. The list must also contain at
least one example from each genre covered in the class. Email this list (as a Word doc.
to Dr. Strimple and the class assistant by noon on 2 December. (10 % of grade)
Part II will consist of a variety of listening, matching, short answer,
multiple choice, score ID, and/or essay questions. You will be responsible
for all the readings, whether or not they’ve been discussed in class, as well as
the composers, compositions and other information listed on the syllabus as
“Know” or included in Repertoire for the Soul, as well as additional works
provided in the Readers and any other material provided as handouts or
discussed in class (including the daily listening quizzes). (20% of grade)

This is a cumulative exam for the entire semester.

 Statement for Students with Disabilities

Any student requesting academic accommodations based on a disability is

required to register with Disability Services and Programs (DSP) each semester.
A letter of verification for approved accommodations can be obtained from DSP.
Please be sure the letter is delivered to me (or to TA) as early in the semester as
possible. DSP is located in STU 301 and is open 8:30 a.m.-5:00p.m., Monday
through Friday. The phone number for DSP is (213) 740-0776.

Statement on Academic Integrity

USC seeks to maintain an optimal learning environment. General principles of

academic honesty include the concept of respect for the intellectual property of others,
the expectation that individual work will be submitted unless otherwise allowed by an
instructor, and the obligations both to protect one’s own academic work from misuse by
others as well as to avoid using another’s work as one’s own. All students are expected
to understand and abide by these principles. Scampus, the Student Guidebook, contains
the Student Conduct Code in Section 11.00, while the recommended sanctions are located
in Appendix A: http://www.usc.edu/dept/publications/SCAMPUS/gov/. Students will be
referred to the Office of Student Judicial Affairs and Community Standards for further
review, should there be any suspicion of academic dishonesty. The Review process can
be found at: http://www.usc.edu/student-affairs/SJACS/

Statement on Disruptive Behavior

Behavior that persistently or grossly interferes with classroom activities is considered

disruptive behavior and may be subject to disciplinary action. Such behavior inhibits
other students’ ability to learn and an instructor’s ability to teach. A student responsible
for disruptive behavior may be required to leave class pending discussion and resolution
of the problem and may be reported to the Office of Student Judicial Affairs for
disciplinary action.
 CLASS SCHEDULE

27 August Introduction; resources.

Read prior to class:

Chapters 2 and 5 in Cambridge Companion
Readings in Class Reader, Volume I
(Midterm exam materials will be distributed)

29 August Visit Music Library in ground floor of Doheny Library (Herklotz Room)

3 September English Renaissance – Suzi Digby

Read prior to class:

Readings in Class Reader, Volume II
About the English Reformation (online access)
About Tudor church music (online access)

Study: Class Reader, as directed by Professor Digby.

New handouts from Professor Digby.

Know:
Ordinary of the mass
Proper of the mass
Motet
Morning Canticles: Te Deum and Jubilate Deo
Evening Canticles: Benedictus, Magnificat, Nunc dimittis
John Merbecke: Booke of Common Praier Noted

Some composers:
John Merbecke, Robert Parsons, John Sheppard,
John Taverner, Christopher Tye, Thomas Tallis;
others listed in Volume II of Reader

5 September English Renaissance – Suzi Digby

Read prior to class:

About the English anthem (online access)
About Wm. Byrd (online access)

Study: Class Reader, Volume II, as directed by Professor Digby

 Know:
Anthem types: full, verse (full w/ verses)

Some composers:
Thomas Tomkins, Thomas Weelkes,
Orlando Gibbons, William Byrd

10 September The English Madrigal – Suzi Digby

Read prior to class:

Class Reader, Volume II, as directed by Professor Digby

Study: Class Reader, Volume II, as directed by Professor Digby

Know:
Balletts, Catches, Glees
Nicholas Yonge: Musica Transalpina (1588)
Thomas Morley: A Plaine and Easie Introduction
To Practicall Musicke (1597)
Robert Johnson: It Was a Lover and His Lass

Some composers:
William Cornish, John Dowland, John Bennett,
John Farmer, Thomas Tomkins, Thomas Morley,
Thomas Weelkes, John Wilbye, Orlando Gibbons,
William Byrd, Henry Purcell (Baroque),
Robert Pearsall (19th century)

12 September English Baroque – Suzy Digby

Read prior to class:

About the Restoration of the Monarchy (online access)
About Henry Purcell (online access)
Class Reader, Volume III

Study: Class Reader, Volume II

Know:
Extended forms: ode, masque, oratorio, cantata anthem
As much as you can about Henry Purcell and his music
Definition of West Gallery Tradition, c. 1700-1850
(It will be discussed in detail in MUCM 542)

Primary Composers:
Pelham Humphrey, John Blow, Henry Purcell
 Others:
Matthew Locke, William Lawes

Primary Composer after Purcell:

Maurice Greene
Others:
William Boyce, Thomas Arne, William Croft

17 September English Baroque, continued – Suzi Digby

19 September Video of Suzi Digby’s Bach St. Matthew Passion

24 September Medieval and Early Renaissance

Read prior to class:

Class Reader Vol. I

Study: Class Reader, Volume I

Know:
Ars nova
Organum
Faux bourdon
Conductus
Secular Cantus Firmus and Polytextuality
Mass types: Cantus Firmus (including Head-motive,
Paraphrase and Plainsong), Parody and
Freely Composed
Carols, Noels, Leisen, Laudes, Villancicos
Anonymous: Summer is acumen in
Gregorian Chant, later French Chant, Sarum Chant

Some composers:
Hildegard of Bingen, Leonin, Perotin, John Dunstable,
Guillaume Dufay, Josquin Desprez, Guillaume Machaut,
Johannes Ockeghem, Jacob Obrecht, Heinrich Isaac

26 September Netherlandish/Italian/Spanish/French/German/Slavic Renaissance

Read prior to class:

Readings in Class Reader, Volume I
 Study: Class Reader, Volume I

Know:
Italian madrigal (precursors and types)
French chanson (precursors and types)
German polyphonic lied (precursors and types)
The Reformation (Martin Luther and Jean Calvin)

Some Netherlandish composers:

J. Arcadelt, Nicolas Gombert, Orlandus Lassus,
Heinrich Isaac, Adrian Willeart

Some Italian composers:

A. Banchieri, Andrea Gabrieli, Giovanni Gastodli,
Carlo Gesualdo, Luca Marenzio, G.P. da Palestrina,
Salamone Rossi, Orazio Vecchi.

Some Spanish composers:

Hernando Franco (active mostly in America),
Juan Esquivel, Francisco Guerrero (music became very
popular in Latin America), Tomas Luis da Victoria,
Cristobal Morales

Some French composers:

Pierre Certon, Guillaume Costeley, Claude Goudimel (+St.
Bartholomew’s Day, 1572), Clément Janequin
(programmatic chanson), Claude Le Jeune (Parisian
chanson: musique measurée/vers measurée), Jean Mouton,
Pierre Passereau, Claudin de Sermisy

Some German composers:

Georg Aichinger, Johannes Eccard, Melchior Franck,
Hans Leo Hassler, Ludwig Senfl, Thomas Stolzer, Johann
Walther

Some Slavic composers:

Jacob Handl, Kryzstof Harant, Jan Campanus Vodnansky,
Mikołaj Gomółka, Mikołaj Zieleński

1 October Early Italian Baroque – Begin Monteverdi Vespers

nd
2 day Rosh Hashana

Read prior to class:

Readings in Class Reader, Volume III
Preface to Oxford edition of 1610 Vespers
 Study: Vespers of 1610 (Oxford score)

Know:
Florentine Camerata
Cento Concerti Ecclesiastici a Una, a Due a Tre, &
Quattro Voci. Con il Basso continuo per Sonar nell’
Organo
Monteverdi/Artusi controversy
Prima prattica and Secunda prattica
Imbastardito
Gorgia prattica
Difference(s) between cantata and oratorio
Restrictions on performance of cantatas and oratoria

Some composers:
Giovanni Gabrieli, Alessandro Grandi, C. Monteverdi,
Salamone Rossi, Ludovico Grossi da Viadana

3 October Continue Monteverdi Vespers (continued)

Study: Vespers of 1610 (Oxford score)

8 October Conclude Monteverdi Vespers; other Italian Baroque composers

Read prior to class:

Reading in Class Reader, Volume III

Study: Class Reader, Volume III

Know: Composers mentioned in article above

Other composers:
G. Allegri, G. Carissimi, L. Saladin, Antonio Caldara,
Antonio Lotti, G.B. Pergolesi, A. Scarlatti, Dominico
Scarlatti, A. Vivaldi, Benedetto Marcello

10 October French and Netherlandish Baroque;

German Baroque before Pachelbel, Buxtehude and Zachow

TAKE-HOME PORTION OF MID-TERM EXAM DUE

 Read prior to class:
About Marc-Antoine Charpentier (online access)
About Heinrich Schuetz (online access)
About the Thirty Years War (online access)

Study: Class Reader, Volume III

Know:
As much as you can about Charpentier and his music
As much as you can about Schuetz and his music
Impact of Thirty Years War on music
Impact of the Lutheran Chorale and Chorale Tune
The Lutheran “Principal Music”

Some French and Dutch composers:

Jean-Baptiste Lully, Michel-Richard de Lalande,
Marc-Antoine Charpentier, Jean-Phillipe Rameau,
André Campra, Louis Saladin, J.P. Sweelinck.

Some German composers:

Heinrich Schuetz, Johann Schein, Samuel Scheidt,
Andreas Hammerschmidt, Michael Praetorius

15 October Midterm Exam

17 October Fall Recess

22 October Middle/Late German Baroque

Read prior to class:

About Dietrich Buxtehude (online access)
About Johann Pachelbel (online access)
About the development of the German oratorio passion
Class Reader, Volume III

Study: Class Reader, Volume III.

Class Reader, Volume III

Know:
As much as you can about Dietrich Buxtehude and his music
Various terminologies for what became known as the
“German Church Cantata”
The difference(s) between a “Passion Oratorio” and an
“Oratorio Passion”
 Some other composers:
Johann Kaspar Kerll, Heinrich Biber, Friedrich Wilhelm Zachow,
Johann Kuhnau, Johann Ludwig Bach,
G.P. Telemann, Johann Joseph Fux (Gradus ad Parnassum)

24 October Jerry Blackstone lecture on Bach’s St. Matthew Passion

29 October Introduction to J. S. Bach

Understanding his relationship with God and the church
Introduction to the cantatas, motets, oratorios and passions
Begin b-minor Mass (Kyrie/Gloria)

Read prior to class:

Preface, Bärenreiter study score
Class Reader Volume III
About J. S. Bach (online access)

Study: Class Reader, Volume III (all J. S. Bach examples)

J.S Bach: Mass in b minor (Kyrie and Gloria, complete)

Know:
Stylistic and structural differences between early and late
cantatas
Function of Bach’s motets
Solomon Franck
Pikander
Pastor Neumeister
Numerology in Bach
About the establishment of a Bach choral chronology

31 October J. S. Bach: b minor Mass

Study: J.S. Bach: Mass in b minor (Credo, complete)

J.S. Bach: Mass in b minor (Sanctus, Osanna, Agnus)

5 November Scandinavian and Slavic Baroque; Sons of Bach (and their

contemporaries); Choral music in the New World.
Introduction to Handel

Read prior to class:

About American Moravians (online access)
About Johan Helmich Roman (online)
 About Jan Dismus Zelenka (online)
About Vasily Titov (online)
About G.F. Handel prior to 1714 (online)
About William Billings (online)
About G.F. Handel after 1714 (online access)
About the English Ode (musical form) (online access)
About the English Masque (online access)
About Handelian oratorio (online access)
Preface and editorial notes to Messiah (Carus Edition)

Class Reader, Volumes III and IV

Know:
Scandinavian composer:
Johan Helmich Roman

Some Slavic composers:

Bohuslav M. Černahorský, František Xaver Brixi,
Jan Dismus Zelenka, Bartłomiej Pękiel,
Grzegorz G. Gorczyki, Polyphonic Partesny chant,
Vasily Titov
Sons of Bach and some of their contemporaries:
C.P.E. Bach, Carl Heinrich Graun, František Tůma,
Christoph Willibald Gluck

Composers in the Americas:

Juan de Lienas, Juan Gutierrez de Padilla,
Manuel de Sumaya, Dominico Zipoli (Italian, active in
Argentina), Carl Theodore Pachelbel, American
Moravians (Christian Gregor, Johann Friedrich Peter,
David Moritz Michael, John Antes, Johannes Herbst),
James Lyon, Wm. Billings.

As much as you can about G.F. Handel

Others:
Alessandro Stradella, Francesco Urio, Dionigi Erba
George I, George II, Duke of Chandos
John Gay and Johann Christoph Peputsch
The Beggar’s Opera
Charles Jennens
Restrictions on oratorio in England
Typical structural layout of Handelian oratorio
Various editions of Messiah

Study: Handel: Roman Vespers (Carmelite Vespers)

Handel: Messiah, Part I
7 November Handel

Study: Messiah, Parts II and III

12 November Early Haydn and others

Read prior to class:

Readings in Class Reader, Vol. 4
About F.J. Haydn, through 1782 (online access)

Study:
Class Reader, Volume IV

Know:
F.J. Haydn: Stabat Mater
Early Masses

Some other composers:

Michael Haydn, Carl Heinrich Graun, Johann Adolf Hasse,
Georg Christof Wagenseil, Niccolò Jommelli,
François Joseph Gossec

14 November W. A. Mozart

Read prior to class:

Readings in Class Reader, Vol. 4
About W.A. Mozart (online access)

Study: Class Reader, Volume IV

Know:
Giovanni Batista Martini (Padre Martini)
Johann Ernst Eberlin
Lorenzo da Ponte
Baron von Swieten
Mozart’s orchestrations of Handel

Other composers:
Carl Ditters von Dittersdorf, Antonio Salieri,
Vincente Martin y Soler (Padre Soler)

19 November W.A. Mozart (conclusion); Baldasare Galluppi and Giuseppe Sarti

 Read prior to class:
About Galuppi, Sarti and the Russian connection

Know:
Mozart: Requiem, K. 626 (the various editions)

21 November Class Presentations

26 November Class Presentations

28 November Thanksgiving Holiday

3 December Class Presentations – LIST OF 15 WORKS DUE

5 December Class Presentations

8 December TENTATIVE, Time and Location TBA – Review

12 December FINAL EXAM – 11:00am-1:00pm (check for location)

REQUIRED LISTENING FOR MIDTERM EXAM

Allegri Miserere

Banchieri Contrapunto bestiale alla mente

Byrd Agnus Dei, from Mass for Five Voices

Ave verum corpus
Kyrie from Mass for Four Voices
Sanctus from Mass for Four Voices
Alleluia! Cognaverunt discipuli
Te Deum, from Great Service

Carissimi Jeptha

Chant Hodie Christus natus est

Victimae Paschali laudes
Pange lingua

Certon La, la, la, jene l’ose dire

Dowland What if I Never Speed?
Weep You No More, Sad Fountains

Gesualdo “Io parto” e non piu dissi

Moro, lasso, al mio duolo

Costeley Alon, gay, gay bergere

G. Gabrieli: Jubilate Deo

Gibbons: Almighty and Everlasting God

The Silver Swan
This is the Record of John
What is Our Life?

Harant Qui confidunt in Domino

Hassler Cantate Domino

Dixit Maria
Kyrie and Gloria from Missa super dixit Maria

Isaac Innsbruck, ich muss dich Lassen

Lassus Jubilate Deo

Mon Coeur se recommande a vous
Ola! Oche bon echo!
Tristis est Anima Mea

Le Jeune Revecy venir du Printens

Jannequin Le chant de Oyseaux

Josquin Ave Maria

El Grillo
Mille regrets
Agnus Dei from Missa Pange lingua

Machaut Rondeau: Ma fin est mon commencement

Monteverdi Ecco mormorar l’onde

Lasciate mi morire
Vespers of 1610 (complete)

Morley April is in My Mistress’ Face

It Was a Lover and His Lass
Now is the Month of Maying
Palestrina Missa Papae Marcelli
Super flumina Babylonis

Passereau Il est bel et bon

Pearsall Lay a Garland (please note this is a 19th century work)

Purcell If Music Be the Food of Love

In These Delightful Pleasant Groves
Thou Knowest, Lord, the Secrets of Our Hearts
Rejoice in the Lord Always
Te Deum and Jubilate

Rossi Cor mio, deh non languire

Hallelujah! Halleli nafshi

Sermisy Au joly bois

Tallis If Ye Love Me, Keep My Commandments

O nata lux de lumine
Spem in aulium

Taverner Gloria and Agnus Dei from Westron Wynde Mass

Tomkins When David Heard

Vecchi Fa una canzone

Viadana Exsultate justi

Victoria Ave Maria (attributed to)

O magnum mysterium
O quam gloriosum
Kyrie and Agnus Dei from Missa O quam gloriosum

Vivaldi Gloria

Weelkes Hark! All Ye Lovely Saints Above

When David Heard

Wilbye Adieu, Sweet Amaryllis

Willaert Victimae paschali laudes

 REQUIRED LISTENING FOR FINAL EXAM

All of the music listed above, plus the following:

J.S. Bach Cantata 196: Der Herr denket an uns

Magnificat
Mass in b minor
Motet 1: Singet dem Herrn

Billings Easter Anthem

A Virgin Unspotted
Chester

Buxtehude In dulci jubilo

Jesu, Meine Freude

Charpentier The Denial of St. Peter

Handel Gloria Patri from Dixit Dominus

Messiah
Zadok the Priest (Coronation Anthem)
L’Allegro, Part I

Gossec Dies irae, Tuba mirum and Libera me from Requiem

F.J. Haydn Kyrie from Missa brevis in Honor of Saint John of God
Gloria (complete) from Missa Cellensis (1766; 1773)
Gloria (complete), from Missa Cellensis (1782)
Alles hat seine Zeit (part song)
Te Deum

Lully Plaude laetare Gallia

W.A. Mozart Ave verum corpus, K. 618

Credo from Missa brevis in F, K. 192
Kyrie, Gloria, Agnus Dei from Mass in C Major, K. 317 (“Coronation”)
Laudate pueri and Laudate Dominum from Solemn Vespers, K. 339
Thamos, King of Egypt, K. 345

J. Pachelbel Nun danket alle Gott

Singet dem Herrn ein neues Lied

Praetorius Est ist ein’ Ros’

In dulci juibilo
Saladin Cantata Hebraico

Schuetz Musikasche Exequien

Singet dem Herrn ein neues Lied
Weib, was weinest du?

Sweelinck Hodie Christus natus est

Angelus ad Pastores ait