{"id":36,"date":"2012-10-24T00:21:11","date_gmt":"2012-10-24T00:21:11","guid":{"rendered":"http:\/\/faculty.wpengine.com\/david-schulenberg\/?page_id=36"},"modified":"2013-02-11T01:55:21","modified_gmt":"2013-02-11T01:55:21","slug":"early-keyboard-music","status":"publish","type":"page","link":"https:\/\/faculty.wagner.edu\/david-schulenberg\/early-keyboard-music\/","title":{"rendered":"Early keyboard music"},"content":{"rendered":"<p style=\"text-align: center\"><strong>Music 593<\/strong><br \/>\n<strong>Independent Study: Early Keyboard Music<\/strong><\/p>\n<p>Students in this course learn about the repertory, technique, and performance practices of early keyboard instruments, especially the harpsichord.<\/p>\n<p>Work for the course\u00a0includes:<\/p>\n<p>study of music, comprising\u00a0analysis of scores<\/p>\n<p>listening to recordings of the same, or of similar repertoire<\/p>\n<p>practicing the same<\/p>\n<p>learning to play continuo parts (figured bass)<\/p>\n<p>reading relevant selections on\u00a0historical performance practice, including continuo realization, and on\u00a0historical instruments (organology) and\u00a0repertory<\/p>\n<p>attending weekly meetings with the instructor. These will include:<\/p>\n<p>&#8211;playing repertory practiced during the previous week<br \/>\n&#8211;discussing reading and listening<br \/>\n&#8211;discussing scores (analysis of music and of continuo parts)<\/p>\n<p>performance of selections as part of a public recital, including:<br \/>\n&#8211;at least one each of\u00a0a substantial harpsichord composition, performed complete on harpsichord<br \/>\n&#8211;a continuo part performed on harpsichord in a substantial chamber work<\/p>\n<p>a final examination, which may be comprised in whole or in part of the performance listed above<\/p>\n<p><strong>Grades and attendance.<\/strong> The final grade is based on attendance and accomplishment at weekly meetings, each worth 5% of the total grade, up to 60% for 12 weekly meetings. The remainder of the grade is based on the quality of the performance(s) and final exam.<\/p>\n<p><strong>Repertory<\/strong>\u00a0studied during the semester provides a survey of the most important harpsichord music of the late sixteenth through the early eighteenth centuries. Each student studies at least one of each of the following:<\/p>\n<p>a French Baroque work: prelude, dance movement, or character piece<\/p>\n<p>an English work from the Elizabethan period: prelude, dance movement, or set of variations<\/p>\n<p>an Italian work: a toccata or similar piece from around the late Renaissance or early Baroque; or an eighteenth-century sonata<\/p>\n<p>a prelude, invention, fugue, or dance movement by J. S. Bach<\/p>\n<p><strong>In addition, students receive an introduction to continuo realization,<\/strong> accompanying one another&#8217;s performances as singers or players of other instruments (repertory is selected based on the vocal or instrumental skills of students in the class). Each student studies at least one of the following:<\/p>\n<p>a continuo part for an instrumental or vocal chamber work, the latter including recitative as well as aria<\/p>\n<p><strong>Repertory studied in the last time the course was offered:<\/strong><br \/>\nJohn Bull (1562\/3\u20131628): Prelude in G, BuK 121<br \/>\nWilliam Byrd (1543\u20131623): Callino casturame, BK 35<br \/>\nJacques Champion de Chambonni\u00e8res (1601\/2\u20131672): Sarabande in D (<em>Livre<\/em>\u00a02)<br \/>\nFran\u00e7ois Couperin (1668\u20131733):\u00a0<em>Les canaries<\/em>\u00a0in d (<em>Livre<\/em>\u00a01,\u00a0<em>Ordre\u00a0<\/em>1)<br \/>\nJohann Sebastian Bach (1685\u20131750): Prelude in G minor, BWV 930<br \/>\n\u2014\u2014\u2014: Invention in D, BWV 774<br \/>\nAndrea Gabrieli (ca. 1510\u20131686): Intonazione del secondo tono<br \/>\nDomenico Scarlatti (1685\u20131757): Sonata in A, K. 65<\/p>\n<p><em>Continuo:<\/em><br \/>\nGiovanni Buonaventura Viviani (1638\u2013after 1692): Sonata I for trumpet and basso continuo<br \/>\nAlessandro Scarlatti (1660\u20131725): recitatives and arias for voice and continuo from\u00a0<em>Griselda<\/em><\/p>\n<p><strong>Reading<\/strong>\u00a0includes selections from the following:<br \/>\nFran\u00e7ois Couperin,\u00a0<em>L&#8217;art de toucher le clavecin<\/em>\u00a0(Paris, 1717), translated by Mevanwy Roberts (Wiesbaden: Breitkopf und H\u00e4rtel, 1933<br \/>\nAnn Bond,\u00a0<em>A Guide to the Harpsichord<\/em>\u00a0(Portland, OR: Amadeus Press, 1997)<\/p>\n<p><strong>Semester plan.<\/strong> Study of repertory proceeds simultaneously with reading in the above books and study (analysis) of the music. Students are expected to practice at least five times a week during blocks of studio time assigned for that purpose. Assignments listed below are due at the first class meeting of the week indicated; thus a piece listed for week 2 must be learned and practiced\u00a0<em>before<\/em>\u00a0week 2.<\/p>\n<p>week\u00a0\u00a0\u00a0play\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0read*\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0topic<\/p>\n<p>1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a01\u20132\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0introduction<br \/>\n3 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0historical harpsichords<br \/>\n10 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0basic issues of historical performance practice<br \/>\n2\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Bull\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a05; FC 10\u201313\u00a0\u00a0\u00a0\u00a0keyboard action and basic technique<br \/>\nByrd\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a012\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0the English \u201cvirginalists\u201d<br \/>\n4\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Gabrieli\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a06\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0articulation<br \/>\nScarlatti\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a013, 17\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Italian style<br \/>\n6\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Chambonni\u00e8res \u00a0 \u00a08\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0techniques for expression<br \/>\nCouperin\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a09; FC 17\u201321\u00a0\u00a0\u00a0\u00a0fingering<br \/>\n18; FC 14\u201317\u00a0\u00a0ornaments<br \/>\n14\u201315\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0French style<br \/>\n8\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Viviani\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a019\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0continuo playing<br \/>\nHandel\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a020\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0pitch and tuning<br \/>\n10\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Bach\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a016\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0German music<\/p>\n<p>*FC followed by numbers = pages in Couperin; otherwise these are chapter numbers in Bond<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Music 593 Independent Study: Early Keyboard Music Students in this course learn about the repertory, technique, and performance practices of early keyboard instruments, especially the harpsichord. Work for the course\u00a0includes: study of music, comprising\u00a0analysis of scores listening to recordings of &hellip; <a href=\"https:\/\/faculty.wagner.edu\/david-schulenberg\/early-keyboard-music\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-36","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/36","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/comments?post=36"}],"version-history":[{"count":0,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/36\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/media?parent=36"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}