Music History to 1700




Prof. Sue Lane Talley

MUS 213 NA



FALL, 2009


Day and Time: Thursday 11:10 – 1:00 pm

Class Room: Room B600

Credits: 2

Drop-in Office Hours: Please see schedule, which is posted on my office door, room 602. If you need to schedule an appointment, please call our administrative assistant, Autumn Nova, (646) 678-6188


Professor’s Office Phone: (646) 678 6186

Cell Phone (preferred): (917) 434-9718 (before 10 pm)





MUS 213 is a study of Western music from the beginning of the Christian era to the end of the 1600s. The period, of course, encompasses several historical subdivisions: Early Christian music, Music of the Middle Ages, Renaissance music, and Early Baroque music.


Music Before 1700 is the longest period classification in the Music History cycle which will be covered at Nyack College. “Early music,” as it is called, is also enjoying an enormous rejuvenation of interest at the present time because of the sheer pleasure, relaxation, and inspiration which it affords the listener, and the unique challenges and knowledge required of the performer.




Student Learning Goals

The Student will:



Nyack Core


Assignments &/or

Assessments Used

Understand the profound influence Christianity had on the development of Western music, and that music had on Christianity

1a, 1b, 1c, 2b, 3b, 3c, 4b, 4d

1a, 2a, 2c, 3a, 3b

Weekly quizzes and quarterly tests, listening assignments

Understand the influence Renaissance Humanistic thinking had on Western music history

1a, 2a, 2b, 3a, 4d,

1a, 2a, 2b, 2c

Class discussions, lectures, and tests

Know the landmark compositions and their composers

1a, 1b, 1c, 2b

3a, 3b, 4c

Reading, listening, quizzes

Place music history in the context of world history

1a, 1c, 2a, 2b, 3b, 3c, 4d, 5a

1a, 2a, 2b, 2c, 3a, 4a,

Timelines, charts, reading, assessments

Understand the influence of internationalism in the development of early music

Same as above

Same as above

Texts, field trip to Met museum, lectures

Understand the concept of historically informed performance of music before 1700 and its meaning for our current culture

1a, 1c, 2a, 2b

1a, 2a, 2c, 3a, 3b, 4a

Reading, museum research, Internet and listening

Experience the satisfaction of performing and analyzing music in new and authoritative ways

1a, 1c, 2a, 2b, 2c, 3a, 3b

2a, 2b, 2c, 3a, 4a, 5a

Class performances and listening

Understand mode, the development of texture in music, and the development of musical forms

1a, 2a, 2b, 4d

2a, 2b, 2c

Timelines, reading, listening, quizzes and projects





The student will use the various search systems to retrieve information in a variety of formats (IL Standard 2, 3a), by using the Internet, the library, the text, and CDs.




Hanning, Barbara Russano, A Concise History of Western Music, Third Edition. New York: W.W. Norton, 2002 or 2006. (Note: The 2006 text will be that to which the page numbers given refer, though the material is very similar to the 2nd Edition.) Returning students may use the 2nd Edition but if this is your first course in the Music History sequence, you must buy the new book. You will use it for 4 semesters. You may also want to register for the ancillaries found through the Norton Web site.




Most listening examples will be found at GracelynMusic channel, playlist History of Music Before 1700, MUS213. You may subscribe to the channel or put GracelynMusic (one word) in your browser. Choose the “Playlist” drop down prompt on the right and after choosing from the playlists available, scroll down to the list of compositions.



All the quizzes for each chapter must be completed by all students and e-mailed to the instructor,, before the chapter quiz listed in the class calendar.

The questions from the online quizzes will help you prepare for the weekly quiz given in class. You may take the quiz as often as you like but the results must be sent to the professor before the stated class quiz.

Please use only the following website. You will NOT find these quizzes on either the Edition 2 or Edition 3 website. Follow the four directions below:

1. Click on the chapter that corresponds to the chapter quiz in the class calendar

2. Select the maximum number of quiz questions available.

3. Fill out the information as it is listed when you finish the quiz:
First name:
Last name:
your email (Please put the email you use to write your professor)
Professor's email:
Section: MUS 213.NA

4. Press send quiz

To study the chapter outlines for the 3rd Edition, please use the following website:




These sites are highly recommended to help you with your preparation:, The Web site of the Metropolitan Museum of Art, NYC, including its huge Timeline of Art History (and the history of civilization) will be invaluable in this, and other Humanities courses.


Recommended reading:


Atlas, Allan W. (Ed.), Anthology of Renaissance Music. New York, London: WW Norton, 1998.


Brown, Howard Mayer, and Sadie, Stanley, Performance Practice: Music Before 1600. New York: W.W. Norton, 1995


Fuller, Sarah, The European Musical Heritage, 800-1750. New York: McGraw-Hill Books, 2006. ISBN: 0-07-232452-X


Perkins, Leeman L., Music in the Age of the Renaissance. New York: WW Norton, 1999.


Reese, Gustav, Music in the Renaissance. Revised Edition. New York: WW Norton, 1959.




You are responsible to check with your classmates or with me about assignments or schedule changes you may miss due to absence. You are responsible for both classwork and homework missed during days or times of absence or tardiness, whether the absence is excused or not. Absences are excused if you bring an appropriate document to show that you were ill or at a close family funeral or indisposed because of an unavoidable work conflict. A church meeting, as important as it is, does NOT constitute an unexcused absence.


Nyack College School of Music has student tutors to assist you if you do not understand assignments or need extra help with homework. Seeking help from tutors when needed is not optional if you are asked to do so. You may also be required to go to The Writing Center for help on written work. Please provide evidence (such as a signed sheet from a tutor or initialed work from The Writing Center) that you have done this.


Each class, after Class 1, will begin promptly with a quiz similar to that which you will have taken at home. Reading assignments are given in this syllabus, and will be specified each week in class. Student presentations and performances will be scheduled as assigned. Additionally, the You Tube assignments have been made for this course and I believe you will enjoy seeing and hearing the music MUCH MORE than you would just listening. You may use both the YouTube channel AND the NAWM listening but I will expect you to be most familiar with the YouTube examples, which will be presented in class and available for your review at home.


DISCLAIMERThe class calendar dates will be followed as closely as possible through NOV. 5, but the rest of the calendar will be appended to this Syllabus within the first two weeks of class, at which time you will receive a completed list of the YouTube listening and assignments.



Class 1: September 10, 2009


1.)    How to get the most out of this course: Outline, text, quizzes, listening

2.)    How to find your quizzes, take them, and use them to prepare for the weekly quiz

3.)    Using GracelynMusic YouTube channel for your listening

4.)    Using the class Web site to find NAWM listening examples

5.)    :Discussion: Early music and its importance; historically informed performance and its current practice(s)

6.)    Assignments: Quiz*, Listening, and Readings for Week 2. In other words, you are to read and start with the quiz which will be given in class next week (in a slightly different form). You take the quiz for practice at home so that you may do well when it is given at the beginning of each class. If you are late, of course, you will get a zero, so don’t be!! A bit of study will make a difference to your grade!


Class 2: September 17, 2009

Quiz: Chapter 1 (see listing at the end of this calendar)

Topics: The Earliest Music; Music in Greece and Rome;

Music in the Early Church

Reading: Part I and Chapter 1

You Tube Listening: Numbers 1 through 8

Alternate or Additional Listening: NAWM 1–2

Epitaph of Seikilos, epigram

Euripides: Orestes, tragedy, excerpt: Stasimon chorus

Assignments: Quiz*, Readings, and Listening for Week 3 (note quiz list at bottom of calendar)


Class 3: September 24, 2009

Quiz on Chapter 2

Topics: Liturgy, Mass and Office of the Early Christian Church

Reading: Chapter 2

YouTube Listening: #s 9 through 13

Listening: NAWM 3–7

Mass for Christmas Day, Gregorian chant Mass

Chants from Vespers for Christmas Day, Gregorian

chant Office

Ascribed to Wipo of Burgundy: Victimae paschali

laudes, sequence

Tropes on Puer natus: Quem queritis in presepe

Hildegard of Bingen: Closing chorus, In principio

omnes, from Ordo virtutum, sacred music drama

Assignments: Quiz*, Reading, and Listening for Class 4. To remember for Midterm: Parts of the Mass, Hours and Main Services of the Monastic Office


Class 4: October 1, 2009

No quiz this week.

Topics: Polyphony through the Thirteenth Century

Reading: Chapter 2 and 3

YouTube: 14 through 20

Listening: NAWM 8–16

Bernart de Ventadorn: Can vei la lauzeta mover,

troubadour song

Comtessa de Dia: A chantar, canso (troubadour song)

Adam de la Halle: Jeu de Robin et de Marion:

Rondeau, Robins m’aime

Walther von der Vogelweide: Palästinalied, Minnelied

Cantiga 159: Non sofre Santa María, from Cantigas de

Santa María

La quarte estampie royal, from Le manuscrit du roi

Organa from Musica enchiriadis

Alleluia Justus ut palma, free organum, from Ad

organum faciendum

Jubilemus, exultemus, versus in Aquitanian polyphony

Assignment: Reading, Quiz, and Listening for Class 5


Class 5: October 8, 2009

Quiz on Chapter 3

Topics: Notre Dame Polyphony; Motets; English Polyphony

Reading: Chapter 3

YouTube: 21 through 29

Listening: NAWM 17–23

Léonin: Viderunt omnes, organum duplum

Clausulae on Dominus from Viderunt omnes, substitute


Pérotin: Viderunt omnes, organum quadruplum

Ave virgo virginum, conductus

Motets on tenor Dominus

Adam de la Halle: De ma dame vient/Dieus, comment

porroie/Omnes, motet

Sumer is icumen in, rota

Assignment: Quiz, Reading, and Listening for Chapter 4


Class 6: October 15, 2009

Quiz: Chapter 4

Topics: Ars nova; Trecento

Reading: Chapter 4

You Tube: 30 through 37

Listening: NAWM 24–30

Philippe de Vitry: In arboris/Tuba sacre fidei/Virgo

sum, motet

Guillaume de Machaut: Kyrie, from Messe de Nostre


Guillaume de Machaut: Rose, liz, printemps, verdure,


Johannes Ciconia: Sus une fontayne, virelai

Jacopo da Bologna: Fenice fù, madrigal

Gherardello da Firenze: Tosto che l’alba, caccia

Francesco Landini: Non avrà ma’ pietà, balata

Assignment: Review for Midterm Exam. See description of Midterm Exam below.


Class 7: October 22, 2009

Midterm Exam. Chapters 1 through 4 will be covered. Questions will be multiple choice and essay, and there will be terms to remember. There will be a Listening section on YouTube examples 3 through 37.

Assignment: Readings, Quiz, and Listening for Class 8


Class 8: October 29, 2009

Renaissance Introduction; English

and Burgundian Music

Quiz: Chapter 5

Reading: Part II and Chapter 5

You Tube: 39 to 44

Listening: NAWM 31–36

Alleluia, A newë work, carol

John Dunstable: Quam pulchra es, motet

Binchois (Gilles de Bin): De plus en plus, rondeau

Guillaume Du Fay: Resvellies vous, ballade

Guillaume Du Fay: Conditor alme siderum, hymn

Guillaume Du Fay: Gloria, Missa Se la face ay pale,

cantus-firmus mass

Assignment: Readings, Quiz, and Listening for Class 9


Class 9: November 5, 2009

Topics: Music of the Low Countries

Quiz: Chapter 6

Reading: Chapter 6

You Tube: 45 - 55

Listening: NAWM 37–41

Jean de Ockeghem: Agnus Dei, from Missa De plus

en plus

Henricus Isaac: Innsbruck, ich muss dich lassen,


Josquin des Prez: Ave Maria . . . virgo serena, motet

Josquin des Prez: excerpts from Missa Pange lingua

Josquin des Prez: Mille regretz, chanson

Assignment: Readings, Quiz, and Listening for Class 10


Class 10: November 12, 2009

Topics: The Rise of National Styles

Reading: Chapter 7

Listening: NAWM 48–58

Juan del Encina: Oy comamos y bebamos, villancico

Marco Cara: Io non compro più speranza, frottola

Jacques Arcadelt: Il bianco e dolce cigno, madrigal

Cipriano de Rore: Da le belle contrade d’oriente,


Luca Marenzio: Solo e pensoso, madrigal

Carlo Gesualdo: “Io parto” e non più dissi,


Claudin de Sermisy: Tant que vivray, chanson

Claude le Jeune: Revecy venir du printans, chanson

Thomas Morley: My bonny lass she smileth, ballett

Thomas Weelkes: As Vesta was, madrigal

John Dowland: Flow, my tears, air or lute song


Class 11: November 19, 2009

Topics: Sacred Music in the Era of the Reformation

Reading: Chapter 8

Listening: NAWM 42–47

Martin Luther: Nun komm, der Heiden Heiland and

Ein’ feste Burg, chorales

Loys Bourgeois: Psalm 134, Or sus, serviteurs du

Seigneur, metrical psalm

William Byrd: Sing joyfully unto God, full anthem

Giovanni Pierluigi da Palestrina: excerpts from Pope

Marcellus Mass

Tomás Luis de Victoria: O magnum mysterium, motet

and mass

Orlando di Lasso: Tristis est anima mea, motet


Class 12: December 3, 2009

Topics: Baroque Introduction; Early


Reading: Part III and Chapter 9

Listening: NAWM 63–66

Claudio Monteverdi: Cruda Amarilli, madrigal

Giulio Caccini: Vedrò ’l mio sol, solo madrigal

Jacopo Peri: Le musiche sopra l’Euridice, opera,


Claudio Monteverdi: L’Orfeo, opera (excerpt)


Please visit this Web site and review Baroque dance:


Class 13: December 10, 2009

Summary of Class and Evaluation;



Class 14, December 17, 2009



*Chapter Quizzes that go with assignments above:

Chapter 1: Music in Ancient Greece and Early Christian Rome Chapter 2: Chant and Secular Song in the Middle Ages, 400–1450 Chapter 3: Polyphonic Music from Its Beginnings through the Thirteenth Century Chapter 4: French and Italian Music in the Fourteenth Century Chapter 5: England and Burgundian Lands in the Fifteenth Century: The Beginnings of an International Style Chapter 6: The Age of the Renaissance: Music of the Low Countries Chapter 7: The Age of the Renaissance: New Currents in the Sixteenth Century Chapter 8: Church Music of the Late Renaissance and Reformation Chapter 9: Music of the Early Baroque Period






In-Class Quizzes and participation in class discussions:         30%

Midterm Exam:                                                                       20%

Final Exam:                                                                             50%


Attendance and punctuality:


Grading Scale:


95-100:            A

90-100:            A-

85-90:              B

80-85:              B-

75-80:              C

70-65:              C-     

Below 60:        F


Supporting Webliography:


  1. Renaissance and Baroque music:  Written by Dr. Gordon Callon, Acadia University.  This wonderful resource includes online music scores to download, score links, facsimiles, and a splendid general reference.

  2.  Early music in tablature format:


  1. Gregorian Chant:


            4.An example of a composer Web page, e.g. G. Machaut:



Reasonable AccommodationAny student eligible for and requesting academic accommodations due to a disability is required to provide a letter of accommodation from the Office of Disabilities Support Services within the first two weeks of the beginning of classes. Any student who has a learning disability is encouraged to speak privately with the professor or with Professor Adelaide Pabon the 504 coordinator for Nyack College/New York City. 


Electronic Devices:  It is expected that ALL electronic devices be MUTED during class time.  Do not answer phone calls or text messages during class. ALL cell phones are to be kept off for all exams.


Communication with Instructor: By phone or email. Please do NOT call me after 10 pm.



Library resources:


Music databases on our library website: 

Go to "Resources"(purple tab) and click "Article Resources (Alpha)."  Then you will see the alphabetical list of 91 databases.  Here are some examples: (Passwords given separately)


Dram (Music Database) - Recordings and essays from the American and international repertoires (over 1500 CD's and 9800 compositions)


Grove Music Online - Grove Dictionary of Music and Musicians, Dictionary of Opera and Dictionary of Jazz (full-text)


Naxos Music Library - 256,000+ tracks of classical, jazz, world, folk, Chinese, and contemporary music with accompanying text notes on works, composers, and artists.


Piano Street -More than 10,000 pages of classical piano music to view or print


Nyack College catalog:


New York Public Library: 

Reference materials, recordings, repertoire, and even a listening center may be found at the New York Public Library for the Performing Arts, 40 Lincoln Center Plaza (212) 870-1630




In addition to the information in the college catalog, all students are responsible for the requirements, regulations, and information in the NCMC Music Handbook.  Please put the following link in your browser:  http://www.ncmcmusic/Handbook.htm







1. To graduate students who have acquired and developed the academic skills of reading carefully and critically, communicating clearly and cogently, thinking analytically and synthetically.



1a. By designing into the music history sequence a comprehensive overview of western music and related religious, philosophical, political, scientific, and social developments.

1b. By designing into music literature courses the appreciation and understanding of

      non-Western music and music of the church, including research components and the analysis of contemporary phenomena in these areas.

1c. By fostering the aural development, kinesthetic processes, and aesthetic sensitivities which form the basis of professional caliber musicianship.



2.  To graduate students who have achieved a broad understanding of human learning.


2a. By fostering in our students the skills and motivation for life-long learning and participation in music.

2b. By encouraging all students to value the creativity of the human spirit and the aesthetic dimension of life.

2c. By promoting involvement in campus life through participation in aesthetic and cultural activities.



3. To graduate students who have achieved an in-depth understanding of one  field of study by meeting the requirements of at least one major


3a. By training our students to acquire the theoretical and practical skills required by music educators, church musicians, performers and composers.      

3b. By fostering a broad knowledge of music literature, both sacred and secular, through study and performance.

3c. By employing a competency-based approach for course design and requirements       throughout the program while encouraging artistic creativity.

3d. By cultivating career programs and awareness in the various music and music- related fields.

3e. By utilizing the cultural resources of various metropolitan New York area institutions.



4. To graduate students who have achieved a basic Christian worldview understanding which can     serve as a basis for interpreting experience


4a. By providing experiences in Christian ministry involving music in the Christian and       Missionary Alliance and other churches.

4b. By promoting a sense of Christian love and caring throughout the endeavors of the School of Music.

4c. By building the self-esteem of the individual through musical achievement in the Christian context.

4d. By fostering a respect for diverse forms of music, worship, and culture.



5. To strengthen a sense of civic responsibility to the community


5a. By promoting in our students an appreciation for the opportunities and responsibilities which exist in a democratic society concerning the arts.

5b. By encouraging involvement in civic affairs through music and the allied arts.






1- Socially Relevant

1a. Students will recognize the value of economic, political, social, and systems as tools for       positive change.

1b. Students will apply a foundation of compassion and integrity to their chosen field of study.

1c. Students will demonstrate servant leadership as they engage the community and       marketplace.


2- Academically Excellent

2a. Students will attain an educational foundation in arts and humanities, science,       mathematics, and social science.

2b. Students will be able to communicate in oral and written form and demonstrate       information and technological literacy.

2c. Students will demonstrate critical thinking, problem-solving, and research skills across the curriculum.


3- Globally Engaged

3a. Students will understand the interplay of historical, cultural, and geographical realities of the global community.

3b. Students will value diversity through an understanding of worldviews, languages,       cultures, and peoples.

3c. Students will engage in service opportunities within the global community.


4- Intentionally Diverse

4a. Students will understand the heritages and traditions of diverse peoples and cultures.

4b. Students will appreciate the need to promote biblical principles of social equality.

4c. Students will engage in interactions and relationships with those from diverse    backgrounds.


5- Emphasizing Personal Transformation

5a. Students will grow in their faith as they pursue God’s purpose in their lives.

5b. Students will integrate their Christian worldview into learning and service.

5c. Students will apply discipleship principles to assist in the personal transformation of     others.