COURSE/MODULE DESCRIPTION (SYLLABUS)
1. Course/module
History of Music of the 17th and 18th centuries
2. University department Department of Musicology 3. Course/module code
22-MZ-S1-HistMuzXVII
4. Course/module type – mandatory (compulsory) or elective (optional) mandatory
5. University subject (programme/major) Musicology
6. Degree: (master, bachelor) The 1st degree studies 7. Year
The 2nd year
8. Semester (autumn, spring) Autumn
9. Form of tuition and number of hours Classes, 30
10. Name, Surname, academic title Grzegorz Joachimiak, M.A.
11. Initial requirements (knowledge, skills, social competences) regarding the course/module and its completion
Principles of music and skills knowledge from the 1st year of musicology studies
12. Objectives
• getting familiar with musicology problems in music of 17th and 18th centuries
• analysis of musical works on the basis of musical structure with reference to epoch culture context
• recognizing the style of baroque era composers on the basis of selected musical work recordings
• developing of team work skills
• developing of giving oral presentation skills in definite time and methods of giving information
• developing of writing skills
• broadening and joining together the knowledge of music history with the related domains e.g. musical paleography, counterpoint, music editing, musical esthetic, source studies, practice, musical review, information retrieval, organology etc.
13. Learning outcomes
KNOWLEDGE
• has detailed knowledge about music history and Polish musical tradition with a particular
emphasis on regional problems.
• knows basic terminology (terms) and possesses general knowledge in the scope of humanistic sciences.
Outcome symbols:
• K_W12
• has basic knowledge about connections of
disciplines appropriate for musicology with other scientific disciplines and humanistic sciences.
SKILLS
• manages to search, to analyze, to judge, to sort out and to use information using different
materials/sources (musical scores (manuscripts, old prints, new editions), phonographical sources, instruments, archival materials, also through the use of modern technologies (ICT).
• manages to characterize/to describe music of particular historical periods, and musical styles and genres; knows music of the most important composers.
• has skills at presenting his/her own arguments and at drawing conclusions using the views of
different authors.
SOCIAL COMPETENCES
• has awareness of a level of his knowledge and skills, understands the need of enlarging of knowledge, professional training and gaining skills.
• manages to determine properly priorities for realizing the specified by you or other task related to musicological researches.
• properly identifies and settles dillemas related to his/her own and someone’s work, seeks optimal solutions, works according to ethical principles.
• K_W04 • K_U01, K_U02 • K_U07 • K_U13 • K_K01 • K_K03 • K_K04 14. Content
1. The Rhetoric in the Baroque period
2. The first results of Florentine Camerata esthetics principles; dramma per musica, basso continuo, basso seguente, stile recitativo. The Opera in Rome
3. The dispute between Giovanni Maria Artusi and Claudio Monteverdi. Prima and seconda pratica in the secular and church music
4. The Venetian school. The Polychoral and the concertato style 5. The improvising and variation forms in the instrumental
music in 1st half of 17th century
6. The concerto style in the 17th Italian and German music. A Lutheran chorale and contrafacta.
7. The Genesis and development of cantata forms in Italy, France and Germany
8. Oratorio and passion in works by composers from Catholics and Protestants places in: Italy, Austria, France and Germany 9. The genres of masses. Connections with other music genres 10. Dance traditions, instrumental and church music in France
18th century
12. Music in Great Britain during the Stuarts’ time and the artistic activity of Henry Purcell and Georg Friedrich Haendel
13. Music on the South: the Neapolitan school, Spanish Zarzuela and Villancico and music in the Spanish and Portuguese colonies
14. The importance and reception of the Italian violin music at the end of 17th and at the beginning of 18th centuries
15. Music at the Baroque decline
15. Recommended literature
• Bohdan Pociej, Klawesyniści francuscy, Kraków 1969.
• Manfred Bukofzer, Music in the Baroque Era, New York 1947, translated into Polish by Elżbieta Dziębowska [Muzyka w
epoce baroku], Warszawa 1970.
• Alfred Baumgartner, Der große Musikführer. Musikgeschichte
in Werkdarstellungen, vol. 2: Barockmusik, Salzburg 1981.
• Richard Hudson, The Folia, The Saraband, The Passacaglia, And The Chaconne. The Historical Evolution Of Four Forms That Originated In Music For The Five-Course Spanish Guitar
(= Musicological Studies&Documents, 35) Parts 1-4,
Neuhausen-Stuttgart 1982.
• Gerald Abraham (ed.), Concert Music (1630-1750), Oxford-New York 1986.
• Jack Allan Westrup, Purcell, London 1937, translated into Polish by Małgorzata Kierczyńska-Bielas, Kraków 1986.
• Michael Talbot, Vivaldi, London 1978, translated into Polish by Helena Dunicz-Niwińska, Kraków 1988.
• Ewa Obniska, Claudio Monteverdi. Życie i twórczość, Gdańsk 1993.
• Athanasius Kircher, Z księgi VII: ‘Musurgia Universalis’, translated into Polish by Anna Szweykowska (= Practica
Musica, 3), ed. by Tim Carter and Zygmunt M. Szweykowski,
Kraków 1995.
• Luigi Zenobi, List do N.N., translated into Polish by Anna Szweykowska (= Practica Musica, 3), ed. by Tim Carter and Zygmunt M. Szweykowski, Kraków 1995.
• Giovanni Battista Doni, O muzyce jemu współczesnej, translated into Polish by Anna Szweykowska (= Practica
Musica, 5), ed. by Zygmunt M. Szweykowski, Kraków 2000.
• Claude V. Palisca (ed.), Studies in the History of Italian Music
and Music Theory, Oxford 2001.
• Tomasz Jeż, Madrygał w Europie północno-wschodniej.
Dokumentacja - recepcja - przeobrażenia gatunku, Warszawa
2003.
• George J. Buelow, A History of Baroque Music, Bloomington & Indianapolis 2004.
• Alfred Dürr, Die Kantaten von Johann Sebastian Bach: mit
ihren Texten, Kassel-Basel 1971, translated into Polish by
Andrzej Teske & Armina Teske [Kantaty Jana Sebastiana
Bacha], Lublin 2004.
• Magdalena Walter-Mazur, Motet madrygałowy w
protestanckich Niemczech I połowy XVII wieku, Poznań
2004.
• John Walter Hill, Anthology of Baroque Music, New York 2005.
• Barbara Wiermann, Die Entwicklung vokal-instrumentalen Komponierens im protestantischen Deutschland bis zur Mitte
des 17. Jahrhunderts (=Abhandlungen Zur Musikgeschichte,
14), Göttingen 2005.
• Piotr Wilk, Sonata na skrzypce solo w siedemnastowiecznych
Włoszech, Wrocław 2005.
• Zygmunt M. Szweykowski (ed.), Historia muzyki w XVII
wieku, Parts I-V, Kraków 2000-2008.
• Albert Schweitzer, Johann Sebastian Bach, Leipzig 1908 and after, translated into Polish by Maria Kurecka and Witold Wirpsza [Jan Sebastian Bach], Warszawa 2009.
• Christopher Hogwood, Händel, London 2007, translated into Polish by Barbara Świderska, Kraków 2009.
• Szymon Paczkowski, Styl polski w muzyce Johanna
Sebastiana Bacha, Lublin 2011.
• Christoph Wolff, Johann Sebastian Bach: The Learned
Musician, New York 2001, translated into Polish by Barbara
Świderska [Johann Sebastian Bach: Muzyk i uczony], Warszawa 2011.
and selected articles given in progress and entries in the music lexicons: The New Grove Dictionary of Music and Musicians and
Die Musik in Geschichte und Gegenwart (second edition)
16. Ways of earning credits for the completion of a course /particular component, methods of assessing academic progress:
1. Attendance (allowed 2 unjustified absences, the rest of absences must be passed during the tutorial or by writing an essay on a subject given by the lecturer). If the student has over 50% of absences, classes cannot be passed;
2. Activeness during the classes;
3. Preparing and presenting a paper (20 min); 4. Written work (on subject given by lecturer);
5. Semester summary: end-term test (fill and choice) with a short analysis of a music piece and listening test on the basis
of the given list of works (if a student passes the partial tests, there is a possibility that he/she will not be obligated to take the listening test).
17. Language of instruction Polish
18. Student’s workload
Activity Average number of hours
for the activity Hours of instruction (as stipulated in study
programme) : - lecture: - classes: - laboratory: - other: – 30 – – student’s own work, e.g.:
- preparation before class (lecture, etc.) - research outcomes:
- reading set literature: - writing course report: - preparing for exam:
30 – 30 – 10 Hours 100 Number of ECTS – * Key to symbols:
K (before underscore) - learning outcomes for the programme W - knowledge
U - skills
K (after underscore) - social competences
