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50 Cambridge Pre-U Teacher Guide Costanzo Porta (c.1528–1601) Missa Ducalis (before 1569) Psalmodia vespertina (1605) Litanies Magnificats Motets Claudio Merulo (1533–1604) Sacrorum concentuum (Motets a 5°, 8°, 10°, 12°, 16°) (1594) Giovanni Gabrieli (c.1553/6–1612) Concerti continenti musica di chiesa… (1587, some pieces in Andrea Gabrieli’s collections) Sacrae symphoniae (1597) Symphoniae sacrae (1615) includes In ecclesiis (d) Theoretical treatises Gioseffo Zarlino (1517–1590) Le istitutione harmoniche (theoretical treatise, 1558) Dimostrationi harmoniche (theoretical treatise, 1571) Sopplimenti musicali (1588) Giovanni Maria Artusi (c.1540–1613) L’arte del contrponto ridotto in tavole (1586) Seconda parte dell’arte del contraponto (1589) L’arte del contraponto (1598) L’Artusi, overo Delle imperfettioni della moderna musica ragionamenti dui (1600) Seconda parte dell’Artusi overo Delle imperfettioni della moderna musica (1603) Vincenzo Galilei (c.1528–1591) Dialogo della musica antica et della moderna (1581) Discorso intorno all’opere de Messr Gioseffo Zarlino da Choggia (1589) The following books are useful sources of information for this Topic. Strunk’s Source Readings, in its revised and enlarged edition, contains extracts from most of the significant polemical writings by composers of the Seconda prattica style and by those who attacked them or supported them. Strunk, O. & Treitler, L. (ed) Source Readings in Music History (complete edition). Norton 1998 Strunk, O. & Treitler, L. (ed) Source Readings in Music History, Vol. 3 (The Renaissance). Norton 1998 Strunk, O. & Treitler, L. (ed) Source Readings in Music History, Vol. 4 (The Baroque). Norton 1998 Abraham, G. (ed) The Age of Humanism (NOHM Vol. IV). OUP 1968 Reese, G. Music in the Renaissance. Norton 1959 Bukofzer, M.F. Music in the Baroque Era. Norton 1947 Carter, T. Music in Late Renaissance & Early Baroque Italy. Batsford 1992 Fenlon, I. & Carter, T. (eds) Con che soavità: Studies in Italian Opera, Song and Dance, 1580–1740. OUP 1995 www.cie.org.uk/cambridgepreu
Cambridge Pre-U Teacher Guide Mayer Brown, H. ‘How Opera Began’ [in Cochrane, E. (ed) The Late Italian Renaissance]. Macmillan 1970 Roche, J. Introduction to the Italian Madrigal. Gaudia Music & Arts Inc. 1989 Arnold, D. & Carter, T. Monteverdi (Master Musicians Series). OUP 2000 Fabbri, P. Monteverdi (translated by Tim Carter). CUP 1994 Schrade, L. Monteverdi, Creator of Modern Music. 3rd reissue. Gollancz 1979 Stevens, D. (ed) The Letters of Claudio Monteverdi. OUP 1995 Stevens, D. & Fortune, N. The Monteverdi Companion. Norton 2008 Whenham, J. & Wistreich, R. (eds) The Cambridge Companion to Monteverdi. CUP 2007 Carter, T. Monteverdi’s Musical Theatre. Yale University Press 2002 Whenham, J. Claudio Monteverdi: Orfeo. (Cambridge Opera Handbooks). CUP 1986 Arnold, D. Monteverdi Madrigals. (BBC Music Guides). BBC 1967 Arnold, D. Giovanni Gabrieli and the Music of the Venetian High Renaissance. OUP 1985 Watkins, G. Gesualdo: the Man and his Music. 2nd edition, OUP 1991 Topic C3: Modernism in France (1894–1925) A study of this topic would be incomplete if it did not take account of the significant cross-fertilisation of ideas between music and the other arts. A simple list of the relevant repertoire is therefore likely to be less helpful for this topic than for the others. In view of this, the repertoire is presented below in the form of a chronology, listing composers and their music alongside a selection of important contemporary events and work in other art forms (particularly painting and literature). In order to place the period of the topic in context, the chronology begins in 1875, the year of the first ‘Impressionist’ exhibition in Paris, and continues beyond the finishing date to end in 1937 with the death of Ravel. Candidates will not be expected to have more than a general familiarity with events and artistic movements that lie outside the dates of the topic, which are defined by the composition and first performance of Debussy’s Prélude à l’après-midi d’un faune in 1894 and the death of Erik Satie in 1925. However, they should be encouraged to learn enough about Impressionism in painting and Symbolism in literature to understand the influence of these movements on Debussy and other composers who were active in the early years of the period. They should also know enough about Wagner’s influence on late nineteenth-century French music to understand the reasons for the reaction against this when it eventually took place. www.cie.org.uk/cambridgepreu 51
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