University of Southern Californiaweb-app.usc.edu/soc/syllabus/20163/42628.doc · Web viewExam will consist of a variety of listening, matching, short answer, multiple-choice, score

MSCR 571 Music of the Great Liturgies Syllabus 2016

Section Dr. Strimple (MUS 416)

Fridays, 12 noon – 1:50

Classroom: MUS 319 (310) 867-4707 (emergencies)

(213) 821-5756 (to make appointments) Office hours: Fridays, 10:00-11:30

Textbooks:

Liturgies of the Western Church by Bard Thompson

Translations and Annotations of Choral Repertoire, Vol. I: Latin

by Jeffers

Translations and Annotations of Choral Repertoire, Vol. IV: Hebrew

by Nash and Jacobson

Class Reader (one volume)

ACDA Shabbat Service (available from Dr. Strimple)

Pamphlet: A Timeline of Church History (from Dr. Strimple)

Pamphlet: Things I Wish I’d Known (from Dr. Strimple)

Other readings as assigned

(all books and Class Reader are available in USC Bookstore)

The purpose of this course is to trace the development of Jewish and Christian liturgies, and attendant music, from inception to the present.

The objectives are 1) to provide the student with a working knowledge of these liturgies and the standard body of music associated with them; 2) to acquaint the student with evolving performance practices within the liturgies; and 3) to introduce important, new and/or unfamiliar liturgical music that is, for whatever reason, not part of the standard repertoire.

Assignments

1) Class participation (10% of grade)

2) Listening: Required listening for the Midterm and Final Exams is listed below.

3) Midterm Exam.

Exam 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 everything listed in the syllabus as “Know,” additional readings assigned in class and any other material provided as handouts or discussed in class.

4) Term project; either of these:

A.A paper discussing some aspect of music in one of the liturgies

studied in class. The paper should be as concise as possible, but long enough to cover the subject. See Dr. Strimple for topic approval. Use Chicago Manuel of Style (16th Edition). Please submit via email as a Word.doc by 12noon on 27 November.

B. Create an interfaith or ecumenical liturgy for a citywide memorial service.

Explain your choices.

Late papers will not be accepted.

5) Final Exam.

Exam 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 everything listed in the syllabus as “Know,” additional readings assigned in class and any other material provided as handouts or discussed in class.

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

Jewish Liturgies

26 August

Early Development; Ezra, Nehemiah and rebuilding of the Temple;

worship in Synagogues before and during the Diaspora.

Read prior to class:

Class Reader, pages 1-56, 95-99

Know:

Use of instruments before/after destruction of Second Temple

Development and establishment of cantors and m’shorim

Development of piyutim and niggunim

Early Jewish polyphony

Salamone Rossi: Ha-Shirim asher li-Schlomo

Abraham Caceres: Hishki hizki

Ham-mesiah illemim

G. Lidarti:Nora Elohim

Kol ha-neshamiah

Benedetto Marcello: Estro poetico-armonico (1724-26)

(Translated into English, 1757)

Quasi-liturgical:

Hosha’na Rabba in Casale Monferrato, 1732

Louis Saladin: Cantata Hebraico (late 17th c.)

2 September

Reforms in 19th, 20th and 21st centuries


Class Reader, pages 57-109

Nash and Jacobson, pages ix-xiv, 1-47, 211-220

Know:

Rabbi Izaak Noah Mannheimer

Joseph Drechsler and F.P. Schubert

S. Sulzer:Shir Zion (1838, 1865)

Duda’im (1860) (children)

L. Lewandowski:Todah W’Simrah (1882)

Hallelujah

Avenu Malcheinu

L’Cha Dodi

Enosh

Zacharti Lach

Deutsche Kedushah

S. Naumbourg:Chants Liturgicals de Grand Fêtes (1847)

Zemriot Israel (1864; used trad. mel.)

Shir Qodesh (1864)

Aguddat Shirim (1874)

(non-liturgical and popular songs)

Shir ha-Shirim Asher li-Shelomo (1877)

(first modern edition of Rossi)

Julius Mombach:Ne’im Zimriyot Israel (1881)

[The Voice of Prayer and Praise (1899)]

Charles Alkan:Etz chajjim hi

Haleloujoh

A. Dunajewsky: W’schomru

D. Nowakowsky:Ne’ilah (1895) (used trad. Melodies)

Music for Sabbath Eve (1901) (trad. mel.)

Adonai Z’charanu

Hashkivenu No. 2

Mi Chamocha

W‘shomru

Ernest Bloch:Sacred Service (Avodath Hakodesh)

Arnold Schoenberg:Kol Nidre

Heinrich Shallit: 23rd Psalm

Leonard Bernstein:Hashkivenu (Sabbath)

S. Adler:Maoz Tzur

Hashkivenu

Mi Camocha

Adon Olam

A. Binder:Biblical Chant (book)

Isadore Freed:Harmonization of Biblical Chant (book)

Joshua Jacobson:The Cantilation of the Bible (book)

Z. Zilberts:The First S’lichot

Max Helfman:Sh’ma koleinu

Hashkivenu (Sabboth)

Kaddish

Max Janowsky:Sim Shalom

Avenu Malcheinu

A. Aloni:Torah Service

Hallelujah!

Hallel

Ahavat Olam (High Holidays)

Uv’chein Tein Kavod

S. Sargon:Psalm 23 (Adonai Roi)

Psalm 8

M. Isaacson: H’nini

Sim Shalom

L’Maaseih V’reisheet

Meir Finkelstein:L’Dor Vador

Gerald Cohen:Psalm 23 (Adonai Roi)

Coreen Duffy:Adon Olam

Oseh Shalom

Ben Steinberg:Yiskor Service

Srul Irving Glick: Chacham (Passover)

Chad Gadya (Passover)

Dayeinu (Passover)

C. Taubman:Mi Sheberach

D. Friedman:Nasim Shalom

Early Christian Developments;

Eastern Coptic and Orthodox Liturgies

9 September



Bard Thompson, pages 1-46, first paragraph of 47

Jeffers, pages 15, 19-24

Know:

Outline of Services to 4th century, C.E.

(Justin Martyr; Hippolytus)

Early musical developments

Development of the Church Year (2nd to 14th centuries, C.E.)

The Clementine Liturgy (c. 380 C.E.)

Creation of the Divine Offices (canonical hours; 6th century)

16 September

Eastern Liturgies (Coptic and Orthodox), continued



Pamphlet: A Timeline of Church History

Pamphlet: Things I Wish I’d Known

Know:

Liturgy of St. James

Liturgy of St. John Chrysostom

Antiochan Liturgy

Some types of Orthodox chant:

Byzantine, Greek, Russian (Znamenny, Kievan, Partesny)

Renaissance and Baroque developments in Russia

19th century developments (including Sacred Concerto)

St. Petersburg School or Common European Style

Contributions of Galuppi and Sarti

Dmitri Bortniansky:Cherubim Song, No. 7

Sacred Concerto, No. 32

Let My Prayer Arise, No. 2

Moscow School Style

Mily Balakirev

Tchaikovsky:Liturgy of St. John Chrysostom

The Angel Cried Out

Rimsky-Korsakov:We Praise Thee, O God

The Angel Cried Out

20th and 21st century developments

Sergei Rachmaninoff:All-Night Vigil

Liturgy of St. John Chrysotom

Alexander Levine: Liturgy of St. John Chrysostom

Pre-Tridentine Roman Liturgies

23 September



Bard Thompson, pages

Jeffers, pages 14, 25-35

Know:

Justin Martyr

Early forms of western liturgy (Gallic, Roman) and chant

(Mozarabic, Gallican, Old Roman, etc)

Codification of Chant (Gregory the Great)

Creation of the Schola Cantorum

Chant types and terms (Jeffers, 25-35)

Unification of chant and liturgy

(and exceptions: Sarem, Ambrosian, Bohemian, Dalecarlian)

Development of organum and other medieval musical forms

Notre Dame School (Leonin and Perotin)

Musical and liturgical implications of split papacy

Bull of Pope John XXII

Affirmation of primacy of text (Gregorian chant)

Prohibition of secular tunes

The Propers and their polyphonic settings (motets)

The Ordinary and its settings (pre-Machaut, post-Machaut)

Polyphonic mass types: plainsong, cantus firmus (including head motive and paraphrase), parody, freely composed

Saints Cyril and Methodius: Glagolitic (Old Church Slavonic)

Janáček: Glagolitic Mass

Jan Hanuš: Mše Hlaholska

Jan Huss (Czech vernacular song and Bohemian chant)

Hussite Wars

Saint Wenceslas Chorale

Ye Warriors of God

Prone: vernacular homily and devotions

Other vernacular songs in worship

(France, Germany, Italy, England, Spain, the New World)

20 September

Review for Midterm Exam

7 October MIDTERM EXAM

Tridentine and Post-Tridentine Roman Liturgies

14 October



Bard Thompson, pages 47-91

Jeffers, pages 44-85

The “Vespero delli Cinque Laudate“ . . .

(JAMS, online access)

“Motu Proprio” of Pius X , 1903

(www.adoremus.org/Motupropria)

“Musicae Sacrae” of Pope Pius XII, 1955

(www.adoremus.org/MusicaeSacrae)

Vatican II documents on music, 1964 (online access)

Know:

Declarations and impact of the Council of Trent:

Streamlining of liturgy; reduction of sequences

Reaffirmation of primacy of text and Gregorian chant

Prohibition of secular tunes

Guidelines for polyphonic music

Polyphonic mass types: parody, freely composed

17th – 19th century Italian developments

Prima prattica and secunda prattica

Ludovico Grossi da Viadana

Exsultate Justi

Cento concerti con il bassi continuo (1602)

Artusi and Monteverdi

Madrigals, Book V (Introduction)

Vespers of 1610; Missa In illo tempore

Venetian and other local variations

Benedetto Marcelo

Estro poetico-armonico (1724-27;

English 1757)

Introduction of female voices (17th century)

Improvisation

Use of organ

Frescobaldi

Development of music in the Canonical Hours (Vespers)

Claudio Monteverdi

Alessandro Scarlatti

Pergolesi

G.F. Handel

Scholarly attention to Medieval and Renaissance music

Pietro Alfieri

18th and 19th century Austrian/German reforms

and counter-reforms:

Introduction of female voices

Vernacular masses

Michael Haydn

Franz P. Schubert

Society of Saint Cecilia (Franz Xaver Witt)

Ferenc Liszt (NOT German!)

Missa choralis

Requiem

Anton Bruckner

Mass in E-Flat

Requiem

Three BIG masses (d, e, f minor)

Ave Maria

Christus factus est

Os justi

Joseph Foerster (NOT German!)

Missa bohemica

Křiškowsky (NOT German!)

Leoš Janáček (NOT German!)

Zdravas Maria

Glagolitic Mass

18th - 20th century French developments:

Alternatum practice

Organ masses

Couperin

Solemnes monks (19th century)

Introduction of female voices (19th century)

Extensive use of 3-voice choir

Extensive use of organ

Extensive use of solo voice with organ

Extensive use of a few instruments with organ

Luigi Cherubini (NOT French!)

Adolph Adam: Cantique de Noël

Charles Gounod

Ceasar Franck: Panis Angelicus

Gabriel Fauré: Tantum ergo

Maurice Duruflé

Marcel Dupré

Olivier Messiaen: La Nativité du Seigneur

Messe de la Pentecôte

O sacrum convivium

Use of two organs (early 20th century)

Charles Marie Widor: Mass for Two Organs

Symphony No. 5

Louis Vierne: Mass for Two Organs

Other 19th – 20th century (pre-Vatican II) composers:

Edward Elgar:Ave verum corpus

Frank Martin: Mass

Poulenc: Mass in G Major

Rheinburger: Mass in E-Flat Major

Vaughan Williams: Mass in g minor

Samuel Wesley: In exitu Israel

Moto Proprio of Pius X (1903):


Abolishment of castrati

Musicae Sacrae of Pope Pius XII (1955)

Reafirmation of primacy of text and Gregorian chant

Dominico BartolucciJubilate Deo

Tota pulchra

Magnificat

Vatican II (1962-1964) and after:


Establishment of vernacular liturgies

Portions of ordinary recited by congregation

Feast Propers set as unified cycles (not often)

Vernacular translations of old motets

Introduction of folk and pop styles

Petr Eben and Jan Hanuš

Gregorian Institute of America (GIA)

Re-establishment of Latin masses (Pope Benedict)

20th century American developments

The St. Gregory Hymnal

Pietro A. Yon: Jesu Bambino

J. Fisher and Bro.

Vito Carnevali: Missa Rosa Mystica

Reform Liturgies

21 October

Lutheran


Class Reader, pages 237- 246

Bard Thompson, Chapter IV

Know:

Luther’s theology

OK if not specifically prohibited in Bible

“Why should the Devil have all the good tunes?”

Establishment of liturgies (Latin and German)

Kept: Matins, Vespers, Compline

Development of vernacular hymnody

Use of organ, including alternatum practice

Development of the Passion Oratorio

Johann Walther: responsorial Passions

(without Luther’s approval)

Heinrich Schuetz: “Madrigal” passions

Matthew, Luke, John

Thomas Strutz (1664), included arias for Jesus

Development of the “principal music”

(“Geistliche Konzerte” “Actus Tragicus”)

Johann Walther:

Hans Leo Hassler:

Heinrich Schuetz:Cantiones sacrae (1625)

Symphonia sacrae I (1629)

Kleine geistlich Konzerte (1636)

Musikalsche Exequien

Neue Kleine geistlich Konzerte

(1639)

Musicalia ad chorum sacrum

(1648)

Oratorios

(Xmas, 7 Last words, Easter)

Johann Schein:Opella Nova, I and II

Samuel Scheidt:Magnificat quinti toni

Andreas Hammerschmidt:

Friedrich Wilhelm Zachow

Dietrich Buxtehude: Abendmusik

Johann Pachelbel: Hexachordum Apollinis

Was Gott tut, das ist wohlgetan

Der Herr ist Koenig (Psalm 93)

Nun danket alle Gott

Johann Kuhnau:Wie Schön leuchtet

Georg Phillip Telemann: Laudate Dominum

J.S. Bach

Pietism and Orthodoxy

Later stylistic developments re: Pietists and Orthodox

Franck, Picander and Gerhardt

Pastor Neumeister and the “Madrigal Cantata”

Introduction of female voices (c. 1750)

28 October

Bach in Leipzig; 19th -20th century Germans; recent American developments


Class Reader, pages 247-252, 336 to end

Know:

Function of the “principal music”

a. cantatas

b. oratoria (including Passions)

Function of motets

Function of Latin

Function of the organ

Other music used by Bach

Bodenschatz Collection (Hassler)

Johann Ludwig Bach

Johann Kuhnau

Georg Melchior Hoffmann

Georg Phillip Telemann

Johann Kaspar Kerll

19th century German Lutherans

Felix Mendelssohn-Bartholdy

Albert Becker

20th century German Lutherans

Ernst Pepping

Hugo Distler

Siegfried Reda

Bornefeldt

Hermann Schroeder

American Lutheran developments

Publication of early Baroque music

Concordia Press (Missouri Synod)

Walter Buzin

Richard T. Gore

Encouragement of experimental ideas

Augsburg Press and Fortress Press

Ludwig Lenel: Christ ist Erstanden (motet)

Christ is Erstanden (organ)

Magnificat (alternatum)

Paul Fetler

Daniel Moe

Walter Pelz

Carl Schalk

Ronald A. Nelson

Recent development of “West Gallery” ideas

4 November

Calvinist (and visit Doheny Library Special Collections)



Bard Thompson, Chapters V-VII

Know:

Calvin’s theology

Prohibited if not specifically OK in Bible

Exclusion of instruments and polyphony

Exclusion of secular texts and tunes

Development of Psalters

Clement Marot and Theodore de Beze

Claude Goudimel:Psalm 23, both settings

Restrictions on polyphony and instruments

Claude Le Jeune:Psalm 134

St. Bartholomew’s Day Massacre

Liturgical “breakouts” after Calvin’s death

Sweelinck:Psalm 96

Organ works (How and Why?)Scottish Psalter of 1635

Inclusion of organ

Inclusion of new texts

11 November

Anglican



Bard Thompson, Chapter VIII

Know:

Henry VIII and Archbishop Cranmer

Edward VI and the Book of Common Prayer

Anglican Chant, Anthem, Canticles, Services (morning/evening)

Merbecke: The Booke of Common Praier Noted

Tallis:If Ye Love Me, Keep My Commandments

Tomkins:When David Heard

Weelkes:When David Heard

Byrd:Great Service

Gibbons:Almighty and Everlasting God

This Is the Record of John

The Commonwealth (Oliver Cromwell) and Restoration

Humphrey and Blow

Purcell:Rejoice in the Lord Always

Te Deum and Jubilate

O Sing Unto the Lord

Funeral Music for Queen Mary

Greene:Sing We Merrily

Handel:Chandos Anthems

Utrecht Te Deum and Jubilate

West Gallery Tradition

Inclusion of women in choirs

Charles Wesley and Isaac Watts

Some composers:

Uriah Davenport (c. 1660-1784)

James Ellor (1819-99)

Joseph Key (d. 1784)

William Knapp (c. 1698-1768)

James Leach (1762-98)

William Tucker (fl. 1663)

Victorian/Edwardian and 20th-21st centuries

Samuel Sebastian Wesley

C.H.H. Parry: I was Glad

Hear, O Ye Peoples

Vaughan Williams:O Clap Your Hands

Anthem on “Old Hundredth”

At the Name of Jesus

O, How Amiable

Te Deum in G

Herbert Howells:O Pray for the Peace of Jerusalem

Magnificat

My Eyes for Beauty Pine

Edward Bairstow:I Sat Down under His Shadow

Let All Mortal Flesh Keep Silence

Evening Service in g minor

Prelude, Elegy and Toccata (organ)

John Ireland:No Greater Love

Martin Shaw:With a Voice of Singing

John Joubert:O Lorde, the Maker of Al Thing

Benjamin Britten:Te Deum in C

Jubilate Deo

Malcolm Williamson

Herbert Chappell

Canadian developments

Healey Willan:Hymn-anthem on O quanta qualia

I Beheld Her, Beautiful as a Dove

Magnificat and Nunc dimittis in A

O Lord, Our Governor

O King, All Glorious

Graham George:Ride On! Ride On in Majesty!

American developments

Dudley Buck:Festival Te Deum in E-Flat

Amy Beach:Service in A Major

Mark Andrews: Lauda Anima

Mck. Williams:In the Year That King Uzziah Died

Leo Sowerby:I was Glad When They Said

Love Came Down at Christmas

Elevation, for violin and organ

Prelude on “The King’s Majesty”

Carl F. Mueller:Create in Me a Clean Heart

Everett Titcomb:O Love, How Deep

Jane Marshall:My Eternal King

18 November

British non-conformists, Methodists and American innovations



Bard Thompson, Chapters IX-XIII

Know:

Free Will Churches in England and America

Colonial Worship

Ainsworth Psalter

The Bay Psalm Book

Lining Out

Singing Masters and Shape Notes

James Lyon: Urania

Wm Billings: Continental Harmony

The Singing Master’s Assistant

Wm. Walker:Southern Harmony

B.F. White and E.J. King:

The Sacred Harp

Impact of church music on music education

Lowell Mason

William B. Bradbury

Quartet choirs and their repertoire

E.O. Excell: Consider the Lilies

Dudley Buck

Horatio Parker

Impact of Lorenz, Excell, Rodeheaver, Gabriel, Billy Sunday

Revivalist and Gospel Songs

E.O. Excell: In Heavenly Love Abiding

B.B. McKinney

Phillip P. Bliss

Van Denman Thomas

Impact of West Gallery Tradition (without knowing it!)

Development of Pentecostal churches

African American liturgies

Inclusion of “Jubilee Songs”

Re-invention of the gospel song

The “Praise Music” phenomenon and “contemporary” worship

Bill and Gloria Gaither

Charismatic Movement

Metropolitan Community Church

25 November

CLASS DOES NOT MEET (Happy Thanksgiving!)

2 December

Review

9 December FINAL EXAM 11:00am-1:00pm

(Location TBA; check posted exam schedules for location)

(continued)

Listening for Midterm Exam

Jewish and Orthodox Christian

Salamone RossiKaddish (both settings)

Barechu

Psalm 146 (Hallelujah! Halleli nafshi)

Abraham CaceresHishki Hizki

Solomon SulzerMi Adir al Hakol

Louis LewandowskiHallelujah!

Avinu Malcheinu

L’cha Dodi

Enosh

Ernest BlochSacred Service (Avodath Hakodesh)

Leonard BernsteinHashkivenu

Dmitri BortnianskyCherubim Song, No. 7

Let My Prayer Arise, No. 2

Piotr Tchaikovsky:The Angel Cried

Sergei RachmaninoffAll-Night Vigil (commonly called “Vespers”)

Pre-Tridentine (Western)

Gregorian chants:Hodie Christus natus est

Divinum Mysterium

Dies Irae

Pange lingua

Veni Creator Spiritus

Victimae paschali laudes

G. Machaut:Kyrie from Messe de Nostre Dame

Ockegham:Kyrie from Missa prolationem

Nicholas Gombert:In illo tempore

Obrecht:Kyrie from Missa Caput

Josquin:Kyrie from Missa Pange lingua

Ave Maria

Leonin:Sederunt principes (St. Stephen’s Day)

Viderunt Omnes (Christmas)

T.L. da Victoria:Motet: O quam gloriosum

Kyrie from Missa O quam gloriosum (parody)

G.P. da Palestrina: Kyrie from Missa brevis (freely composed)

Credo from Missa Papae Marcelli (freely composed)

Wm. Byrd:Sancti from Masses in 3, 4, 5 Parts (freely composed)

C. Monteverdi: Kyrie from Missa In illo tempore (parody)

Pulchra es, from Vespers of 1610

Listening for Final exam

All of the above, and:

M-A. CharpentierGloria from Midnight Mass for Christmas Eve

F. CouperinGloria (complete) from Mass for the Parishes

A. ScarlattiGloria (complete) from St. Cecilia Mass (cantata mass)

G.F. Handel:Seviat Tellus, from Roman Vespers

F.J. HaydnKyrie and Credo from Missa brevis de Johannes de Deo

Kyrie and Credo from Heiligmesse

W.A. MozartAlma Dei Creatoris, K. 277

Ave verum corpus

Kyrie and Credo from Mass in C (Organ Solo), K. 259

CherubiniIntroit and Kyrie from Requiem in d minor

(listening continued on next page)

C. FranckPanis angelicus

DvořákAgnus Dei from Mass in D Major (organ version)

ElgarAve verum corpus

VierneGloria from Mass for chorus and two organs

DurufléVariations on Veni Creator Spiritus

MessiaenDieu parmi nous (from La Nativité du Seigneur)

O sacrum convivium!

JanáčekCredo from Glagolitic Mass

Varhanny (organ) Solo from Glagolitic Mass

Zdravas Maria

Stravinsky:Ave Maria

Agnus Dei from Mass

Pater Nostre

Eben:Kyrie from Missa in Adventus

Kyrie from Trouvere Mass

Schein: Maria, gegrüsset seystu Holdselige (Opella Nova II)

Kom heiliger Geist, Herre Gott (Opella Nova II)

Pachelbel:Was Gott tut das ist Wohlgetan

Schuetz:Kleine Geistliche Konzerte

one of the passions

J.S. BachCantata 4, Christ lag in Todesbanden (Mauthausen)

J.S. BachCantata 172, Erschallet, ihr Lieder(Weimar)

J.S. BachCantata 161, (Weimar)

J.S. BachCantata 194, (Leipzig, contrafactum from Köthen)

J.S. BachCantata 156, Ich steh mit einem Fuss in Grab (Leipzig)

J.S. BachFugue in E-flat Major, “St. Anne”

J.S. BachToccata and Fugue in d minor

J.S. BachFugue in g minor (“little”)

J.S. BachMissa brevis in F

J.S. BachPassion According to St. John

J.S. BachPassion According to St. Matthew

Le JeunePsalm 134

SermisyPsalm settings

SweelinckPsalm 96

GibbonsAlmighty and Everlasting God (full)

This is the Record of John (verse)

ByrdMagnificat and Nunc dimittis from Great Service

PurcellSing unto the Lord (cantata anthem)

West Gallery songsAll Hail the Pow’r of Jesus’ Name

And Can It Be?

Who Would True Valour See

ParryHear, O Ye Peoples

Vaughan WilliamsKyrie, from Mass in g minor

O, Clap Your Hands

Anthem on “Old Hundredth”

IrelandNo Greater Love

BrittenTe Deum in C

Jubilate Deo

BeachTe Deum, from Service in A Major

BillingsEaster Anthem

American fuging tune

Sacred HarpWondrous Love

Albert Hay MalotteThe Lord’s Prayer (many versions)

Documents

University of Southern Californiaweb-app.usc.edu/soc/syllabus/20163/42628.doc · Web viewExam will consist of a variety of listening, matching, short answer, multiple-choice, score