MUSIC HISTORY & LITERATURE I
MUH 3211 – Warfield
(Fall 2010)
OBJECTIVE: In lieu of a full-fledged independent research project in music history (this semester), you will read, discuss and report on a scholarly article or essay, i.e., a single piece of research directed at an audience of professional musicians and scholars. The purpose of this project is to prepare you for independent research in more advanced music history courses.
In the course of this project you will do the following:
- Assemble a group of 5 students.
- Choose an article from the list below.
- Read and discuss the article as a group.
- Collectively write a summary description of the article.
- Submit a single neat copy of the group's written description.
STEP 1: Assemble the Group
Groups must consist of exactly five (5) members from the same section of MUH 3211. (NB. In the event that the roster of students in MUH 3211 changes during the semester, some groups may be formed with either four or six members, but only so as to keep the maximum number of groups of five.)
Each group must pick a leader, who is the only person who communicates with the instructor. Each group will be identified by its leader, and the graded item for the group will be submitted by the leader.
The group should consider itself a "committee of equals," with NO division of labor. All members of the group must read and discuss the chosen article, and the final document should be written with contributions from all five members of the group.
See the list of groups and their members at the bottom of this page
STEP 2: Choose an Article and Acquire a Copy of It
- By mutual consent, the group should select at least three articles from the list below.
- The group leader must then submit the three ordered choices to me via email, and wait for my approval before proceeding with the project. NB., When submitting your choices, give full author/title citations.
- NB. Only one group may read any particular article, and choices will be approved on a "first come" basis.
- Choices will be approved within about 48 hours (or possibly sooner), and those articles will not be available for choices by later groups. If all of your group's choices are taken, you will be advised to re-submit three new choices from the remaining articles. The process continues until every group has a unique article.
- After your choice has been approved, every member of your group should acquire an electronic copy of your chosen article, which may be printed for marking as you read. You should also retain at least one PDF copy for viewing color images, etc.
STEP 2: Read and Discuss Your Article
- Every member of the group should read the essay at least twice, and for some passages, several more times. The first time through, read for the general flow and structure of the article. What information is presented, or what argument is put forth, and how? Note especially any references to people, places, concepts, musical or non-musical terms, etc., with which you may not be familiar. Be sure to look at the footnotes, since they may explain unfamiliar material or guide you to sources that will explain that material.
- After your first time through the article, look up any unfamiliar terms, etc. You need not do extensive research on these new or unfamiliar terms, but you must know enough to understand the article when you re-read it. For basic music information, use:
- The New Grove Dictionary of Music and Musicians (REF ML100 .N48 2001 or use the electronic version of this item by following the link under “Electronic Resources” on the UCF Library web site).
- Another potential source of information is The New Harvard Dictionary of Music (REF ML100 .N485 1986)
- Other music reference tools found in the REF ML100 area of the library.
- For non-music terms, etc., look in any general encyclopedia, e.g., Britannica, Americana, etc., or in a more specialized reference work, e.g., The New Catholic Encyclopedia (REF BX841 .N44 1967) for questions on liturgy.
- If you are unable to locate what you need in these or other basic sources, ask me. I will help you, but only if you can show me a list of the sources that you have already consulted. (Keep track of any research that you do.)
- Re-read the essay (or portions of it) as many times as necessary until you really understand it. Pay closer attention to the details as you become more familiar with the essay. What evidence is put forth to support the argument? Is there any real evidence, or just supposition? How does the author proceed from one point to the next in the argument? Is the author’s reasoning flawed, is evidence missing, or do things just not add up? In short, read with a skeptical and critical eye (as does any scholar). Something is not true just because it’s in print.
- When you have read and re-read the article to the point that you believe you truly understand it, you should discuss it with your group members. Do you all agree on the general ideas presented or not? If not, work out your differences before attempting to write your report.
STEP 3: Write a Report on Your Article
- Only when your group understands and agrees on the contents of your article, should you write your report.
- Your report will do three (3) things:
- First, summarize the contents of the article and its manner of presentation, i.e., what does the author say and how.
- Second, relate this article back to what you have learned about the history of music before 1600. Does this article confirm what you know from Wright/Simms, or does it challenge or contradict what you thought you learned?
- Third, give a general opinion of the article, covering such aspects as (a) how well or poorly written the essay was, (b) the logic and structure of the author’s argument, (c) the significance of this article, or (d) any other general comments that you care to make.
- You may divide the writing in any way that you choose, but remember that everyone is equally responsible for the content and format of the final document. To ensure the you submit your best possible work, organize your writing with a group-determined outline, and share writing, editing, and proof-reading tasks equally.
- The format of your (electronic) paper will be as follows:
- Typed double-space in 12-point type on white, 8-1/2” by 11” paper, with 1” margins on all 4 sides of the text.
- A title page, listing the names of all group members, a title that includes the name of the article that you read, e.g., “A report/commentary on . . .”, my name, the name of this course, and the date on which you submit your report.
- You need not include footnotes unless you quote or cite extensively from any particular source (including your article). NB. Failure to cite borrowed or paraphrased materials is plagiarism and all members of the group will be cited for any breach of this academic rule, regardless of whose fault it might be.
- The content of your paper should be roughly as follows:
- 1-2 page(s) of introduction (maximum)
- 3-5 pages that summarize the article
- 1-2 pages that relate the article to your general knowledge of music history in the era before 1600
- 1-2 page(s) that summarizes your opinions of the content, logic, quality, and significance of the article.
- The minimum acceptable length is 1,500 words (about 6 pages, not counting the title page or any bibliography page). While there is no absolute maximum, you should try not to exceed 2,000 words. Excessively long papers may be down-graded for failing to focus their contents.
STEP 4: Submitting Your Report and Grading Criteria
- DUE DATE: Your final version of this report is due by the end of the day (5:00 pm) on Monday, 1 November 2010. NB., You must submit your paper as an electronic file in an email attachment, preferably in WORD (or a compatible format).
- This project will count for 15% of your course grade.
- Within the project itself, the grade will be determined and awarded by the following:
- 50% on general format, including such basic matters as grammar and spelling, as well as the clarity and logic of your writing.
- 50% on the quality of your summarization and interpretation of the article.
- All five members of the group will receive the same grade, unless at least three of the group indicate that an individual did not contribute equally to the paper. Students who do not contribute will receive a deduction proportional to their contribution, as indicated by the rest of the group.
Potential Essays (updated 20 OCT '10)
The journal Early Music [UCF Library ML 55 . E18, vols. 21-34] contains the following articles, all of which are acceptable. NB. In addition to the hard copies of selected volumes held by UCF, you may access many of these articles either through the JSTOR (up to 1999; use the "Browse" function and search under "Music" for Early Music) or Project MUSE (2003-present; select "Journals" and search for Early Music) databases on the UCF Library Web site.
Ashbee, Andrew. “Groomed for Service: Musicians in the Privy Chamber at the English Court, c. 1495-1558.” Early Music 25 (1997): 185-197. (Sara Myers, et al.)
- Bernstein, Jane A. “Publish or perish? Palestrina and print culture in 16th-century Italy.” Early Music 35 (2007): 225-235.
Buckley, Ann. “Music and Musicians in Medieval Irish Society.” Early Music 28 (2000): 165-190. (Catherine Weddle, et al.)
- Cyrus, Cynthia. "The Annotator of the Lorraine Chansonnier and His Taste in Accidentals." Early Music 30 (2002): 189-200.
- Dixon, Graham. “‘Behold Our Afflection’ : Celebration and Supplication in the Gonzaga Household.” Early Music 24 (1996): 250-261.
- Fenlon, Iain. “St Mark’s before Willaert.” Early Music 21 (1993): 547-563.
Kreitner, Kenneth. "The Cathedral Band of León in 1548, and When It Played." Early Music 31 (February 2003): 41-62. (William Meether, et al.)
- McFarland, Alison Sanders. "Within the Circle of Charles V : New Light on the Biography of Christóbal de Morales." Early Music 30 (2002): 324-338.
- McGrattan, Alexander. "Italian Wind Instrumentalists at the Scottish Royal Court During the 16th Century." Early Music 29 (2001): 534-441.
- Minamino, Hiroyuki. "The Spanish plucked viola in Renaissance Italy, 1480-1530." Early Music 32 (2004): 177-192.
- Montagu, Jeremy. "Musical instruments in Hans Memling's paintings." Early Music 35 (2007): 505-523.
- Niwa, Seishiro. "'Madama' Margaret of Parma's Patronage of Music." Early Music 33 (2005): 25-37.
- O’Regan, Noel. “Palestrina, A Musician and Composer in the Market-Place.” Early Music 22 (1994): 551-572.
- O’Regan, Noel. “The Performance of Palestrina: Some Further Observations.” Early Music 24 (1996): 145-154.
- Page, Christopher. “An English Motet of the 14th Century in Performance: Two Contemporary Images.” Early Music 25 (1997): 7-32.
Page, Christopher. “Listening to the Trouvères.” Early Music 25 (1997): 638-656. (Adriana Nieves, et al.)
Peters, Gretchen. “Urban Musical Culture in Late Medieval Southern France.” Early Music 25 (1997): 403-410. (Kate Nichols, et al.)
- Ros-Fabregas, Emilio. “Music and Ceremony During Charles V’s 1519 Visit to Barcelona.” Early Music 23 (1995): 374-391.
Rose, Adrian. “Angel Musicians in the Medieval Stained Glass of Norfolk Churches.” Early Music 29 (2001): 186-217. (Julian Brownlee, et al.)
Rose, Malcolm. “The History and Significance of the Lodewijk Theewes Claviorgan.” Early Music 32 (2004): 577-593. (David Khourshid, et al.)
- Rowland-Jones, Anthony. “Iconography in the history of the recorder up to 1430--Part 1.” Early Music 33 (2005): 557-574; and “Iconography in the history of the recorder up to 1430--Part 2.” Early Music 34 (2006): 3-27. [NB. Must read both parts]
Sherr, Richard. “Competence and Incompetence in the Papal Choir In the Age of Palestrina.” Early Music 22 (1994): 606-629. (Kellie Weber, et al.)
Skinner, David. “Discovering the Provenance and History of the Caius and Lambeth Choirbooks.” Early Music 25 (1997): 245-266. (Dan Brown, et al.)
Starr, Pamela F. "Musical Entrepreneurship in 15th-century Europe." Early Music 32 (2004): 119-133. (Philip Eyrich, et al.)
Tröster, Patrick. "More About Renaissance Slide Trumpets: Fact or Fiction?" Early Music 32 (May 2004): 252-268. (Ashley Norville, et al.)
- Wegman, Rob C. “Musical offerings in the Renaissance.” Early Music 33 (2005): 425-435.
- Williamson, Magnus. “The Early Tudor Court, the Provinces and the Eton Choirbook.” Early Music 25 (1997): 229-243.
- Williamson, Magnus. “‘Pictura et Scriptura’ : The Eton Choirbook : Its Iconographical Context.” Early Music 28 (2000): 359-380.
Approved Groups (group leader in BOLD, updated 21 Oct '10)
- Sara Myers, Andrew Biggs, William Connell, William Vizoso, Joshua Wellins
- David Khourshid, Artur Metke, Gregory Monroe, Marius Tesch, Renee Vanderhoof,
- Catherine Weddle, Emily Feinberg, Tabitha Jackson, Marie Norton, Alex Schulman
- Julian Brownlee, Ralia Gettings, Daniel Pennington, Silavong (Matt) Sisaleumsak, Andy Westrick
- Adriana Nieves, Lauren DeLeon, Amber Farish, Aaron Godwin, Nicole Iduate
- Kellie Weber, Molly Broughman, Jessica Delecruz, Devin Pace, Kristal Smink
- Ashley Norville, Jeremy Adams, Kelly Clinger, Angel Santiago, Spencer Stowers
- Kate Nichols, Adriane Hill, Yoon Kang, Robert-Christian Sanchez, Amber Sheppard
- Dan Brown, Jean Davidson Jean Rejouis, Blake Roach, Aaron Sherry, Marselia Smith
- Lauren Hancock, Patrick Dunn, Joshua Given, Alana Souto, Ariosto Reyes
- Philip Eyrich, Daniel Bevan, Blake Dowling, Nathan Giroux, Heather Kelley
- William Meether, Kyle, Croswell, Spencer Crosswell, Evan Penico
- Final Group ONLY has four members