| KOD | Treść programowa | Godziny |
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| wykłady |
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| T-W-1 | Reflect on the common elements and differences between visual arts and music. The beginnings – Greek and Roman heritage. Basic introduction to the elements of music: Instrumentation, Harmony Tonality, Melody, Rhythm and Metre.
Listening:
Excerpts from:
Promenade. 1. The Gnome from Pictures at an Exhibiton, Modest Mussorgsky (1874)
The Sugar Plum Fairy, Act II, from The Nutcracker, Pyotr Ilyich Tchaikovsky (1892)
Epitaph of Seikilos, 2nd Century BC,
Stasimon of Orestes, 5th Century BC
Bolero, Maurice Ravel (1928) | 4 |
| T-W-2 | The Middle Ages: The role of the church in arts - a highly religious art, characterised by iconographic paintings illustrating scenes from the Bible, manuscript illumination, church architecture and sculpture. Gregorian chant, development of notation in churches and monasteries. Architecture of Gothic cathedrals and the parallels between the development of Gothic architecture and polyphony in France. Ars subtilior
Listening:
Anonymous, Gregorian Chant Puer Natus est Nobis
Anonymous, Gregorian Chant Ut Queant Laxis
Anonymous, Gregorian Chant Viderunt omnes
Leoninus, Viderunt omnes (Notre Dame de Paris) (c. 1160)
Perotinus, Viderunt omnes (Notre Dame de Paris) (c. 1198)
Guillaume de Machaut, Kyrie from the Messe de Notre Dame (Cathedral de Reims) (c. 1364)
Baude Cordier, Belle, Bonne, Sage (14th C.)
Jacob Senleches, La harpe de melodie (14th C.) | 4 |
| T-W-3 | The Renaissance: The Renaissance in arts and its reflection to music in Italy. Court patronage, co-existence of musicians, architects and artists. Leonardo da Vinci, Michelangelo and Raphael. Architects Alberti, Brunelleschi and Bramante. Guillaume Dufay’s Nuper Rosarum Flores and the Cathedral of Florence. ‘Cori Spezzati': Venetian Polychoral Music at Venice’s St. Mark’s Cathedral. Palladio’s villas in the Veneto. The Sistine Chapel in the Vatican and Palestrina’s music.
Listening:
Guillaume Dufay, Nuper Rosarum Flores (1436)
Guillaume Dufay, Lamentatio sanctae matris ecclesiae Constantinopolitanae (1454)
Josquin Deprez, Illibata Dei Virgo nutrix (c.1492)
Giovanni Pierluigi da Palestrina, Missa Papae Marcelli - Kyrie (1557)
Giovanni Gabrieli, Salvator Noster (b.1612)
Claudio Monteverdi, Vespro della Beata Vergine, Psalm I - Dixit Dominus (1610) | 4 |
| T-W-4 | The Baroque Period I: Early Baroque - The birth of Opera, Oratorio and Cantata. Italian court patronage, the academies and the development of monody. Drama, movement and expressivity in visual arts: Caravaggio, Velazquez, Bernini, Borromini. New musical genres in the early 1600s in Italy: Music for the courts (opera and cantata) and music for the prayer hall (oratorio). Public Opera in the 17th Century in Venice. The French Tragedie en musique in the context of Louis IVth's palaces and André Le Notre’s garden designs for Versailles and Chantilly.
Listening:
Excerpts from Claudio Monteverdi, Orfeo (1607): Toccata, Vi ricorda o boschi ombrosi, Ahi, caso acerbo!, Tu sei morta, E la virtute un raggio
Monteverdi or colleague, Pur ti Miro from L’Incoronazione di Poppea (1642)
Giacomo Carissimi, Historia di Jephta (1648)
Luigi Rossi, Occhi Belli (c.1640)
Jean-Baptiste Lully, Armide (1686): Ouverture, Les plaisirs ont choisi pour asile (Air) Act 5, Scene 2 | 4 |
| T-W-5 | The Baroque Period II: The High Baroque Music for different performance contexts and spaces, the different cases of J.S Bach, Vivaldi and Handel. Vivaldi in Venice at the Pietà. J.S. Bach in Weimar, Köthen and Leipzig. Handel’s music for the Opera and the conception of Oratorios for London.
Listening:
Antonio Vivaldi, Gloria in excelsis Deo - I (1715)
Antonio Vivaldi, Four Seasons, Spring Op. 8 RV 269 (1723)
Antonio Vivaldi, Four Seasons, Winter 1st Mov. Op. 8 RV 269 (1723)
J.S. Bach, The Toccata and Fugue in D minor, BWV 565 (c.1710)
J.S. Bach, Brandenburg Concerto No. 4 in G major, 1. Mov., BWV 1049 (1715–1721)
J.S. Bach Ich habe genug, 1. Aria, BWV 82 (1727)
J.S. Bach Matthaus Passion, 1. Chorus BWV 82 (1727)
J.S. Bach Matthaus Passion, Aria Erbarme Dich (1727)
George Friderich Handel, Rinaldo (1711): Cara Sposa, Venti, turbini, Lascia ch'io pianga
George Friderich Handel - Hallelujah from the Messiah HWV 56 (1742) | 4 |
| T-W-6 | Classical Period: The Enlightenment, balance, clarity and elegance in music, parallel to Neoclassical art and architecture, including Canova’s sculptures and Jacques-Louis David's paintings. Sonata, symphony and the sonata form. Haydn’s early symphonies composed at the Esterhazy Palace (Neoclassical Architecture). Mozart, the piano concerto and the Singspiel. Transition from Classical to Romantic music with Beethoven.
Listening:
Joseph Haydn, Symphony No. 6 in D major Le matin (Morning). (Hoboken 1/6) (1761)
Joseph Haydn, Symphony No. 94 in G Major (Surprise) II. Andante
Joseph Haydn, Symphony No. 45 in F♯ minor (Farewell) IV. Finale
Wolfgang Amadeus Mozart, Piano Concerto No. 20 in D Minor I. Allegro
Wolfgang Amadeus Mozart, Symphony #40 in G Minor, K 550 - 1. Molto Allegro (1788)
Wolfgang Amadeus Mozart, The Magic Flute, Queen of the Night’s aria (1791)
Ludwig van Beethoven, Symphony No. 3 "Eroica" I. Allegro con brio (1824)
Ludwig van Beethoven, Sonata No. 14 “Moonlight” 1: Adagio sostenuto and 3: Presto agitato
Ludwig van Beethoven, Symphony No. 9 "Choral" (Finale) (1824) | 4 |
| T-W-7 | Romanticism I: Expansive symphonies, virtuosic piano music, passionate songs which took inspiration from art and literature. Delacroix’s paintings of themes from Romantic poetry. Caspar David Friedrich and J.M.W. Turner, John Constable’s romantic landscape painting. First class to concentrate on songs and piano works. Schubert, Mendelssohn, Schumann and Brahms’ lieder. Chopin, Schumann and Listz’ music for the piano.
Listening:
Franz Schubert, Erlkönig, D. 328 (1815)
Franz Schubert, Du bist die Ruh, D. 776 (1823)
Franz Schubert, Gute Nacht from Winterreise (1827)
Felix Mendelssohn, Auf Flügeln des Gesanges (On Wings of Song) (1834)
Robert Schumann, Im wunderschönen Monat Mai from Dichterliebe Op. 48 (1840)
Johannes Brahms Wie Melodien zieht es mir Opus 105 N. 1 (1888)
Frédéric Chopin Nocturne Op. 9 No. 2 (1830-32)
Frédéric Chopin Mazurka No. 5, Op. 7 No. 1 (1830-32)
Robert Schumann, Träumerei from Kinderszenen, Op. 15 No. 7 (1838)
Franz Liszt - Consolation No. 3, S. 172 (1849-50) | 4 |
| T-W-8 | Romanticism II: Expansive symphonies after Beethoven’s 9th, the contributions of Brahms and Mahler. Wagner and the Gesamtkunstwerk - Festspielhaus Bayreuth. Verdi and nationalism in music in Italy.
Listening:
Richard Wagner, Tannhauser - Overture (1845)
Richard Wagner, Tristan und Isolde - Prelude to Act 1 (1857-1859)
Richard Wagner, Der Ring des Nibelungen (The Ring of the Nibelung) - Die Walküre (The Valkyrie),
WWV 86B - The Ride of the Valkyries (1870)
Giuseppe Verdi, Va Pensiero, Nabucco (1842)
Giuseppe Verdi, La Traviata, Brindisi (1853)
Johannes Brahms, Symphony no. 1 in c minor Op. 68- 1st and 4th movements (1876)
Johannes Brahms, Symphony no. 3 in F major Op. 90, 3. Poco Allegretto (1883)
Gustav Mahler - Symphony no. 5, c sharp minor, 4. Adagietto (1901-2) | 4 |
| T-W-9 | Impressionism: Impressionism in fine arts, Monet, Degas, Pissarro and Renoir. The influence of the Gamelan and of Japanese prints. The French composers Claude Debussy, Gabriel Fauré and Maurice Ravel’s music in relation with French “Symbolist” literature - Verlaine, Mallarmé, etc.
Listening:
Claude Debussy, Pagodes from Estampes (Prints), L.100 (1903)
Claude Debussy, Nuages (Clouds) from Nocturnes L. 91 (1899)
Claude Debussy, Prélude à l’après-midi d’un faune (1894) - on a poem by Mallermé.
Gabriel Fauré Clair de lune, Op. 46 No 2 (1887) – melodie/chanson - on a poem by Verlaine.
Maurice Ravel, Oiseaux Tristes (Sad birds) from Miroirs (Mirrors) (1904-1905) | 4 |
| T-W-10 | Modernism I: Pre–and Post–World War I art experiments: New forms to express modern life. A precursor to Modernism: Art Nouveau in Europe and the Beethoven Frieze at the Secession in Vienna. The German Expressionists and Strauss’s Salome. The Austrian Expressionists and the 2nd Viennese School (Arnold Schoenberg, Alban Berg, Anton Webern). Kandinsky’s relationship with Schoenberg. Paris and the Ballets Russes (Matisse and Picasso’s projects with Diaghilev). Stravinsky’s Le Sacre du printemps (1913).
Listening:
Richard Strauss, Dance of the Seven Veils from the opera Salome (1915)
Arnold Schoenberg Three Piano Pieces, Opus 11, 1st and 3rd Movements (1909)
Arnold Schoenberg Pierrot Lunaire (Moonstruck Pierrot), Opus 21, Movement 1, Moondrunk (1912)
Alban Berg, Wozzeck (1922)
Anton Webern, Symphonie, Opus 21, 1st Movement (1928)
Igor Stravinsky, Le Sacre du printemps (1913) | 3 |
| T-W-11 | Modernism II: World War II, post-war art experiments. The Nazi Regime in Germany and Stalin in the U.S.S.R. Abstract Expressionism in art in the USA. John Cage and Chance music in relation with American Abstract Expressionists. New sound materials, electronic music and space as a compositional parameter at the Philips Pavilion in Brussels. Ligeti and new sonorities.
Listening:
Olivier Messiaen, Quartet for the End of Time (1941)
Richard Strauss, Metamorphosen (1945)
Dmitri Shostakovich, Lady Macbeth of Mtsensk District (1934)
Dmitri Shostakovich, The Suite for Variety Orchestra, Movement 7. Waltz 2 (1956)
Krzysztof Penderecki, Threnody to the Victims of Hiroshima (1960)
Benjamin Britten, Dies İrae and Lacrimosa from The War Requiem (1961-2)
John Cage, Ryoanji (1983, 1985)
John Cage, 4’33’ (1952)
Iannis Xenakis, Metastaseis (1953-54)
Iannis Xenakis, Concrete PH (1958)
Edgard Varèse, Poème électronique (1958)
György Ligeti, Atmospheres (1961) and Kyrie (from Requiem (1963-5) | 3 |
| T-W-12 | Post-Modernism and after: Minimalism in Music, from the 1970s: Steve Reich, Philip Glass, Terry Riley, John Adams, related to Minimalism in art, which emerged as a movement in the 1950s and continued through the Sixties and Seventies. Ellsworth Kelly, Frank Stella, Dan Flavin, Donald Judd. Opera in the last few decades. Contemporary classic music in film scores. | 3 |
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