Studying at York
Historically-Informed Baroque Performance - MUS00184I
- Department: Music
- Module co-ordinator: Dr. Jennifer Cohen
- Credit value: 20 credits
- Credit level: I
- Academic year of delivery: 2023-24
- See module specification for other years: 2022-23
Module summary
This module will explore historically-informed Baroque practice by bringing together theoretical, practical and critical perspectives.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Semester 2 2023-24 |
Module aims
By the middle of the seventeenth century, Western European Baroque musical style was operating within the rules of an established tonal system. However, the score was only the starting point for creating interpretations that went far beyond the notes on the page. Baroque performance takes off from a score that is in many ways more suggestive than fixed, similar to a standard jazz score, for example.Thus, to understand Baroque music, we need to immerse ourselves in historically-informed Baroque practice.
This module will encourage critical and creative engagement with issues including the principles of rhetoric, the doctrine of affections, the composer-score-performer relationship, authenticity, ornamentation, and rhythmic alteration. These areas played a central role in the composition, performance, and reception of Baroque music.
This module will be taught through a combination of lectures, group discussions and practical workshops.
Module learning outcomes
By the end of the taught part of the project all students should be able to:
-
understand and engage meaningfully, creatively and critically with key aspects of historically-informed Baroque practice;
-
understand the various philosophies and national styles that influenced music during the Baroque period;
-
contribute to high-level musical activity, independently and collaboratively, for example by performing, analysing, listening to and thinking critically about Baroque music;
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engage critically with primary and secondary sources;
-
communicate with clarity and critical insight on a range of issues relating to Baroque music, using appropriate written and oral media and music-making activities;
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apply the musical and transferable skills gained through the module in contexts such as performance, teaching and academic work.
On completion of the module, in their independent work, students should demonstrate learning outcomes B1-6, 8, 9 and 12.
Assessment
| Task | Length | % of module mark | Group |
|---|---|---|---|
| Essay/coursework Essay |
N/A | 100 | Default |
| Essay/coursework Critical commentary |
N/A | 25 | B |
| Practical Performance |
N/A | 75 | B |
| University - project Creative project + commentary |
N/A | 100 | C |
Special assessment rules
None
Additional assessment information
Option 1: 4000 word essay relating to historically-informed Baroque practice (100%). Students can choose their own topic but this must be agreed with the project tutor.
Option 2: 15-20 minute performance of Baroque music (75%) supported by a 1000-word critical commentary (25%). Students can choose the repertoire but this must be agreed with the project tutor.
Option 3: creative project encompassing artistic demonstration and critical commentary (100%). The project must explore historically-informed Baroque practice in creative ways, for example by showcasing different artforms and presentation modes. The specific focus, components and weightings must be agreed with the project tutor.
Reassessment
| Task | Length | % of module mark | Group |
|---|---|---|---|
| Essay/coursework Essay |
N/A | 100 | Default |
| Essay/coursework Critical commentary |
N/A | 25 | B |
| Practical Performance |
N/A | 75 | B |
| University - project Creative project + commentary |
N/A | 100 | C |
Module feedback
Mark and report within University designated turnaround time.
Indicative reading
Primary sources:
Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments (Part
One: 1753; Part Two: 1762), 2nd edition. Edited and translated by William John Mitchel.
London: Cassell, 1951.
Couperin, François. The Art of Playing the Harpsichord (1716), 2nd edition. Edited and translated by Margery Halford. Alfred Publishing, 2008.
Geminiani, Francesco. The Art of Playing on the Violin, manuscript. London, 1751.
Geminiani, Francesco. A Treatise of Good Taste in the Art of Musick. London, 1749.
Quantz, Johann Joachim. On Playing the Flute: The Classic of Baroque Music Instruction
(1752), 2nd edition. Edited and translated by Edward R. Reilly. London: Faber and Faber
Limited, 1985.
Tosi, Pier Francesco. Observations on the Florid Song: Or Sentiments on the Ancient and Modern Singers (Bologna, 1723). Translated by John Ernest Galliard (1742) with a new
foreword, annotations and index by Gregory Blankenbehler. [n. p.]: Pitch Perfect
Publishing Company, 2009.
Note: the sources by CPE Bach, F Couperin, F Geminiani, J J Quantz and F Tosi can be downloaded for free from ISMLP Petrucci Music Library
Secondary sources:
Donington, Robert. Baroque Music: Style and Performance. London: Faber Music, 1982.
Donington, Robert. The Interpretation of Early Music, New Revised Edition. New York and
London: W. W. Norton & Company, 1992.
Haynes, Bruce. The End of Early Music: A Period Performer's History of Music for the
Twenty-First Century. New York: Oxford University Press, 2007.
Hefling, Stephen. Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes
Inégales and Overdotting. New York: Schirmer Books, 1993.
Tarling, Judy. The Weapons of Rhetoric. St Albans: Corda Music, 2005.
Additional reading and listening will be suggested during the module.