MUS 224 Exploring Historical Performance - Course Outlines

Course Prescription

Academic study of the resources, instruments, techniques, and stylistic conventions relevant to the performance of music from Renaissance to modern times, with an emphasis on works of the eighteenth and nineteenth centuries. Students consider the role that an awareness of historical factors can play in contemporary performance, and gain understanding of some of the key debates surrounding historically informed performance.

Course Overview

Academic study of the resources, instruments, techniques, and stylistic conventions relevant to the performance of music from Renaissance to modern times, with an emphasis on works of the eighteenth and nineteenth centuries. Students consider the role that an awareness of historical factors can play in contemporary performance, and gain understanding of some of the key debates surrounding historically informed performance.

The course is designed to introduce students to the concepts, skills, and approaches that define the historically informed performer of pre-20th century repertoire. Students will think about what it means to know and understand this music in an historical context. In this way the course develops students’ written and research skills at the same time as it enhances their understanding of a range in ways in which performance of older music can be approached.

There is a focus on performance practices from the mid-17th to the mid-19th centuries, and in particular on elements that had an impact on the compositional and performance styles associated with the works of F. Couperin, J.S. Bach, C.P.E. Bach, Mozart, Haydn, Beethoven, Schubert and Brahms.

The aims of this course are to promote a critical understanding of this repertoire in the context of options to use historic instruments [copies], or to perform on modern instruments within an historically informed context. Specifically,

- to consider performance through academic study of pre-20th century repertoire and performance styles and practices

- to develop an understanding of historically informed performance and its relevance in the contemporary context
- to build on the research skills developed in MUS 140
- to promote knowledge and critical transferable skills which can be applied in a practical environment

Course Requirements

Prerequisite: MUS 143

Learning Outcomes

By the end of this course, students will be able to:

Demonstrate a detailed knowledge and understanding of aspects of historic performance practice (Capability 1)
Demonstrate an ability to approach pre-20th century music and performance in a way in which current conventions are able to be questioned (Capability 2)
Communicate in writing and verbally, demonstrating skills that enable concepts and specific details of historically informed performance to be conveyed in a simple but authoritative manner (Capability 4)
Conduct research tasks, utilising relevant resources and source material. (Capability 5)
Critique performances and the students’ own playing, in the context of H.I.P. values and concepts (Capability 2, 4 and 6)

Assessments

Assessment Type	Percentage	Classification
Formative Assessment	5%	Individual Coursework
Test	15%	Individual Test
Essay	20%	Individual Coursework
Journal	5%	Individual Coursework
Final Exam	35%	Individual Examination
Workshop Participation	10%	Individual Coursework
Editions Assignment	10%	Individual Coursework
7 types	100%

Assessment Type	Learning Outcome Addressed
	1	2	3	4	5
Formative Assessment
Test
Essay
Journal
Final Exam
Workshop Participation
Editions Assignment

Assignments are to be submitted, according to submission type specified on CANVAS, by the due date. In the event of illness or other circumstances that prevent completing an assignment, please contact the course coordinator with evidence as appropriate before the due date. Late assignments that do not have an approved extension will be penalized 10% for each day or part thereof. No assignment will be accepted after that assignment has been returned to students.

Teaching & Learning Methods

The course is delivered through a combination of lectures and workshops. The lectures are primarily concerned with the delivery of material that enables students to understand concepts, developing a knowledge of subject matter on the topics, as per the lecture schedule. The course builds on the basic understanding of music history and performance, established through prior learning as instrumentalists, and through acquisition of knowledge through stage 1 core courses. As identified in the AIMS above, the course provides students with knowledge and understanding that will inform their performances, as well as providing them with the tools to undertake critical discussion of pre 20-th century music. In so doing, it also prepares them for careers as teachers and/or performers, where understanding of H.I.P is in many contexts taken as an assumed skill-set.

The weekly workshops provide students with the opportunity to apply the knowledge gained in lectures in a practical context, allowing students to explore the topics within the context of the course, prior to experimenting with these ideas in the wider environment of their own studio lessons and in performance.

Workload Expectations

This course is a standard 15 point course and students are expected to spend 10 hours per week involved in each 15 point course that they are enrolled in.

For this course, you can expect 2 hours of lectures, a 1 hour tutorial, 19 hours of reading and thinking about the content and 96 hours of work on assignments and/or test preparation.

Delivery Mode

Campus Experience

Attendance is required at scheduled activities including workshops to receive credit for components of the course.
Lectures will be available as recordings. Other learning activities including workshops will not be available as recordings.
The course will not include live online events.
Attendance on campus is required for the test/exam.
The activities for the course are scheduled as a standard weekly timetable.

Learning Resources

LEARNING RESOURCES
All course readings are available via Reading Lists on Canvas.
The University library, together with on-line resources, including Naxos Music Library, are the primary source of material for this course.
Required reading. There is no set textbook for the course; a general reading list is given below. Specific reading lists or handouts will be distributed at relevant lectures.

The following is a bibliography of primary and secondary sources. This list is not comprehensive, but is intended as a guide to the types of resources that may be relevant, particularly when exploring essay topics.

Primary Sources
Bach, Carl Philipp Emmanuel. Essay on the True Art of playing Keyboard Instruments (Translated and edited by William J. Mitchell). New York: W.W. Norton, 1949.
Bacilly, Bénigne de. A Commentary upon the Art of Proper Singing (Translated and edited by Austin B. Caswell Jr.). New York: Institute of Mediaeval Music, 1968.
Couperin, Francois. L’Art de toucher le clavecin. Paris 1717. (Edited by A. Linde with English translation by M. Roberts). Wiesbaden: Breitkopf & Härtel, 1933.
Hotteterre, Jacques. Principles of the Flute, Recorder and Oboe. (Translated and edited by David Lasocki.). London: Barrie and Rockliff; New York: Praeger, 1968.
Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing (translated by Editha Knocker). Oxford: Oxford University Press, 1985.

Quantz, Johann Joachim. On Playing the Flute. (Translated and edited by Edward R. Reilly). London: Faber and Faber; New York, The Free Press, 1968.
Tosi, Pier. Francesco. Observations on the florid song. London: William Reeves, 1967.
Türk, Daniel Gottlob, School of Clavier Playing or Instructions in Playing the Clavier for Teachers and Students (Translated by Raymond M. Haggh). Lincoln: University of Nebraska Press, 1982.
Walther, Johann Gottfried. Musicalisches Lexicon. Leipzig, 1732. Facsimile, ed. Richard Schaal. Kassel: Bärenreiter, 1953.

Secondary Sources
Brown, Clive. Classical and Romantic Performance Practice 1750-1900. Oxford: Oxford University Press, 1999.
Brown, H.M., & Sadie, Stanley (eds.), Performance Practice: Music after 1600. London: Macmillan, 1989.
Butt, John. Playing with History : The Historical approach to Musical Performance. Cambridge; New York : Cambridge University Press, 2002.
Butt, John. Bach Interpretation : articulation marks in primary sources of J.S. Bach. Cambridge; New York: Cambridge University Press, 1990.
Donington. R. The Interpretation of Early Music. London: Faber, 1974, (or revised ed., 1992)
Harnoncourt, Nikolaus. Baroque Music Today: Music as Speech (translated by Mary O’Neill). Portland: Amadeus Press, 1988.
Harnoncourt, Nikolaus. The Musical Dialogue: Thoughts on Monteverdi, Bach and Mozart (translated by Mary O’Neill). Portland: Amadeus Press, 1984.
Lawton, C., and Stowell, R. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press, 1999.
Newman, Anthony. Bach and the Baroque. New York: Pendragon Press, 1995.
Rosenblum, Sandra P. Performance Practices in Classic Piano Music: Their Principles and Applications. Bloomington: Indiana University Press, 1988.
Sherman, Bernhard D. Inside Early Music: Conversations with Performers. New York: Oxford University Press, 1997.

Stowell, Robin. Violin Technique and Performance Practice in the late 18th and early 19th centuries. Cambridge: Cambridge University Press, 1985.
Tarling, Judy. The weapons of rhetoric: a guide for musicians and audiences. St. Albans : Corda Music, 2004
Taruskin, Richard. Text and Act: Essays on Music and Performance. Oxford and New York: Oxford University Press, 1995.
Walls, Peter. History, imagination, and the performance of music. Woodbridge, Suffolk ; Rochester, N.Y. : Boydell Press, 2003.

Canvas is the exclusive mode of delivery for announcements regarding assignment due dates, information on the content of assessments. Weekly handouts are provided on Canvas.

Student Feedback

At the end of every semester students will be invited to give feedback on the course and teaching through a tool called SET or Qualtrics. The lecturers and course co-ordinators will consider all feedback and respond with summaries and actions.

Your feedback helps teachers to improve the course and its delivery for future students.

Class Representatives in each class can take feedback to the department and faculty staff-student consultative committees.

Other Information

ATTENDANCE AND PARTICIPATION

Attendance in class as well as engagement with course activities and readings supports academic success. Therefore, it is strongly recommended that students make every effort to attend class and complete all the necessary in-class requirements.

Digital Resources

Course materials are made available in a learning and collaboration tool called Canvas which also includes reading lists and lecture recordings (where available).

Please remember that the recording of any class on a personal device requires the permission of the instructor.

Academic Integrity

The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in coursework as a serious academic offence. The work that a student submits for grading must be the student's own work, reflecting their learning. Where work from other sources is used, it must be properly acknowledged and referenced. This requirement also applies to sources on the internet. A student's assessed work may be reviewed against online source material using computerised detection mechanisms.

Inclusive Learning

All students are asked to discuss any impairment related requirements privately, face to face and/or in written form with the course coordinator, lecturer or tutor.

Student Disability Services also provides support for students with a wide range of impairments, both visible and invisible, to succeed and excel at the University. For more information and contact details, please visit the Student Disability Services’ website http://disability.auckland.ac.nz

Special Circumstances

If your ability to complete assessed coursework is affected by illness or other personal circumstances outside of your control, contact a member of teaching staff as soon as possible before the assessment is due.

If your personal circumstances significantly affect your performance, or preparation, for an exam or eligible written test, refer to the University’s aegrotat or compassionate consideration page https://www.auckland.ac.nz/en/students/academic-information/exams-and-final-results/during-exams/aegrotat-and-compassionate-consideration.html.

This should be done as soon as possible and no later than seven days after the affected test or exam date.

In the event of unexpected disruption

We undertake to maintain the continuity and standard of teaching and learning in all your courses throughout the year. If there are unexpected disruptions, the University has contingency plans to ensure that access to your course continues and your assessment is fair, and not compromised. Some adjustments may need to be made in emergencies. In the event of a disruption, the University and your course coordinators will make every effort to provide you with up to date information via Canvas and the University website.

Student Charter and Responsibilities

The Student Charter assumes and acknowledges that students are active participants in the learning process and that they have responsibilities to the institution and the international community of scholars. The University expects that students will act at all times in a way that demonstrates respect for the rights of other students and staff so that the learning environment is both safe and productive. For further information visit Student Charter https://www.auckland.ac.nz/en/students/forms-policies-and-guidelines/student-policies-and-guidelines/student-charter.html.

Disclaimer

Elements of this outline may be subject to change. The latest information about the course will be available for enrolled students in Canvas.

In this course you may be asked to submit your coursework assessments digitally. The University reserves the right to conduct scheduled tests and examinations for this course online or through the use of computers or other electronic devices. Where tests or examinations are conducted online remote invigilation arrangements may be used. The final decision on the completion mode for a test or examination, and remote invigilation arrangements where applicable, will be advised to students at least 10 days prior to the scheduled date of the assessment, or in the case of an examination when the examination timetable is published.

Capability 1:	Disciplinary Knowledge and Practice
Capability 2:	Critical Thinking
Capability 4:	Communication and Engagement
Capability 5:	Independence and Integrity
Capability 6:	Social and Environmental Responsibilities

MUS 224 : Exploring Historical Performance

Creative Arts and Industries

2021 Semester One (1213) (15 POINTS)