INTRO to HISTORICAL PERFORMANCE PRACTICE
Dr. Ross W. Duffin
Case Western Reserve University
Department of Music
Objectives:
This course offers some general principles of performance practice of the Medieval, Renaissance, and Baroque periods, along with information on the sources, and discussion of areas of ambiguity or controversy. The intent is to make students aware of the issues of performance practice, to show them where to find answers to questions once they leave the class (specific to whatever they’re performing), and to provide them with some basic fundamentals of performance practice. We will not cover post-baroque music, but students are welcome to pursue an interest in later music in the project.
Students will learn some of the main theorists and have examples to study for reference and to try to understand what the theorists are talking about. But this is not a typical music history class in terms of “facts” and dates and so on. It’s a class of issues, styles, and techniques in a historical background. The intent is to provide an understanding of the approaches and tools of historical performance practice, and to make better-informed — and thus simply better — performers and listeners of early music.
Written Reports:
All students are responsible for an Edition Critique which will be presented in class on Oct. 12, as well as two Concert Critiques which may be submitted any time but not later than Dec. 15. These Critiques should be 1000-1500 words in length. The Edition Critique should compare a modern edition or editions with a facsimile (or partial facsimile) of an original source. The Concert Critiques should focus on performance practice aspects of a live performance of early music.
A substantial portion of the grade for the class is allotted to the Final Project. These are presentations, about 10 minutes in length, given by each student on a performance practice topic of vital interest to them. The project may focus on an historical instrument, on a particular work or body of works, or on a selected aspect of performance practice, and is expected to include some actual performance as appropriate to the topic. In addition, a document of five to ten pages must be submitted to accompany the Final Project. This may be turned in after the presentation, but not later than Dec. 15. It is intended to document the sources, issues addressed, and procedures used in preparing the Final Project Presentation. There is a small number of other assignments which will be described as they pertain to the classes.
Concerts and Other Events:
Historical performance concerts in the community have been noted on the syllabus and you will be notified of any others relevant to the class. It is vitally important that you attend as many of these as you possibly can. You may wish to do a Concert Critique on one or two of the concerts although there may be other suitable events not listed here.
Text:
There is no textbook for the class beyond materials available on the multimedia page and through Canvas. Readings on the two controversies to be discussed are also available through the course Canvas site. Students may wish to order books pertaining to their performance area during the course of the semester, but all such books should be available in the library. Specific assignments have been noted on the syllabus. Dr. Duffin’s site has some resources already but there are constant additions and updates.
Exams:
There will be an in-class mid-term exam on the Baroque area on Oct. 10. An in-class exam on the Medieval and Renaissance material will take place on Nov. 30.
Grading:
15% Class assignments
10% Edition Critique
10% Concert Critiques
20% Baroque Exam
20% Medieval & Renaissance Exam
25% Final Project
N.B. While there is no attendance requirement, history has shown that students missing classes will find it very difficult to do well on the exams. And while I do my best to create a relaxed and engaging environment in class, students should not be lulled into thinking the exams will be easy.