Examination arrangement

Course content

During the Middle Ages and the early modern age, Venice, the city in the lagoon, was a centre of global trade where Europe and the Orient met each other. As a result of its political structure, which was admired internationally, Venice dominated large areas of the Mediterranean as an economic and military superpower. In their public rituals, their political legends, and their ecclesiatic customs, Venetians defined and represented their political independence and cultural identity. Music and the arts participated to a large extent in this representation, and contributed to create, to propagate, and to maintain the "legend of Venice“ - until today. This seminar provides a window for understanding Venetian music and its function in Venetian society from the Middle Ages until the end of its political independence around 1797. As a central topic, the function of music as part of public and religious representation is addressed (with central focus on the 15th to 17th centuries). Main themes in this context include: the magnificent compositions which were performed in the context of the rituals where the doge was involved; and state visits and victory celebrations, inclusive the highly representative liturgical music of San Marco (the chapel of the doge). In the second part of the seminar, we come into contact with the music in the city’s day-to-day life (religious as well as secular) in its various public institutions (smaller churches, the "scuole," the "ospedali," opera-houses etc.). The third part of the seminar describes the function and style of more private music making in the palaces of the nobility, but also in the city's squares and its canals (folk-music). This course visit to Venice concludes with an overview of the city's influence with a closer view to Dresden and the work of the German baroque composer Heinrich Schütz. The seminar examines a range of musical genres - madrigals, Carnival songs, motets, instrumental pieces, operas, and oratories written by composers as Adriaen Willaert, Andrea and Giovanni Gabrieli, Claudio Monteverdi, and Antonio Vivaldi, among many others.

Learning outcome

Knowledge: An examinee with a completed qualification in MUSV3116 - has in-depth knowledge about Venetian music, 1400-1800 - has general knowledge of cultural, political, and musical developments in the time period (based on studies of, among others, madrigals, motets, oratorios, operas, popular songs, and related forms and topics) - has knowledge about relevant theories, research methods, and analytical tools within vocal- and instrumental music in the time period - has knowledge of central problems within Venetian music, 1400-1800 (vocal and instrumental forms, performance practice, and culture-sociological functions) Skills: An examinee with a completed qualification in MUSV3116 - can express his/her deepened knowledge in a convincing way, both in writing and speech - can make his/her own reflections based on, and in the extension of the acquired knowledge, - can utilize the acquired knowledge about analytical tools and research methods on material new and unknown for the examinee - can reflect about his/her own professional methodology within Venetian music from 1400-1800 and is able to apply it in scientific work under guided supervision

Learning methods and activities

Lectures and seminars. As a prerogative for the exam, participants write an essay in order to practice musical analysis, interpretation of texts, reflection on secondary literature, and the various aspects of scientific writing.

Compulsory assignments

• Essay during the semester about at chosen topic from the syllabus
• Satisfactory participation in compulsory instruction

Further on evaluation

The text for the home examination should have a length of about 10 pages. If the candidate retakes the exam, there is no need to retake the compulsory assignments.

Specific conditions

Course materials

All related material will be placed on Blackboard, or distributed during the course.