Download OS505 Mod Spec - Rose Bruford VLE

ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE
Module Specification
1. GENERAL INFORMATION
Title
Monteverdi
Module code
OS505
Credit rating
20
Level
5
Indicative Contact hours
n/a
Pre-requisite modules
Level 4 and OS501 and OS502
Co-requisite modules
none
School responsible
School of Performance
Member of staff responsible
Dr F Jane Schopf
ECT*
10
Notional hours of Learning**
200
2. AIMS
The module aims to:
engage you with detailed study of the social and cultural contexts and performance
conditions of early opera
enable you to make a detailed analysis of its innovative synthesis of music, dramatic
action and design
bring about a deepened awareness of the conditions in which opera originated and began
develop, with an especial focus on Monteverdi
contextualise early and significant developments in form and composition
3. BRIEF DESCRIPTION OF THE MODULE
The module is centred on the achievement of Monteverdi as both a composer of non-operatic
music, exponent of the ‘new style’, and as a musico-dramatist. The major concern, apart from
the historical foundation laid during the period, is the question of the nature of the melodrama
itself and the sometimes conflicting demands of music, words and staging. In addition to
representative instrumental and vocal music (including “Second Practice”, monody and
madrigal), the works studied will include Peri Euridice, Monteverdi, La Favola d’Orfeo, Il
ritorno d’Ulisse in patria and L’Incoronazione di Poppea.
* ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit
Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT.
** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve
the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit
achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework
(QAA).
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE
Module Specification
4. INTENDED LEARNING OUTCOMES
Category of outcome
Knowledge and
understanding
Intellectual skills
Practical skills
Transferable skills and
personal qualities
You will be able to:
situate operas within their historical, social and political contexts
place Monteverdi in his historical and relative contexts
evaluate judgements of taste and value in a range of critical domains
understand and discuss significant developments in early opera
gain a detailed knowledge of the main artistic movements, traditions
and ideologies that influence and informed the genesis of opera
demonstrate an awareness of the working contexts and organisation
of early opera production
identify and practise primary study skills and scholarly research
methods
identify specific models of theory and analysis appropriate for the
study of opera, and begin to apply these in critical assessments
identify and apply analytical approaches appropriate for systematic
historical and contextual inquiry
undertake detailed comparative analyses of operas and approaches
to opera practice
utilise specialised skills in comparative opera analysis
utilise specialist skills in music analysis
utilise specialist skills in score reading
maintain scholarly modes of presentation and approaches to
referencing and bibliography
present a structured argument in written assignments
undertake a range of formal assessments to a range of specified
briefings (assignments)
read and follow musical notation
respond to the precise terms of a designated assignment
develop and apply skills of analysis critical writing
locate and discuss primary material within historical and theoretical
frameworks
identify the theoretical assumptions informing the writings/practices
of others
start to undertake relevant research and make effective use of
supporting primary and secondary evidence and source
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ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE
Module Specification
formulate a comprehensive response to a designated assignment
maintain scholarly modes of presentation and approaches to
referencing and bibliography
present a structured argument in written assignments
engage in independent scholarly research and discursive written
analysis
undertake a range of formal assessments to a range of specified
briefings (assignments)
engage in critical self-assessment
read and follow musical notation
respond to the precise terms of a designated assignment
develop and apply skills of analysis in research, critical writing
performance and music
locate and discuss primary material within historical and theoretical
frameworks
identify the theoretical assumptions informing their own work and
the writings/practices of others
undertake relevant research and make effective use of supporting
primary and secondary evidence and source
formulate a comprehensive response to a designated assignment
5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)
You will receive written text via our E-learning platform. The material has staged exercises and tasks
throughout, many being interactive. All exercises have full explanatory responses.
6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)
Assessment task
Length
Formative, multi-part
2000 +/- 10%
Weighting within
module (if relevant)
40%
Summative (essay based)
3000 +/- 10%
60%
7. FURTHER INFORMATION
Semester
1 or 2
Available on which
programme(s)?
Opera Studies
3
ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE
Module Specification
Available as Free Choice
(UG) or to other
programmes (PG)?
Content
No
Weeks 1 and 2 Pastoral, intermedio, favola in musica
Immediate predecessors of opera in the late sixteenth-century theatre in Italy;
Jacopo Peri’s Euridice (1600) and the workings of the Florentine recitative.
Weeks 3 and 4 Monteverdi’s Orfeo 1
The première of Orfeo; the structure and music
Weeks 5 and 6 Orfeo 2
Weeks 7 and 8 Other musical theatre
Other theatrical genres in the early seventeenth-century Italian court;
intermedio, Monteverdi’s Ballo delle ingrate (1608), Combattimento di Tancredi
et Clorinda (1624).
Weeks 9 and 10 Il ritorno d’Ulisse in patria 1
Monteverdi in Venice; “public” opera; Il ritorno d’Ulisse as a “transitional” work;
from epic to libretto
Weeks 11 and 12 Il ritorno d’Ulisse in patria 2
Weeks 13 and 14 L’incoronazione Poppea 1
From myth to history; the Accademia degli Incogniti and its influence on trends in
Venetian opera; a moral imperative. Case-studies (1).
Weeks 15 and 16 L’incoronazione Poppea 2
Case-studies (2). Who wrote Poppea and whether it matters. Issues of reception
history
Teaching Method
Distributed written material with graded exercises and tasks, many
interactive, and all with responses.
Specified texts
Written Tutor feedback on submitted work, online tutorials and support
VLE
Wide use of online resources, interactive exercises with responses
Chat rooms and online tutorials
Feedback
Given via chat rooms and emails and fully annotated written comments
on submitted work
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ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE
Module Specification
Indicative Reading
Arnold, D. and N. Fortune, ed. The New Monteverdi Companion. London: 1985
Bianconi, Lorenzo, and Thomas Walker. “Production, Consumption and Political
Function of Seventeenth-Century Opera.” Early Music History Vol 4 (1984):
Carter, Tim. “Non occorre nominare tanti musici: Private Patronage and Public
Ceremony in Late Sixteenth-Century Florence.” I Tatti Studies: Essays in the
Renaissance 4 (1991)
Carter, Tim. “‘In Love’s Harmonious Consort’?: Penelope and the Interpretation
of Il ritorno d’Ulisse in patria.” Cambridge Opera Journal Vol 5, No. 1 (March
1993)
Curtis, Alan. “La Poppea Impasticciata, or Who Wrote the Music to
L’incoronazione (1643)?” Journal of the American Musicological Society Vol 42,
No. 1 (Spring 1989)
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minnesota &
London: University of Minnesota Press, 1991.
Palisca, Claude Studies in the History of Italian Music and Music Theory. Oxford:
OUP, 1994
Rosand, Ellen. “Seneca and the Interpretation of L’incoronazione di Poppea.”
Journal of the American Musicological Society Vol 38, No. 1 (Spring 1985)
Tomlinson, Gary.“Madrigal, Monody, and Monteverdi’s ‘via naturale alla
immitatione’.” Journal of the American Musicological Society Vol 34, No. 1 (Spring
1981)
Whenham, John, ed. Claudio Monteverdi: “Orfeo.” Cambridge Opera Handbooks.
Cambridge: Cambridge University Press, 1986
Proposed start date
September 2012
Date of approval (for
UoM office use)
Information updated on
Date of current version
(for RBC use)
10.1.12
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