MUSIC 462W: Seminar in Historical Performance Practices

Studies in Music History: 1550–1750

Instructor Prof. Mark Ferraguto
Office Phone 814.865.7036
Office Address 227 Music Building I
Office Hours By appointment (email to arrange)
E-mail mcf18@psu.edu
Course Location 100 Music Building I
Meeting Times Tues. & Thurs., 1:35 p.m. – 2:50 p.m.

Course Description

How did Bach play Bach, and does it matter? More broadly, in what ways can we gain an
understanding of 18th-century performance practices, and how might such inquiries
impact our approach to present-day performance? Considering such topics as instruments
and instrumental techniques, establishing and modifying a tempo, articulation and
phrasing, ornamentation, and improvisation, we will draw upon both primary sources
(treatises, tutors, etc.) and key readings from the extensive secondary literature to address
these central questions and work toward formulating new ones.

Course Objectives

By the end of Music 462W you should have a strong sense of the ongoing debates
surrounding the historically informed performance (HIP) movement as well as a greater
appreciation of the many interpretive possibilities available to performers of 18th-century
music. The assignments in Music 462W are designed to encourage the development of
reading, writing, and discussion within the field of music and to create opportunities for
you to link intellectual inquiry and practical application.

Required Texts

• Quantz, Johann Joachim. On Playing the Flute, 2nd edition. Translated by

Edward Reilly. Faber and Faber, 2001.

• All other readings are available on CANVAS and should be brought to the class
in which they will be discussed (either printed or in digital format).

Extra Help

Feel free to reach out to me for help with writing projects, other assignments, discussion
leading, and so forth.
Attendance Policy

Regular attendance is expected of all students, and active participation in classroom

discussions is a vital component of the class. Please contact me in advance if you must
miss a class.

Academic Integrity Policy

The completion of assignments in an open, honest, and responsible manner is paramount.

Cheating or plagiarism (including the use of artificial intelligence to generate content and
the use of internet sources without proper citation) will result in academic sanctions
ranging from F for the assignment to F for the course, and could result in further
disciplinary action.

Grading Policy

Final grades will be based on the rubric below. Students will also complete self-
evaluations, which will be taken into account when determining final grades.

Always Frequently Sometimes Infrequently Never

A, A-, B+ B, B-, C+ C D F
Achieved a high level of quality
on Projects 1 through 4 (40%)
Achieved a high level of quality
on Final Project (20%)
Achieved a high level of quality as
Discussion Leader (20%)
Came to class well prepared and
contributed thoughtfully to
discussions (20%)
A (96), A- (92), B+ (88), B (86), B- (82), C+ (78), C (76), D (68), F (58)

Disability Accommodation

Student Disability Resources (SDR) provides academic adjustments, auxiliary aids, and
services to qualified students with disabilities. Please contact SDR for assistance
regarding physical disabilities, learning disabilities, visual impairments, hearing
impairments, neurological impairments, and psychological disabilities.

Educational Equity and Reporting Bias

Consistent with University Policy AD29, students who believe they have experienced or
observed a hate crime, an act of intolerance, discrimination, or harassment that occurs at
Penn State are urged to report these incidents as outlined on the University’s Report Bias
webpage.
Counseling and Psychological Services

The university offers a variety of confidential services to help students who are going
through difficult times, including individual and group counseling, crisis intervention,
consultations, online chats, and mental health screenings.

Counseling and Psychological Services (CAPS): 814-863-0395

Penn State Crisis Line (24 hours/7 days/week): 877-229-6400
Crisis Text Line (24 hours/7 days/week): Text LIONS to 741741
Guidelines for Submission of Written Work

• Word-process all written work.

• Use a standard 12-point font.
• Double-space, using standard margins.
• Number pages.
• At the top of the first page include your name, project number, date, and essay
title.
• Proofread and spellcheck.
• Send file electronically to mcf18@psu.edu before class on the due date.

Writing projects are marked according to the following scale:

Very strong Strong Moderate Weak Very weak

Content
Style
Mechanics
Overall

v Content refers to the quality of ideas in a text. Does the text respond to the prompt
in a compelling manner?

v Style refers to the form in which ideas are expressed. How clear, precise, and
vibrant is the language used?

v Mechanics refers to rudimentary elements such as grammar, syntax, punctuation,

spelling, and proofreading.

v Overall reflects the experience of reading a text from beginning to end. This goes
beyond content and style to address matters of tone, character, and flow.
Guidelines for Discussion Leaders

Discussion Leaders should seek to facilitate an energetic and focused 20-minute

discussion about the article they have chosen. Lead confidently, but don’t dominate: think
of it as a concerto performance, with you as the soloist and the rest of the class as the
ensemble. Sometimes you will need to be in front; at other times, you will need to leave
plenty of space for your classmates to voice their questions and opinions.

IF YOU ARE THE DISCUSSION LEADER FOR AN ARTICLE:

v Preparation is essential: read actively, not passively, by underlining important

passages, taking notes in the margins, and looking up unfamiliar words.

v Provide a clear synopsis of the text in which you summarize it and reflect on its
implications. Is this a primary or secondary source? What has the author set out to
do and why? Is there a clear “argument” in the text or is this more of an
informative reading? Is it somewhere in between? Are there ideas or concepts that
seem convoluted, unclear, problematic, controversial, or especially interesting?

v Prepare a set of questions, both about concepts addressed in the article and about
issues that seem unresolved or merit further discussion. Questions that start with
“Why” or “How” tend to be more interesting.

v You are welcome to prepare a Powerpoint-style presentation or handout if that

helps you to be more organized, though this is not required.
 Tentative Schedule

Date Class Topics and Readings Writing

T (1/10) Welcome & Introduction
R (1/12) “Romantic,” “Modern,” and “Period”
• Haynes, End of Early Music, Chapter 2
Recorded examples at
https://global.oup.com/us/companion.websites/9780190687489/
Click the “Resources” link to get started. If prompted, enter
username (quoted) and password (movement). You may
need to download plug-in software or switch to another
browser if the audio files won’t play.
T (1/17) “Romantic,” “Modern,” and “Period”
• Haynes, End of Early Music, Chapter 3
Use link above for recorded examples.
R (1/19) Instruments & Techniques: Keyboards
• Libin, “The Instruments,” pp. 1–32
*Class meets in 110 MB1*
T (1/24) Instruments & Techniques: Keyboards
• Leonhardt, “One Should Not Make a Rule”
R (1/26) “Knowing the Score”

T (1/31) Eybler Quartet class visit Project 1 due

(Recording
*Class meets in 110 MB1*
Comparison)
Performance at 7:30 p.m. in Recital Hall
R (2/2) Good Execution: General
• Mozart, Treatise, pp. 215–225
• Quantz, On Playing the Flute, pp. 119–128
• C. P. E. Bach, Essay, pp. 147-66
T (2/7) Good Execution: Articulation and Phrasing
• Türk, School of Clavier Playing, pp. 321-53
R (2/9) Good Execution: Tempo
• Quantz, On Playing the Flute, pp. 282–87 (§45-51)
• Türk, School of Clavier Playing, pp. 358–65
T (2/14) Good Execution: Dynamics Project 2 due
(Good
• Quantz, On Playing the Flute, pp. 250-260 (§1-18) Execution)
R (2/16) Instruments & Techniques: Bowed Strings
• Peter Walls, “Strings,” pp. 44-71
• Mozart, Treatise, pp. 96–102
T (2/21) Instruments & Techniques: Bowed Strings
• Mozart, Treatise, pp. 7–16 and 54–63
• Seletsky, “New light on the old bow—1”
R (2/23) Instruments & Techniques: Plucked Strings
• Peter Walls, “Strings,” pp. 71-79
T (2/28) Ornamentation and Improvisation: General
• Fuller, “Performer as Composer”
R (3/2) Ornamentation and Improvisation: Essential Graces Project 3 due
(Take-Home
• Ornament tables by d’Anglebert, Couperin, Quiz on
Rameau, Geminiani, and J. S. Bach Ornamentation)
• Mozart, Treatise, pp. 166-190 and 203-14
T (3/7) Spring Break: no classes
R (3/9) Spring Break: no classes
T (3/14) Ornamentation and Improvisation: Arbitrary Graces
• Quantz, Essay, pp. 168-78 (don’t sweat ¶ 26-43!)
• Neal Zaslaw, “Ornaments for Corelli’s Violin
Sonatas, Op. 5”
R (3/16) Ornamentation and Improvisation: Free Fantasies
• Bach, Essay, pp. 430-445
T (3/21) Instruments & Techniques: Voices
• Harris, “Voices”
• Baird, “Solo Singing 2”
• Baird, “Beyond the Beautiful Pearl”
R (3/23) Ornamentation and Improvisation: Cadenzas
• Levin, “Instrumental Ornamentation”
T (3/28) Instruments & Techniques: Woodwinds & Brass Project 4 due
(Embellishing an
• Lumsden, “Woodwinds and Brass” 18th-c. Air)
R (3/30) Rhythmic Inequality: Notes inégales
• Hefling, Rhythmic Alteration, Chapter 1
T (4/4) Rhythmic Inequality: Overdotting
 • Hefling, Rhythmic Alteration, Chapter 5
R (4/6) Orchestral Practices Final Project
Proposal Due /
• Spitzer and Zaslaw, Birth of the Orchestra, Chapter discuss with
11 Prof. Ferraguto
T (4/11) Orchestral Practices
• Weber, “Did People Listen in the 18th Century?
R (4/13) No class
T (4/18) Case Study: Bach’s Choir
• Parrott, “Bach’s chorus”
• Koopman, “Bach’s choir”
R (4/20) In-class presentations
T (4/25) In-class presentations
R (4/27) In-class presentations
M (5/1) Final Project
due