Mini-Courses and Programs

During the 2018 – 2019 semesters, the Center for Early Music Studies will offer four mini courses, by Italian early music tenor Gian Paolo Fagotto and theorbist David Dolata (October 7-8), medieval specialist and Director of the Boston Camerata, Anne Azéma, vihuelist and musicologist Ralph Maier (April 6-7), and early music recording  producer Brad Michel (May 4-5).  Students wishing to register for the mini-courses, which carry one elective Musicology credit, should enroll in MH 629 Early Music Studies. Auditors are welcome.

4-5 May 2019

Brad Michel (Boston), Grammy-Award Winning Producer

MH 629 A1: : “Recording Early Music” College of Fine Arts, 855 Commonwealth Ave, rm. B36, 10-5 pm both days

Mini-Course Overview

(COURSE FULL) This mini-course provides a hands-on practical approach dealing with ideas and common practices in early music towards making a good quality recording with personal electronics; both instrumentalists and singers are welcome.

6-7 April 2019

Ralph Maier (Mt Royal University Conservatory), Vihuela

MH 629 A1: : “The Vihuela in Twenty Songs” College of Fine Arts, 855 Commonwealth Ave, rm. B36, 10-5 pm both days

Mini-Course Overview

(COURSE FULL) In Renaissance Spain, the vihuela enjoyed a position of ubiquity roughly analogous to its modern relative, the guitar. Spain’s burgeoning print industry, along with the development of tablature notation, brought a wealth of vocal and instrumental works to an audience spanning the entire social strata in a format that could be easily understood by all. Beginning with Luis de Milan’s El Maestro (1536), and culminating with Esteban Daza’s El Parnasso (1576), the seven extant vihuela books in print represent a crucial window into 16th-century Spanish music-making.In addition to exploring some of the period’s most exquisite works for vihuela and voice, this course will provide students with an overview of the instrument’s most significant composers and their published works, and address issues of notation, transcription, ornamentation, and arrangement. Classroom activities will balance lectures with in-class projects and demonstrations.

7-8 October 2018

Gian Paolo Fagotto, tenor (Il Terzo Suono, Italy) & David Dolata, theorbo (Il Furioso / Florida International University)

MH 629 A1: : “Early 17th-Century Italian Monody and its Origins: A Practical Guide for Performers”
College of Fine Arts, 855 Commonwealth Ave, 
10-1 pm & 2-5 pm both days. 

Mini-Course Overview

To understand the performance and essential background of Italian monody of the early 17th century – including the works of Monteverdi in this style – it is important to study the way singers of the Renaissance reduced polyphonic works (madrigals, canzonettas, etc.) into solo-song versions with lute accompaniment,  a style that is at the root of monody.  In this mini-course, we will examine this and other early stages in the development of monody from the middle of the 16th century and isolate their distinguishing characteristics. Since, the birth of the recitative style introduced not only a new relationship between music and text, but also new and unique methods of performance, we will examine the many expressive devices that are possible in this music.  In addition, we will survey the main sources describing  the vocal techniques that are fundamental to this music, including vocal delivery, the use of embellishments, and the technique of making diminutions.

10-11 November 2018
Anne Azéma (Director, Boston Camerata)

MH 629 B1: “Music and Le Roman de Fauvel: Fable, Morality, and Political Satire, circa 1310,”
College of Fine Arts, 855 Commonwealth Ave, 10-1 pm & 2-5 pm both days.

Mini-Course Overview

The Roman de Fauvel s a 14th-century satire about public corruption meaningful in the present day? The metamorphosing horse Fauvel is the protagonist of  an acerbic and witty fable, satirizing religious and political life in fourteenth-century France, and laden with implications  for contemporary society.   Anne Azéma will present  a generous selection of music and text from one of the most famous of all medieval manuscripts: there will be an abundance of monodies, motets, instrumental music as well as a close look at the source (edition, transmission) and media aspect of this celebrated manuscript through the numerous miniatures from the original source. Fauvel, the abusive leader with an orange mane,  appears variously in these illustrations as animal, as man with a horse’s hindquarters, as a man with an animal’s head.This group welcomes: musicians (singers, instrumentalists), musicologists, and students from Romance Language  Art History, and History.