Great works: Byrd's Quomodo cantabimus

Course Dates: 24/08/22
Time: 14:00 - 16:00
Location: Online
Tutors: 
Explore the eight-voice motet Quomodo cantabimus (How shall we sing the Lord’s song in a strange land) by William Byrd and learn how it may be interpreted as a reaction to the newly-protestant England in which he lived.
This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.
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SKU
183225
Full fee £19.00 Senior fee £15.00 Concession £12.00

Course Code: MD040E

Wed, day, 24 Aug - 24 Aug '22

Duration: 1 session

Or call to enrol:020 7831 7831

Lines open Monday-Friday 12:00-18:00

Any questions? music@citylit.ac.uk
or call 020 7492 2630

Please note: We offer a wide variety of financial support to make courses affordable. Just visit our online Help Center for more information on a range of topics including fees, online learning and FAQs.

What is the course about?

This course considers the relationship between two great renaissance composers, Philippe de Monte (1521-1603) and William Byrd (1543–1623). They met in 1584 and almost thirty years later exchanged 8-voice settings of Psalm 137 (136 Vulgate). One was a Spanish Catholic, the other an English Catholic. Why do musicologists find this exchange so fascinating?

This is a live online course. You will need:
- Internet connection. The classes work best with Chrome.
- A computer with microphone and camera is best (e.g. a PC/laptop/iMac/MacBook), or a tablet/iPad/smart phone/iPhone if you don't have a computer.
- Earphones/headphones/speakers.
We will contact you with joining instructions before your course starts.

What will we cover?

- A brief overview of Byrd’s life
- Evidence supporting the meeting of these two composers
- Guided listening points for both motets
- A survey of key musicological/historical writing about these works.

What will I achieve?
By the end of this course you should be able to...

- form an overview of these two great renaissance works
- consider polyphonic textures and melodic shapes using terms such as suspension, resolution, word painting and imitation
- understand key research into the meanings implicit in this selection of psalm text.

What level is the course and do I need any particular skills?

This course is suitable for absolute beginners. However, we will look at some music manuscripts and learn to identify key features of music notation (how many voices are singing, etc…) so this course will be most suitable for those who are curious and ambitious to learn.

How will I be taught, and will there be any work outside the class?

This is an online course:
Sessions will be held via video-conference (zoom) and comprise combinations of lecture, discussion, quizzes, guided listening, video and score study. Course materials (handouts, scores, links to online videos) will be shared via google classroom.
You will be encouraged to do extra reading outside class.

Are there any other costs? Is there anything I need to bring?

You will need a good internet connection and a computer with microphone & webcam. If using a tablet it will need a screen large enough for you to comfortably view the class handouts.
You may also wish to purchase some of the music books or recordings discussed in class, links to these materials will be available online after each session.

When I've finished, what course can I do next?

To find out more about music history classes Music history courses in London and online which lists our full programme of classes ordered by term, and by day of the week. You may then click on each title to read the full course outline.

Edward Breen Tutor Website

Edward teaches music history and music theory at City lit where he is Head of Programme: Advanced Studies in the School of Performing Arts. His specialism is early music (medieval, renaissance and baroque periods) and he completed his PhD in historical musicology at King's College London (2013) on the performance of medieval music. Outside of teaching, Edward is a regular contributor to Gramophone magazine and has lectured for Dartington International Summer School, London's Southbank Centre and The British Library. He has also worked as a researcher for BBC Proms and written for the journal Early Music (OUP). His recent essays are published in: The Cambridge Encyclopaedia of Historical Performance in Music, (Cambridge University Press); The Montpellier Codex: Studies in Medieval and Renaissance Music 16 (Boydell Press); Recomposing the Past: Representations of Early Music on Stage and Screen (Ashgate 2018); and 30-Second Classical Music (Ivy Press).

Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.