Music 2273 Term Paper Topics, Autumn 2002

  1. Händel's singers and their influence on his writing for solo voice.
  2. Word Setting in the Music of Händel.
  3. Iconographic Evidence concerning the Use of the Lute and Other Plucked String Instruments in Renaissance Instrumental Ensembles.
  4. The Influence of Spanish Music on English Music during the Sixteenth Cenrury.
  5. The Use of the Trombone Family in 16th-Century Sacred Vocal Music.
  6. The Parody Mass in the 16th Century.
  7. The Instrumental Ensemble, 1500-1590, as defined by Iconographic Evidence: its Make-up; Social Context; Function; etc.
  8. Word Setting in the Works of Heinrich Schütz.
  9. Word Setting in the Sacred Ensemble Music of Claudio Monteverdi.
  10. Word Setting in the Music of Giovanni Gabrieli.
  11. 2
  12. Praetorius' Organographia as a Source-Book for Information about Baroque Instruments.
  13. Musicians in English Society, 1580-1630.
  14. Word Setting in the 16th-Century French Chanson.
  15. Ornamentation in the English Ayre and Song, ca. 1600.
  16. Word Setting in the Music of Händel.
  17. Word Setting in the Music of Henry Purcell.
  18. Back Course Description
    Back Introduction and Links
  19. Concertato Style in the Music of Heinrich Schütz.
  20. Form and Style in the Organ Chorales of J.S. Bach.
  21. The Origins of the Concerto Grosso, 1650-1710.
  22. The Genesis of J.S. Bach's Mass in B Minor.
  23. Wind Instruments in Baroque Chamber Music.
  24. Orchestration and Characterization in Mozart's Operas.
  25. Instrumentation in the Music of Claudio Monteverdi.
  26. Concerto delle donne: The ladies of Ferrara, Musica Secreta and the development of early baroque music.
  27. The Continuo in Music Composed after 1760.
  28. Chamber Music in Eighteenth-Century New England.
  29. Frederick the Great (of Brandenburg and Prussia) and Music [Frederick as composer, performer, and patron.]
  30. Mozart and Salieri.
  31. The Horn in mixed Chamber Ensembles [ie., excluding all only-brass groups, wind quintets, and the like] of the Early 19th Century.
  32. Improvised Ornamentation in the Music of Chopin.
  33. Schubert and his Poets: a Study of the Poets and Poetry used in Schubert's Solo Songs. [This should include a study of his method of setting texts.]
  34. Back Course Description
    Back Introduction and Links
  35. The Prepared Piano, its Development and Literature.
  36. Béla Bartók and Hungarian Folk Song: Discovery and Influence.
  37. The "Cluster" and "Sound Mass", from Henry Cowell to the Present Day.
  38. The New Vocalism: Explorations into the Possibilities of the use of the Voice in Music since 1950.
  39. The Development of the Percussion Ensemble, 1910-1970.
  40. Scottish Folk Songs in Nova Scotia: Their Introduction; Use; Variants Resulting from Change of Environment.
  41. The "Child Ballads" in America

Note: Students may substitute other topics. If so, alternates must be approved by the course instructor, in advance. Students must be prepared to demonstrate that the resources to carry out the substitute topics are available, and to plan the course of action in preparing the topic.

Term papers are due one week before the last day of classes.
Each term paper must be legible (electronic, typed or computer printed papers are preferred).

Papers may be submitted electronically (on diskette, CD-ROM, by e-mail as attachments, or by other means) as HTML files, or set up as WWW sites. If papers are part of the student's WWW site, then the student may submit only the URL of the paper site. (For these, a paper copy is not necessary.)

Papers must contain adequate documentation (footnotes), and must have an adequate bibliography. A paper drawn only from principal dictionaries and encyclopaedias is not adequate. The research in a paper must show evidence of a familiarity with various types of sources (as discussed during the course).

(Due to danger of Word macro viruses, Microsoft Word for Windows format is not accepted.)

Papers may be written in French. However, if in French, the vocabulary must be totally consistent in that language; i.e., all terminology, names, and other language use, must be those normally used in French scholarship. A hybrid of English and French terminology will not be accepted.


Last updated: 25 August 2002.
Copyright © 1998 1999, & 2002 by Gordon J. Callon. All rights reserved. e-mail: gcallon@ca.inter.net or gordon.callon@acadiau.ca

Back Music 2273 Course Description   Back Music 2273 Introduction and Links   Back Score Links
Back Acadia University Home Page   Back Faculty of Arts Home Page