Teacher's Guide Cambridge Pre-U MUSIC Available for teaching ...

Cambridge Pre-U Teacher Guide
Mayer Brown, H. ‘How Opera Began’ [in Cochrane, E. (ed) The Late Italian Renaissance].
Macmillan 1970
Roche, J. Introduction to the Italian Madrigal. Gaudia Music & Arts Inc. 1989
Arnold, D. &
Carter, T. Monteverdi (Master Musicians Series). OUP 2000
Fabbri, P. Monteverdi (translated by Tim Carter). CUP 1994
Schrade, L. Monteverdi, Creator of Modern Music. 3rd reissue. Gollancz 1979
Stevens, D. (ed) The Letters of Claudio Monteverdi. OUP 1995
Stevens, D. &
Fortune, N. The Monteverdi Companion. Norton 2008
Whenham, J. &
Wistreich, R. (eds) The Cambridge Companion to Monteverdi. CUP 2007
Carter, T. Monteverdi’s Musical Theatre. Yale University Press 2002
Whenham, J. Claudio Monteverdi: Orfeo. (Cambridge Opera Handbooks).
CUP 1986
Arnold, D. Monteverdi Madrigals. (BBC Music Guides). BBC 1967
Arnold, D. Giovanni Gabrieli and the Music of the Venetian High Renaissance. OUP 1985
Watkins, G. Gesualdo: the Man and his Music. 2nd edition, OUP 1991
Topic C3: Modernism in France (1894–1925)
A study of this topic would be incomplete if it did not take account of the significant cross-fertilisation
of ideas between music and the other arts. A simple list of the relevant repertoire is therefore likely
to be less helpful for this topic than for the others. In view of this, the repertoire is presented below
in the form of a chronology, listing composers and their music alongside a selection of important
contemporary events and work in other art forms (particularly painting and literature). In order
to place the period of the topic in context, the chronology begins in 1875, the year of the first
‘Impressionist’ exhibition in Paris, and continues beyond the finishing date to end in 1937 with the
death of Ravel.
Candidates will not be expected to have more than a general familiarity with events and artistic
movements that lie outside the dates of the topic, which are defined by the composition and first
performance of Debussy’s Prélude à l’après-midi d’un faune in 1894 and the death of Erik Satie in
1925. However, they should be encouraged to learn enough about Impressionism in painting and
Symbolism in literature to understand the influence of these movements on Debussy and other
composers who were active in the early years of the period. They should also know enough about
Wagner’s influence on late nineteenth-century French music to understand the reasons for the
reaction against this when it eventually took place.
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