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1 MUTH 5370: Analytical Techniques III, Fall 2014 MWF 2-2:50 MU 2006 Instructr: Dr. David Schwarz Office: MU Office Hurs: Daily In this curse we will listen t and analyze 20th Century Music. We will emphasize precise musical-theretical analysis incrprated int clear, persuasive language. The main parts f the curse will cmprise: 1) atnal pitch-class set thery and atnal music written rughly frm 1905 t 1923, 2) 12-tne analytical techniques and the 12-tne music written rughly frm 1923 t 1945, and 3) hybrid music f the late 20th Century--music that is "srt f" tnal and "srt f" atnal and / r music that invites analysis based n parameters ther than cnventinal pitch structure. Jseph N. Straus' bk Intrductin t Pst-Tnal Thery Third Editin is required fr the curse. All curse materials are present n this website in the frm f pdf files (that yu may dwnlad) and audi and vide files t which yu may listen n line. Grades will be determined as fllws: (papers will lse 1/3 a letter per hur late). Paper #1 = 30% Paper #2 = 30% Paper #3 = 40% All papers must be duble-spaced, with 12 pint fnt, 1 inch margins, and yur name n each page (n cver pages); please write yur name as: First Name + Last Name. I will cmment n yur papers and assign grades as ntes added t pdf files. Please make sure when yu save t pdf that yu d nt save t pdf/a, pdf/e, r pdf/x prtcls. If yu are using yur wn cmputers that prbably wn't happen. But if yu g t sme lab, internet cafe, r ther establshment f questinable cybernectic hygiene, yu may (withut knwing it) save t ne f thse prtcls. Yu will need Adbe Acrbat Reader (free) t read my cmments. Dwnlad it nw! Adbe Acrbat Reader fr Machintsh r Adbe Acrbat Reader fr PC Audi/Vide Player 00:00 Intrductin previus play next stp mute max vlume audi Berg. Pian Snata Opus 1 by Maurizi Pllini audi Schenberg, Verklaerte Nacht (transitin between the snatas) by unknwn audi Webern Piece fr String Quartet Opus 5 n. 4 by Quartett Italian audi Webern Piece fr Vilin and Pian Opus 7 n. 1 by Isaac Stern and Charles Rsen audi Webern Opus 3 n. 1 by Bethany Beardsley audi Rchberg Caprice n. 42 fr sl vilin by Zvi Zeitlin audi Webern Bagatelle fr String Quartet Opus 9, n. 4 by Quartett Italian audi Webern Opus 10, n. 1 by unknwn audi Webern Opus 10, n. 3 by unknwn audi Webern, Wie bin ich frh by Bethany Beardsley audi Webern Symphny Opus 21, II by unknwn audi Webern Variatins fr Pian Opus 27, II by unknwn audi Berg, Lyric Suite (whisper music) by unknwn audi Emily Hwell frm Darkness, Light by unknwn audi Paert Fratres by Krns String Quartet audi Ligeti, Lux Aeterna by unknwn audi Varese Inizatin by unknwn audi Beri Sequenza III by unknwn audi Rchberg, Caprice n. 24 fr Sl Vilin by Zvi Zeitlin audi Yuasa White Nise by unknwn Berg, Snata fr Pian Opus 1: pdf Berg, Snata fr Pian Opus 1: (first phrase) pdf 10:42

2 Schenberg, Verklaerte Nacht (transitin between the snatas): pdf Straus, Chapter 1: pitch, pitch classes (names and numbers), intervals (names and numbers), rdered pitch intervals, unrdered pitch intervals, rdered pitchclass intervals, unrdered pitch-class intervals (aka interval classes), interval cycles Webern, String Quartet Opus 5, n. 4: pdf Straus Chapter 2: atnal pitch-class sets, segmentatin, nrmal rder A list f all pitch-class sets Webern, Pieces fr Vilin and Pian Opus 7: pdf Straus, Chapter 2: set classes Webern, Sngs Opus 3: pdf Stephan Gerge: "Dies ist ein Lied": pdf An English Translatin f the Gerge: This is a sng / fr yu alne: / f childish beliefs, / f pius tears.../ thrugh mrning gardens it flats / n light wings. / Only fr yu / wuld it like t be a sng / that mves the sul. Straus, Chapter 2: transpsitin, inversin, index number, inversin x/y Why inverting and then transpsing pitch-class sets prduces different results than transpsing and then inverting: transpsing pc set [5679] at T1 and then inverting: T1 [5679] = [678t]; I [678t] = [6542] = [2456] inverting pc set [5679] and then transpsing at T1: I [5679] = [7653] = [3567]; T1 [3567] = [4678] And bviusly [2456] and [4678] are different pitch-class sets! Gerge Rchberg, Caprices fr Sl Vilin: pdf Caprice n. 42: There are faily bvius trichrds in the A sectin (befre the duble bar) and tetrachrds after the duble bar (in additin t a cncluding hexachrd). The A sectin includes: [9e3] member f set class (028) and [46t] member f (028). What is significant abut this transpsitin level that cnnects these tw pc sets? The B sectin includes: [7913], [6802], [57e1], [46t0], [359e], and [2487], all members f set class (0268). What is signficant abut the transpsitin levels here (think abut hw alternating pc sets relate t each ther as well)? The final hexachrd is pc set [123789], member f set class (012678). This pc set prvides the wrk with a kind f "cadence." Hw des it d s precisely? There's an bvius sequential transpsitin wrking thrugh cntiguus pc sets in the B sectin. What wuld have happened if Rchberg kept it ging beynd the hexachrd? Hw can ne accunt as well fr the quarter tne in the hexachrd (aside frm ignring it theretically) Webern, Opus 7, n. 1 (revisited) Read the material in Straus n Atnal Vice-Leading (pp ) Webern, Bagatelle fr String Quartet Opus 9, n. 4: pdf Bijectin (n line) Injectin (n line) Surjectin (n line) Fr tday, shw the vice-leading amng the trichrds f triplet sixteenth ntes in Webern's "Wie bin ich frh."

3 Straus Chapter 3: subset and supersets; transpsitinal cmbinatins. One piece that we have lked at prvides a clear example f transpsitinal cmbinatin; which ne is it and what is the effect f the cmbinatin? Webern, Piece fr Orchestra Opus 10, n. 1: pdf Webern, Piece fr Orchestra Opus 10, n. 1 (segmented): pdf Review f Atnal Pitch-Class Set Thery: pdf Wrk based n the Review f Atnal Pitch-Class Set Thery: pdf Straus, Chapter 3: cntur segments Webern, Piece fr Orchestra Opus 10, n. 4: pdf (at the end f the third piece, als included) Fr tday, practice CSEGs n the pieces that we have studied. D sme segmentatin and pc set analysis n the Webern Opus 10, n. 3 and Write yur first paper n Webern's Opus 3 n. 5: pdf. Write a paper in which yu supprt a thesis that takes the shape f David Lewin's "I hear this and this in this piece, and I think yu can t." Use the first persn singular prnun; emphasize what yu hear, and discuss in detail evidence frm the wrk in supprt f yur argument. In terms f length, the paper shuld be lng as necessary and as shrt as pssible. Write clear musical examples (sketches, pc-set theretical accunts f varius passages, prtins f the scre, etc) that are labelled with example tags in the prse f yur paper, and as headings t the examples themselves. Yur audience--a fellw graduate student at UNT wh is either ging t perfrm the piece r write a thesis n the Opus 3; yur purpse--t cnvince him / her f the musical and intellectual validity f yur interpretatin; yur vice--apprpriate t yur audience and purpse. Make sure t read and fully incrprate the guidelines in "writing guidelines". Make sure t include page numbers n each page; duble-space yur wrk; and print single-side nly. Cnsult n external surces in preparing yur wrk; (we'll wrk n incrprating surces in yur next paper). I'll use the fllwing grading criteria in grading yur papers: 1) clarity f thesis and its Lewinesque imperative 2) clarity f unflding f thesis thrugh the paper 3) music examples, their tags, and clarity f presentatin 4) quality f rhetrical ternary structure (intr / qute / cmment) 5) sentence-level clarity Read Straus n Serial / 12-tne Techniques Webern, "Wie bin Ich frh: pdf Webern, Wie bin ich frh: matrix: pdf Webern, Symphny Opus 21, II: pdf (NB: the scre is in C!) Webern, Opus 21, n. 2 (matrix): pdf Webern, Symphny Opus 21, II variatin I Webern, Symphny Opus 21, II variatin II Webern, Variatins fr pian Opus 27, n. 2: pdf Webern, Symphny Opus 21, II variatin III Webern, Opus 21, II variatin IV Webern, Opus 21, II variatin V

4 Webern Opus 21, II, variatin VI Webern Opus 21, II, variatin VII Yur secnd paper is due tday. Write a paper describing the musical language f the secnd mvement f Webern's Cncert Opus 24 II: pdf. Be sure t apply all analytical techniques we have used thus far in the curse, including atnal pitch-class set thery (as apprpriate). Incrprate at least ne external surce in yur wrk (using the Harvard dcumentatin style), and refer t that surce using at least ne paraphrase, ne shrt qute and ne lng qute. Yur audience: a faculty member f the COM at UNT wh knws the pus 24, as well as atnal pc set thery and serial thery well. Yur purpse--t shw him /her as clearly as pssible hw the musical language f the piece wrks. Grading criteria will be as fllws: clarity f thesis and its first persn agency unflding f thesis thrugh the paper ternary rhetrical structure set-up f music examples cmpleteness and clarity f musical examples accuracy and apprpriateness f analytical techniques applied t the wrk appeal t audience, purpse, and vice accuracy and apprpriate incrpratin f dcumentatin Berg, Lyric Suite "Whisper Music": pdf Emily Hwell, Frm Darkness, Light: pdf Paert: Fratres: pdf Ligeti, Lux Aeterna: pdf Varèse, Inizatin: pdf Beri, Sequenza III: pdf Hw t represent crdinatin and subrdinatin f musical materials t ne anther. This will help yu in planning yur third paper. First, we'll re-visit Arv Pärt's Fratres; then we'll discuss Gerge Rchberg's Caprice n. 24 fr sl vilin. The scre is belw and I've upladed a recrding t the player. Gerge Rchberg, Caprice Variatins fr Sl Vilin (find n. 24): pdf ) Yuasa, White Nise (n scre) Yur third paper is due tday.

5 Write yur third paper n Beat Furrer's Vicelessness: pdf. Yur audience is a graduate student wrking n his / her DMA at UNT in pian perfrmance. Yur purpse is t suggest t him / her sme salient feature f the musical language f the wrk.