david bard schwarz University of North Texas College of Music

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1 david bard schwarz University of North Texas College of Music Instructor: Dr. David Bard Schwarz Office: MU 104 E mail: david.schwarz@unt.edu MUTH Theory IV Spring 2018 MU 287 MW 08:00 to 08:50; grader; me MUTH Theory IV Spring 2018 MU 321 MW 09:00 to 09:50; grader: Sean Bresemann MUTH Theory IV Spring 2018 MU 287 MW 12:00 to 12:50; grader: Ali Montazeri Office Hours: Thursdays 11 to 1 In this course we will study 20th and 21st Century music. We will begin with a discussion of late 19th Century / early 20th Century pieces that are right on the threshold between chromaticism and atonal musical languages. Then we will move into the course proper, consisting of three sections: 1) atonal (exploring atonal pitch class set theory); 2) serial (exploring 12 tone techniques); and 3) hybrid techniques (quasi tonal / quasi atonal). Coming to class regularly and punctually is very important. You will be dropped from the course after three unexcused absences; I take roll at the top of the hour; three latenesses = one unexcused absence. You will be excused from class due to natural disasters, transportation problems beyond your control, medical emergencies (concerning you or members of your immediate family), and official UNT musical activities. A proven case of plagiarism on a paper will result in an F for the course. Please dress with a reasonable degree of decorum appropriate for university life. Grades will be determined as follows: Quizzes (announced and unannounced) = 20% Midterm: (atonality) = 40% Final Exam: (serialism) = 40% Student Perception of Teaching (SPOT) is a requirement for all organized classes at UNT. This short survey will be made available to you at the end of the semester, providing you a chance to comment on how this class is taught. I am very interested in the feedback I get from students, as I work to continually improve my teaching. I consider the SETE to be an important part of your participation in this class. 00:00 27:24 VIDEO for Webern, Opus 27, no. 2 VIDEO for Webern, Opus 21, II: the theme VIDEO for Webern, Opus 21, II: variation I VIDEO for Webern, Opus 21, II: variation II VIDEO for Webern, Opus 21, II: variation III VIDEO for Webern, Opus 21, II: variation: IV 1/7

2 Why atonality? (some answers): 1) progress forward from the chromaticism of the late 19th century, 2) the discovery of the unconscious (Freud and others), 3) abstraction in the visual arts (Kandinsky and others), 4) the modern city (industrialization), 5) quantum physics (Einstein). Piet Mondrian: tree: jpg Piet Mondrian: tree: jpg Piet Mondrian: tree: jpg Pieces that have crossed the Threshold between Tonality and Atonality Schoenberg, Opus 11 YOUTUBE Schoenberg, Opus 11: pdf Berg, Opus 2 songs YOUTUBE Berg Opus 2 songs: pdf Webern, Opus 6 no. 1 YOUTUBE Webern Opus 6: pdf Straus, Introduction to Post Tonal Theory Chapter 1: pdf atonal pitch class set theory: ordered pitch intervals, unordered pitch intervals, ordered pitch class intervals, unordered pitch class intervals The row of Berg's Lyric Suite. How do the four types of intervals help us understand the pitch and pitch class structures of this row? Ordered and Unordered Pitch class intervals: jpg In addition to class, we will have a guest lecture by Prof. Jack Boss from 3:30 to 4:30 in MU 258. There may be a quiz on the material covered in Prof. Boss' lecture so be sure not to miss it. If you have a previous requirement, the lecture will be videotaped There is no regular class today; I need to miss for medical reasons; instead, please watch the video below for a lesson. That will do four things: 1) review opi, upi, opci, upci, 2) an "impossible object" from Webern's Opus 10 no. 1, 3) segmentation, and 4) Klangfarbenmelodie Video lesson for today: mov (434 MB) Pitch and Pitch Class notations: pdf Webern, Piece for Orchestra Opus 10, no.1: pdf Webern, Piece for Orchestra Opus 10, no.1: mp Straus, Chapter 2. Read the materials on transposition (pp ). Pay particular attention to Example 2.6 and how the material transposes in pitch class and pitch space (if it does). Do you hear (or see) transposition in Webern, Pieces for String Quartet Opus 5 no. IV: pdf? If so, does it map onto pitch as well as pitch class space? Webern, Opus 5 no. 4: mp atonal pitch class set theory: how we hear and process music: phenomenology and segmentation Webern, Pieces for Violin and Piano Opus 7: pdf Webern, Opus 7, no. 1: mp3 Webern, Opus 7, no. 2: mp3 Webern, Opus 7, no. 3: mp3 Webern, Opus 7, no. 4: mp3 2/7

3 Class Cancelled: make up forthcoming normal form See the material in Straus, Chapter 2 (see ) inversion of pc sets; read Straus, Chapter 2, pp Work on the trichords in the upper strings at the beginning of Webern, Piece for String Quartet Opus 5, no. 3: pdf. Webern, Piece for String Quartet Opus 5, no.3: mp Read about prime form in Straus, Chapter 2, pp Prime forms from Straus: pdf atonal pitch class set theory: subsets and supersets: pdf Straus, Chapter 3: pdf (read pp on subsets and supersets) Webern, Piece for Violin and Piano Opus 7, no. 3: mp Read Straus, Chapter 3, pp on atonal voice leading. Pay particular attention to the example on page 107. Try this out on the trichords in sixteenth notes in Webern, Wie bin ich froh: pdf Webern, Wie bin ich froh: mp /7

4 George Rochberg, Caprice no. 42: mp Midterm Exam on Atonality Practice Midterm: pdf The 12 tone row and the four basic permutations: Prime (P), Retrograde (R), Inversion (I), and Retrograde Inversion (RI) Straus, Introduction to Post Tonal Theory Chapter 5: pdf Do you want to know what the matrix is? Webern Opus 27 no. 2: pdf Webern Opus 27 no. 2: mp3 Webern Opus 27, no. 2 (matrix): pdf VIDEO: Webern's Opus 27 no. 2: mp Webern Opus 21, II: pdf Webern Opus 21, II (matrix): pdf Webern, Symphony Opus 21, II: mp3 The "theme" of the work 4/7

5 Webern Opus 21, II: Variation I Webern Opus 21, II: Variation II Webern Opus 21, II: Variation III Webern Opus 21, II: Variation IV Dallapiccola quaderno musicale di annalibera (complete): pdf Work on no. 3 for today Quaderno no. 3: mp3 matrix for the quaderno pieces: pdf: Dallapiccola no. 5: mp3 Simple Canon, Mirror Canon, Crab Canon 5/7

6 Dallapiccola no. 9: mp Dallapiccola no. 6: mp Berg's 12 tone rows: the Violin Concerto and the Lyric Suite Paert, Fratres: pdf Paert, Fratres: mp Glass, Violin Concerto, first movement: pdf Review Session in class during our regularly scheduled class! Final Exam on Serialism for 8 o'clock section from 8 to 10 a.m. 6/7

7 Final Exam on Serialism for 9 o'clock section: 8 to 10 a.m Final Exam on Serialism for 12 o'clock section: 10:30 to 12:30 p.m. 7/7

Paper #1: (atonal (analysis)) = 50% Paper #2: (serial (analysis)) = 50%

Paper #1: (atonal (analysis)) = 50% Paper #2: (serial (analysis)) = 50% MUTH 2500 004 Theory IV Spring 2017 MU 287 MW 10:00 to 10:50 MUTH 2500 005 Theory IV Spring 2017 MU 287 MW 12:00 to 12:50 Office Hours: Thursdays 2 to 4 Instructor: Dr. David Bard Schwarz Office: MU 104