MUTH 5680/6680: Proseminar in Sonata Theory 3 Credit Hours / Fall 2016 Wed. 1:00-3:50 PM MU 289

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1 MUTH 5680/6680: Proseminar in Sonata Theory 3 Credit Hours / Fall 2016 Wed. 1:00-3:50 PM MU 289 Professor Dr. Samantha Inman samantha.inman@unt.edu Office Music Building 215 Office Hours Mon. 2:30-3:00, Tue. 9:30-11:00, or by appointment. To request a meeting, please me a list of days and times you are available. In the body of your , please include a description of the general reason for meeting so I can best be prepared to help you. Course Objectives To understand, critique, and apply the philosophical, theoretical, and analytical aspects of Hepokoski and Darcy s Sonata Theory. To situate Sonata Theory in relation to past and present Formenlehre as well as in relation to other analytical approaches. To gain fluency in the norms of sonata design and style through detailed analyses of numerous works from the eighteenth and nineteenth centuries. To apply knowledge of Sonata Theory in original research extending beyond the repertoire discussed in Elements. Required Materials Elements of Sonata Theory by James Hepokoski and Warren Darcy (Oxford 2006) Additional readings and scores as assigned via Blackboard. Weekly Assignments and Participation Readings and analyses will be assigned weekly. This is a discussion-based course, not a lecture course. Thorough preparation and active participation are essential to the success of each class meeting. You are expected to attend every class meeting. Failure to do so without justification will have an adverse effect on your grade. Formal assignments may take the form of short presentations, short essays, summaries, and/or form diagrams. Final Project The final project entails a corpus study of six or more works by a single composer in a single genre of your choice. Select mostly pieces not discussed in Elements of Sonata Theory. Possibilities include lesser-known repertoire from the late eighteenth century (e.g. Wagenseil symphonies) or repertoire before or after the focal period of Elements (e.g. Mendelssohn quartets). Each student will submit a SMT-style paper proposal, give a 20-minute formal presentation in class (followed by a 10 minute Q&A), and submit a final written paper of at least 3,000 words plus figures and bibliography. Citations should follow the guidelines in the 16 th edition of The Chicago Manual of Style (preferably the author-date variant of ch. 15). Successful projects will have a strong thesis focusing discussion of the chosen repertoire. Possibilities include proposing or debunking a norm, interfacing with other analytic approaches, and engaging with studies specific to that composer, among many others. 1

2 Course Schedule (subject to change) Unit 1: Elements of Sonata Theory Week 1 Introduction Ch. 1-3, App. 1-2 Week 2 Action Zones Ch. 5-7 & 9 Week 3 Development and Recapitulation Ch Week 4 Continuous Exposition Ch. 4, Monahan 2011, Richards 2013a Week 5 S-Complications Ch. 8, Monahan 2011, Hepokoski 2002 Week 6 Parageneric Spaces, Sonata Cycle Ch Week 7 Types 1-2 Ch , Jackson 1996 Week 8 Types 4-5 Ch , Huguet 2015 (selections) Unit 2: Reception and Extension Week 9 Critical Reception Mastic 2015, various reviews Week 10 Caplin and Formal Functions *Project proposal due Darcy 2000, Caplin 2009, Caplin/Martin 2016, Hepokoski 2016 Week 11 Schenkerian Analysis Cadwallader/Darcy 2008, Marvin , Suurpää 1999 Week 12 Romanticism Webster , Hunt 2009 & 2014, P. Smith 2014 Week 13 Mahler, Narrative Theory, and the Limits of Sonata Theory Marvin 2009, Monahan 2015 Ch. 6 Unit 3: Final Project Weeks *Final Presentations Exam Week *Final paper due by noon in my office on Mon., Dec. 12. Grading Rubric Letter Grades Assignments & Presentations 45% A % Discussion Participation 10% B 80-89% Final Presentation 10% C 70-79% Final Paper 35% D 60-69% F below 60% Technology Your access point for business and academic services at UNT occurs at my.unt.edu. All official communication from the university will be delivered to your Eagle Connect account, which you are responsible for checking on a regular basis. For more information, please visit the website that explains Eagle Connect and how to forward your o eagleconnect.unt.edu/ Announcements, homework instructions, and class handouts will be posted on Blackboard ( You are encouraged to bring a laptop to class to facilitate viewing articles and taking notes. 2

3 Office of Disability Accommodations The University of North Texas makes reasonable academic accommodation for students with disabilities. Students seeking accommodation must first register with the Office of Disability Accommodation (ODA) to verify their eligibility. If a disability is verified, the ODA will provide you with an accommodation letter to be delivered to faculty to begin a private discussion regarding your specific needs in a course. You may request accommodations at any time, however, ODA notices of accommodation should be provided as early as possible in the semester to avoid any delay in implementation. Note that students must obtain a new letter of accommodation for every semester and must meet with each faculty member prior to implementation in each class. For additional information see the Office of Disability Accommodation. LINK: disability.unt.edu. Phone: (940) Academic Integrity & Student Behavior LINK: LINK: Student Code of Conduct Fall Semester Academic Schedule (with Add/Drop Dates) Final Exam Schedule Financial Aid and Satisfactory Academic Progress LINK: Retention of Student Records LINK: essc.unt.edu/registrar/ferpa.html Course Reserves The following resources are available at the music circulation desk: Bergé, Pieter, ed Musical Form, Forms, and Formenlehre: Three Methodological Reflections. Leuven: Leuven University Press. Bergé, Pieter, and Jeroen D hoe, and William E. Caplin, eds Beethoven s Tempest Sonata: Perspectives of Analysis and Performance. Leuven Studies in Musicology. Leuven, Belgium: Peeters. Brown, A. Peter, founding editor The Symphonic Repertoire Vol. 1: The Eighteenth-Century Symphony. Edited by Mary Sue Morrow and Bathia Churgin. Bloomington: Indiana University Press. Caplin, William E Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York and Oxford: Oxford University Press. Webster, James Haydn s Farewell Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music. Ian Bent, General Editor. Cambridge: Cambridge University Press. 3

4 Sonata Theory Bibliography Core Sonata Theory Sources Hepokoski, James Masculine/Feminine. The Musical Times 135: Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation. 19 th -Century Music 25(2-3): Beyond the Sonata Principle. Journal of the American Musicological Society 55: Hepokoski, James Formal Process, Sonata Theory, and the First Movement of Beethoven s Tempest Sonata. Music Theory Online 16(2). Hepokoski, James, and Warren Darcy The Medial Caesura and its Role in the Eighteenth- Century Sonata Exposition. Music Theory Spectrum 19: Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford and New York: Oxford University Press. Monahan, Seth Sonata Theory in the Undergraduate Classroom. Journal of Music Theory Pedagogy 25: Reviews of Elements Drabkin, William Review: Mostly Mozart. The Musical Times 148(1901): Galand, Joel Review: Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Journal of Music Theory 57(2): Hunt, Graham G Review of Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Theory and Practice 32: Ludwig, Alexander Hepokoski and Darcy s Haydn. Haydn: The Online Journal of the Haydn Society of North America 2(2). Neuwirth, Markus Joseph Haydn s witty play on Hepokoski and Darcy s Elements of Sonata Theory. Zeitschrift Der Gesellschaft für Musiktheorie 8(1): Richards, Mark Review of Elements of Sonata Theory. Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic 3(1): Riley, Matthew. Review of Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. Music & Letters 89(4): Spitzer, Michael Review of Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. Beethoven Forum 14(2): Whittall, Arnold Review: Representing Sonatas. Journal of the Royal Musical Association 133(2): Wingfield, Paul Beyond Norms and Deformations : Towards a Theory of Sonata Form as Reception History. Music Analysis 27(1): Caplin and Formal Functions contra Sonata Theory Bergé, Pieter, ed Musical Form, Forms, and Formenlehre: Three Methodological Reflections. Leuven: Leuven University Press. Bergé, Pieter, and Jeroen D hoe, and William E. Caplin, eds Beethoven s Tempest Sonata: Perspectives of Analysis and Performance. Leuven Studies in Musicology. Leuven, Belgium: Peeters. Caplin, William E The Expanded Cadential Progression : A Category for the Analysis of Classical Form. Journal of Musicological Research 7:

5 Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types. Beethoven Forum 3: Caplin, William E Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York and Oxford: Oxford University Press The Classical Cadence: Conceptions and Misconceptions. Journal of the American Musicological Society 57(1): On the Relation of Musical Topoi to Formal Function. Eighteenth-Century Music 2(1): Caplin, William E Analyzing Classical Form: An Approach for the Classroom. New York: Oxford University Press. Caplin, William and Nathan John Martin The Continuous Exposition and the Concept of Subordinate Theme. Music Analysis 35(1): Darcy, Warren Review of Classical Form: A Theory of Formal Functions of the Instrumental Music of Haydn, Mozart, and Beethoven. Music Theory Spectrum 22(1): Hepokoski, James Sonata Theory, Secondary Themes and Continuous Expositions: Dialogues with Form-Functional Theory. Music Analysis 35(1): Huguet, Joan Campbell Formal Functions and Voice-Leading Structures in Beethoven s Early Sonata-Rondo Finales. PhD diss., University of Rochester. Hyland, Anne M. In Search of Liberated Time, or Schubert s Quartet in G Major, D. 887: Once More Between Sonata and Variation. Music Theory Spectrum 38(1): MacKay, James S Sonata Form Experimentation in Joseph Haydn s String Quartets, Opus 17. Haydn: The Online Journal of the Haydn Society of North America 4(1). Martin, Nathan John Formenlehre Goes to the Opera: Examples from Armida and Elsewhere. Studia musicologica: An international journal of musicology of the Hungarian Academy of Sciences 51(3-4): Martin, Nathan John and Steven Vande Moortele Formal Functions and Retrospective Reinterpretation in the First Movement of Schubert s String Quintet. Music Analysis 33(2): Minturn, Neil Reading Mozart s Piano Sonata in D Major (K. 311) First Movement. In Keys to the Drama: Nine Perspectives on Sonata Forms, edited by Gordon Sly, Burlington, VT: Ashgate. Schmalfeldt, Janet Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form. Music Analysis 10(3): In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth- Century Music. Oxford Studies in Music Theory. Oxford: Oxford University Press. Vande Moortele, Steven Review of In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Music Analysis 32(3): Vande Moortele, Steven, Julie Pedneault-Deslauriers, and Nathan John Mardin, eds Formal Functions in Perspective. Eastman Studies in Music. Rochester: University of Rochester Press. Schenkerian Analysis and Sonata Theory Cadwallader, Allen Intersections between Two Analytical Perspectives on Sonata Form: the Schenkerian Approach. In Essays from the Fourth International Schenker Symposium, Volume 1, edited by Allen Cadwallader, Hildesheim: Georg Olms Verlag. Cinnamon, Howard Classical Models, Sonata Theory, and the First Movement of Liszt s Faust Symphony. Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic 4(1): Article Classical Models, Sonata Theory, Equal Division of the Octave and Two Nineteenth- 5

6 Century Symphonic Movements: Comparing Analytical Approaches. Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic 6(1): Article 3. Darcy, Warren Intersections between Two Analytical Perspectives on Sonata Form: The Sonata Theory Approach. In Essays from the Fourth International Schenker Symposium, Volume 1, edited by Allen Cadwallader, Hildesheim: Georg Olms Verlag. Galand, Joel Auxiliary Cadences and the Binary Rondo. Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic 6(2): Article 4. Hunt, Graham G When Structure and Design Collide: The Three-Key Exposition Revisited. Music Theory Spectrum 36 (2): Inman, Samantha Mae The Nexus of Inner and Outer Form in Joseph Haydn s Late Instrumental Sonata Movements. PhD diss., University of Rochester. Lindberg, Kai The organization of the exposition and a way to the secondary key in the first movement of Anton Bruckner's symphony no. 1. DocMus-tohtorikoulun julkaisu (1): 53-70, Marvin, William Und so weiter: Schenker, Sonata Theory, and the Problem of the Recapitulation. Theory and Practice 37-38: Pomeroy, Boyd Formal Fusion and Its Effect on Voice-Leading Structure: The First Movement of Beethoven s Opus 132 Revisited. In Bach to Brahms: Essays on Musical Design and Structure. Eastman Studies in Music. Rochester: Rochester University Press: Smith, Peter H Schumann s Continuous Expositions and the Classical Tradition. Journal of Music Theory 58(1): Suurpää, Lauri Continuous Exposition and Tonal Structure in Three Late Haydn Works. Music Theory Spectrum 21(1): Interrelations between Expression and Structure in the First Movements of Joseph Haydn s Piano Sonatas Hob. XVI/44 and Hob. XVI/20. Intégral 23: Indistinct formal functions and conflicting temporal processes in the second movement of Brahms's third symphony. In Bach to Brahms: Essays on Musical Design and Structure. Eastman Studies in Music. Rochester: Rochester University Press: Other Sonata Theory Extensions and Critiques Aziz, Andrew I The Evolution of Chopin s Sonata Forms: Excavating the Second Theme Group. Music Theory Online 21(4). Christiaens, Jan Analysis as Mediated Immediacy: Adorno, Hepokoski & Darcy, and the Dialectics of Music Analysis. Dutch Journal of Music Theory 13(2): Cortens, Evan. The expositions of Haydn s string quartets: A corpus analysis. Haydn: The Online Journal of the Haydn Society of North America 4(1). Davis, Andrew Mixed Genres and Narrativity in Chopin s B-minor Sonata. In Music: Function and value Proceedings of the 11th International Congress on Musical Signification. Cracow, Poland: Akademia Muzyczna w Krakowie Chopin and the Romantic Sonata: The First Movement of Op. 58. Music Theory Spectrum 36(2): Horton, Julian Bruckner s Symphonies and Sonata Deformation Theory. Journal of the Society for Musicology in Ireland 1: Hunt, Graham G The Three-Key Trimodular Block and Its Classical Precedents: Sonata Expositions of Schubert and Brahms. Intégral 23: Kuhn, Judith Shostakovich in Dialogue: Form, Imagery and Ideas in Quartets 1-7. Burlington, VT: Ashgate. 6

7 Lima, Eduardo Solá Chagas The Role of Proportion in the First-Movement Expositions of Mozart s String Quintets. Revista Vórtex/Vortex Music Journal 2(1): Marvin, William Mahler s Third Symphony and the Dismantling of Sonata Form. In Keys to the Drama: Nine Perspectives on Sonata Forms, edited by Gordon Sly, Burlington, VT: Ashgate. Mastic, Timothy R Normative Wit: Haydn s Recomposed Recapitulations. Music Theory Online 21(2). Monahan, Seth Success and Failure in Mahler s Sonata Recapitulations. Music Theory Spectrum 33 (1): Mahler s Symphonic Sonatas. Oxford Studies in Music Theory. Oxford: Oxford University Press. Morrow, Mary Sue Haydn and the analysis wars: A view from the sidelines. Haydn: The Online Journal of the Haydn Society of North America 3(2). Ng, Sam Phrase Rhythm as Form in Classical Instrumental Music. Music Theory Spectrum 34(1): Richards, Mark. 2013a. Beethoven and the Obscured Medial Caesura: A Study in the Transformation of Style. Music Theory Spectrum 35(2): Richards, Mark. 2013b. Sonata Form and the Problem of Second-Theme Beginnings. Music Analysis 32(1): Other Form Sources (highly selective) Bonds, Mark Evan Haydn s False Recapitulations and the Perception of Sonata form in the Eighteenth Century. PhD diss., Harvard University. Burnham, Scott Form. In The Cambridge History of Western Music Theory, edited by Thomas Christensen, Cambridge: Cambridge University Press. Cone, Edward T Musical Form and Musical Performance. New York: Norton. Jackson, Timothy The Tragic Reversed Recapitulation in the German Classical Tradition. Journal of Music Theory 40(1): Brown, A. Peter, founding editor The Symphonic Repertoire Vol. 1: The Eighteenth-Century Symphony. Edited by Mary Sue Morrow and Bathia Churgin. Bloomington: Indiana University Press. Neuwirth, Markus and Pieter Bergé, eds What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Leuven, Belgium: Leuven University Press. Rosen, Charles Sonata Forms. Rev. ed. New York: W. W. Norton.. [1971] The Classical Style: Haydn, Mozart, Beethoven. Expanded ed. New York: W. W. Norton. Webster, James Schubert s Sonata Form and Brahms s First Maturity. 19 th -Century Music 2(1): and 3(1): Haydn s Farewell Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music. Ian Bent, General Editor. Cambridge: Cambridge University Press. 7

MUS 502: PROSEMINAR IN TONAL ANALYSIS FALL 2017

MUS 502: PROSEMINAR IN TONAL ANALYSIS FALL 2017 Thursdays 1:00 4:00, Staller Center 2318 Instructor: August Sheehy Email: august.sheehy@stonybrook.edu Office Hours: Monday 4:00 5:00 in Staller Center 3328