A proven case of plagiarism on an exam will result in an F for the course.

Transcription

1 David Bard-Schwarz MUTH Thery IV Fall 2015 MU 250 MW 10:00 t 10:50 Office Hurs: Fridays 10:00 t nn Instructr: Dr. David Bard-Schwarz Office: MU david.schwarz@unt.edu In this curse we will spend rughly the first mnth f the curse deepening ur skills in cmpsitin and analysis f diatnic tnal and chrmatic tnal music. We will spend the rest f the curse studying tw early-t-mid 20th Century techniques--atnal and serial (12-tne) music. All f the pieces we will discuss are present belw as mp3 files t which yu may listen n line but may nt dwnlad and pdf files that yu may dwnlad and print; d nt dwnlad and print pdfs frm the Cllege f Music cmputer rm. Cming t class regularly and punctually is very imprtant. Yu will be drpped frm the curse after three unexcused absences; I take rll at the tp f the hur; three latenesses = ne unexcused absence. Yu will be excused frm class due t natural disasters, transprtatin prblems beynd yur cntrl, medical emergencies (cncerning yu r members f yur immediate family), and fficial UNT musical activities. A prven case f plagiarism n an exam will result in an F fr the curse. Yu will need a gd thery bk; we recmmend Steven G. Laitz, The Cmplete Musician Third Editin. (New Yrk and Oxfrd: Oxfrd University Press, 2012). Grades will be determined as fllws: In-class wrk and weekly assignments = 10% Exam #1: (ver diatnic and chrmatic tnal music nly) = 30% Exam #2: (ver atnal music nly) Exam #3: (ver serial music nly) The Student Evaluatin f Teaching Effectiveness (SETE) is a requirement fr all rganized classes at UNT. This shrt survey will be

2 made available t yu at the end f the semester, prviding yu a chance t cmment n hw this class is taught. I am very interested in the feedback I get frm students, as I wrk t cntinually imprve my teaching. I cnsider the SETE t be an imprtant part f yur participatin in this class. Audi/Vide Player previus play next stp mute max vlume 00:00 00:00 vide Intrductin t the Class Beethven, Symphny n. 5 in C minr: first mvement by Brun Walter and the Clumbia Symphny Orchestra vide The Snata and the First Mvement f Beethven, Symphny n. 5, first mvement audi lecture augmented sixth chrds and beethven Beethven, Symphny n. 5 in C minr: secnd mvement by Brun Walter and the Clumbia Symphny Orchestra Beethven, Symphny n. 4 in B-flat majr: first mvement by nt knwn Webern, Pieces fr String Quartet Opus 5, n. 1 by Quartett Italian Webern, Pieces fr String Quartet Opus 5, n. 2 by Quartett Italian

3 Webern, Pieces fr String Quartet Opus 5, n. 3 by Quartett Italian Webern, Pieces fr String Quartet Opus 5, n. 4 by Quartett Italian Webern, Pieces fr String Quartet Opus 5, n. 5 by Quartett Italian Dallapiccla, Quadern Musicale di Annalibera, n. 1 by Dallapiccla, Quadern Musicale di Annalibera, n. 2 by Dallapiccla, Quadern Musicale di Annalibera, n. 3 by Dallapiccla, Quadern Musicale di Annalibera, n. 4 by Dallapiccla, Quadern Musicale di Annalibera, n. 5 by Dallapiccla, Quadern Musicale di Annalibera, n. 6 by Dallapiccla, Quadern Musicale di Annalibera, n. 7 by Dallapiccla, Quadern Musicale di Annalibera, n. 8 by Dallapiccla, Quadern Musicale di Annalibera, n. 9 by Dallapiccla, Quadern Musicale di Annalibera, n. 10 by Dallapiccla, Quadern Musicale di Annalibera, n. 11 by See Vide Abve! See Vide Abve! Beethven, Symphny n. 5 in C minr, first mvement: pdf reading full rchestral scres

4 the strings, winds, brass, and percussin sectins and SATB distributin german letters / english letters transpsing instruments: "the key f the instrument is the sund that is prduced when written C is played" (Kent Kennan) Hrn in F sunds a perfect fifth lwer than written B-flat clarinet sunds a majr secnd lwer than written A clarinet sunds a minr third lwer than written English Hrn sunds a perfect fifth lwer than written piccl sunds an ctave higher than written string bass sunds an ctave lwer than written the snata: (intrductin), expsitin, develpment, recapitulatin, (cda)--binary and ternary pssibilities See Audi Abve! the augmented sixth chrd Here is a wrksheet f the augmented sixth chrd: pdf. Ntice hw the augmented sixth interval expands ut t an ctave that is scale degree 5 in a key. dminant.6.4: pdf augmented sixths, part-writing: pdf bad augmented sixth: pdf Fr tday be ready t discuss precisely hw Beethven mdulates frm C minr t E-flat majr in the expsitin.

5 Labr Day: n class Figured bass review. Fr tday, be ready t discuss in detail the harmny f the secnd key area, mm Fr tday hand in a simple tw, three, r fur part reductin f mm f the develpment sectin. Hint: Yu'll get a really clear idea f what's ging n if yu play the lwer nte f the bassn part and the clarinet line abve it (remember the clarinet sunds a majr secnd lwer than written). Write a sentence r tw n what key the music is in; where des that key cme frm? is it a surprise? why? why nt? Is there any thing else abut the texture, rchestratin, harmnic rhythm that we have heard befre? /4 chrds wrk thrugh the harmnies f the develpment sectin frm measure 158 t measure 195 figured bass: pdf due tday The recapitulatin. Be ready t discuss this questin: Hw precisely des Beethven cmment n his mdulatin frm C minr t E-flat majr

6 (expsitin) in the recapitulatin? Is material in E-flat simply transpsed frm E-flat majr t C minr? If s, hw des he "get" frm C minr t C minr and make it sund cmpelling? My pepsi challenge: mdulate frm C majr t F-sharp majr using a single French Augmented Sixth chrd. Bring slutins t class n Mnday (this is cmpletely ptinal) The Neaplitan Be ready t discuss the harmny f the cda. What happens immediately after the final cadence f the recapitulatin prper? Hw des Beethven apprach the immense dminant f the cda? Where des this harmny cme frm? Why is the immense dminant s immense? Beethven, Symphny n. 5, II: pdf. See hw precisely yu can accunt fr Beethven's mdulatin frm A- flat majr t C majr and (crucially) back again t A-flat majr Beethven, Symphny n. 4, I: pdf (in class wrk) Excerpt f Beethven, Symphny n. 6 in F majr (page 1 + beginning f develpment): pdf Exam #1 n Beethven, Symphny n. 4, I

7 Yu will get questins n mm. 1-38, , Webern, Pieces fr String Quartet Opus 5: pdf Intrductin t Atnal Music and Atnal Pitch-Class Set Thery Factrs that characterize culture and the arts at the turn f the 20th Century in Central Eurpe and the US: Freud's discvery f the uncnscius (dream, the divided subject) sinesthesia (the interpretatin f ne sensatin in terms f anther, abstract expressinism (the artifice f symmetry) abstract expressinism (the externalizatin f states f mind) Mndrian, Red Tree: jpg Mndrian, Grey Tree: jpg Mndrian, Red and Black Tree: jpg Mndrian, White Tree: jpg atnality (symmetrical divisin f the ctave, centripedal t centrifugal energy, undercutting cnceptual grids, liberatin f dissnance, cllapse f chrd tne / nn-chrd tne binary, pitches and pitch-classes (refigured) the results frm last class's vte: 1) a single rchestral mvement gt 48 vtes, 2) ding lts f small pieces gt 6 vtes, 3) ding a mixture f the tw gt 3 vtes. S a single rchestral mvement wins and I'll d that again in the next sectin f thery IV. thanks! Jseph N. Straus: Intrductin t Pst-Tnal Thery (chapter 1): pdf rdered pitch intervals, unrdered pitch intervals, rdered pitch class intervals, unrdered pitch class intervals. segmentatin

8 In class quiz n: 1) pitch class numbers, 2) rdered pitch intervals, 3) unrdered pitch intervals, 4) rdered pitch class intervals, and 5) unrdered pitch class intervals. Straus, chapter 2 n nrmal frm + prime frm: pdf terms: segmentatin = the prcess fr delimiting, marking ff, what yu hear in an atnal piece (determining the sets) cardinality = the number f different pitch classes in a set the three principles f segmentatin 1) include all ntes in yur segmentatin 2) dn't verlap sets 3) sets must have cardinality f 3 t 9 (inclusive) the fur steps t find nrmal frm: 1) arrange all pitch classes ascending within an ctave 2) rtate the cllectin (the number f rtatins will equal the number f rtatins) 3) chse the rtatin with the smallest unrdered pitch interval frm the first t the last nte 4) assign pitch class numbers t the pc set within hard brackets Tday we'll review nrmal frm and intrduce prime frm; see chapter 2 f the Straus Intrductin t Pst-Tnal Thery fr cmplete explanatins (see abve). We'll wrk tday with the fllwingsegmentatin f the Webern Opus 5, n.1: JPG

9 prime frm In-class quiz n nrmal frm and prime frm transpsitin f pitch class sets: read Straus, Chapter 2 (yu can find it under ), pp List f Set Classes (PC sets in prime frm) frm Straus: pdf Sme wrk fr tday: JPG Sme mre wrk fr tday: JPG Sme mre wrk yet fr tday: JPG Intrductin t inversin inversins f pitch class sets: read Straus, Chapter 2 (yu can find it under ), pp In-class quiz n inversin T wrk n fr tday: JPG Still mre t wrk n fr tday: JPG Why Invert (first) and then Transpse (next)? Because if yu reverse the steps, yu get different results. First Inverting then transpsing [6780] at T3I: [6780] becmes [6540] becmes [0456] becmes [3789] First transpsing then inverting [6780] at T3I:

10 [6780] becmes [9te3] becmes [3219] becmes [9123] summary f transpsitin and inversin f pc sets: pdf pentachrds fr practice; are any f these pc sets related? If s, hw? In pitch r pc space nly?: pdf interval vectrs and Z-related pc sets subsets and supersets we'll wrk in detail n these three pc sets frm Webern Opus 5, n. 4: JPG practice with pc sets: nrmal frm, prime frm, transpsitin, inversin, pc space, pitch space, the Z relatin: pdf There will be a review sessin this evening (Friday) frm 6 t 7:30 in MU 321. Bring questins! Exam #2 n Webern here are the pc sets frm Webern Opus 5: pdf

11 Dallapiccla, Quadern Musicale di Annalibera: pdf Intrductin t 12-tne music and serial analysis: prime, retrgrade, inversin, and retrgrade inversin Straus, Chapter 5 (12-tne techniques): pdf Webern, Wie bin ich frh: pdf Webern, Wie bin ich frh (matrix): pdf serial descriptin f "wie bin ich frh": JPG In-class quiz n Webern's Opus 27 #2 tday Webern, Variatins fr Pian Opus 27, n. 2: (matrix) pdf Webern, Variatins fr Pian Opus 27, n. 2: pdf serial descriptin f webern pus 27 n. 2: JPG Webern, Symphny Opus 21, II: matrix: pdf Webern, Symphny Opus 21, II: pdf Webern, Symphny Opus 21 II, theme: JPG Webern, Symphny Opus 21 II, variatin 1 (beginning): JPG

12 NOTE: THIS IS A SATURDAY! Final Exam 8-10