MUS 502: PROSEMINAR IN TONAL ANALYSIS FALL 2017

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1 MUS 502: PROSEMINAR IN TONAL ANALYSIS FALL 2017 Thursdays 1:00 4:00, Staller Center 2318 Instructor: August Sheehy Office Hours: Monday 4:00 5:00 in Staller Center 3328 or by appointment COURSE DESCRIPTION This proseminar will focus on the analysis of canonical music in the tonal tradition. Drawing on influential articles and monographs by music theorists and scholars such as Heinrich Schenker, William Caplin, James Hepokoski and Warren Darcy, Danuta Mirka and Steven Rings, we will consider analytical and theoretical issues including harmony, form, meter, tonal intuitions, and counterpoint. Our primary texts, however, will be the scores of musical works in a range of genres by composers such as Haydn, Beethoven, and Chopin. We will carefully analyze these works from a variety of theoretical perspectives and discuss how the techniques we study can be applied to a broader range of music (e.g., some earlier and later music in the Western concert tradition, some styles of jazz, and some popular styles). Above all, we will strive for musical insights and build the skills necessary for communicating such insights to others with clarity and elegance. By the end of this course, you should COURSE GOALS 1. be familiar with the major theoretical approaches to music of the European common practice ( tonal ) tradition, including theories of musical form, harmony, counterpoint, rhythm and meter, topics, and motives. 2. be able to analyze musical works according to the tenets of such theories (i.e., identify harmonies, cadences, phrases, and forms across a variety of compositional genres); 3. be able to write clearly, persuasively, and in analytic detail about musical works. Required Texts: COURSE REQUIREMENTS Haydn, Joseph. Complete London Symphonies, Volume 2. New York: Dover, NB This is the second volume of Haydn s London Symphonies. Symphonies are also wonderful, but unnecessary for this course. We will begin using the Haydn symphonies in the second week of class, so you should purchase them as soon as possible. They can be purchased through Amazon. If you purchase a used copy, make sure the condition is listed as very good or states explicitly that there are no markings or notes in the book.

2 MUS 502 Syllabus 2 All other scores will be distributed as pdfs on the Blackboard site. Blackboard: All course documents other than they Haydn including the syllabus, assignments, handouts, readings and scores will be posted on Blackboard. You must print them out and bring them to class with you in the week in which they are covered. Preparation: Each week we will study one or more pieces in detail. Our close listening and analytical engagement will be informed by theoretical readings that you must complete prior to class. The reading load for this course will average about 40 pages per week; however, it will not be the same amount every week. You should plan to spend 6 9 hours per week outside of class on this course. Assignments: Most weeks will involve the completion of an analysis assignment to be turned in and evaluated as part of your participation in the course. Assignments are included as part of your participation grade because they are what will allow you to participate knowledgably in discussion. Because the aim of analysis is to prepare you for class discussion, assignments will not be accepted after the due date. Assignment will be posted on Blackboard. They should be submitted through Blackboard AND printed and turned in during class. If there are things that come up in your life (illness, family, responsibilities, etc.) that affect your ability to complete your academic work, please speak with the instructor as soon as possible. Final presentation: Your participation in this course will culminate in a 10-minute presentation in the final class meeting. Your presentation will involve the analysis of a musical work chosen in consultation with the instructor. The script must be written in advance and be accompanied by either a handout with diagrams or an electronic presentation (slideshow using Powerpoint or Keynote). To ensure that you are fully prepared for your presentation, a draft of the text is due in Week 11. Final Paper: A page final paper (ca words, plus musical examples), based on your final presentation is due at the end of the course (May 8). If done well, this paper will be suitable for further revision and submission as part of the requirements of the DMA degree. The final paper is due Monday, May 8 by 4:00 pm via or in my mailbox in the Music Department office (Staller 3304). Assignments and Participation 60% COURSEWORK AT A GLANCE Final Presentation 10% Week 14 (December 7) Final Paper 30% Due one week after our last class meeting (December 14) by 4:00 pm via

3 MUS 502 Syllabus 3 CLASS POLICIES Attendance Policy: Attendance is mandatory. You must attend every class. Regularly scheduled classes and rehearsals (SBSO and Baroque Ensemble) take priority over all ad hoc events such as lessons, coachings, other rehearsals, etc. No student will be excused from a regularly scheduled class or rehearsal for such ad hoc events. Students should prearrange absences and, to the extent possible, inform instructors of planned or unplanned absences. Any unexcused absence, including tardiness to class, may lower the student s grade for the class. Two unexcused absences will lower your grade for the course by a full letter grade. Three or more unexcused absences will result in a failing grade for the course. Academic Integrity: Each student must pursue his or her academic goals honestly and be personally accountable for all submitted work. Representing another person s work as your own is always wrong, and will result in a failing grade on the assignment. Faculty are required to report any suspected instances of academic dishonesty to the Academic Judiciary. For more comprehensive information on academic integrity, including categories of academic dishonesty, please refer to the academic judiciary website at Remember! If you use someone else s words, you must cite them. If you use someone s ideas in your own words, you must still cite them. When in doubt, cite. Not citing other people s work in yours is a serious offense, and I am required to report it. Critical Incident Management: Stony Brook University expects students to respect the rights, privileges, and property of other people. Faculty are required to report to the Office of Judicial Affairs any disruptive behavior that interrupts their ability to teach, compromises the safety of the learning environment, or inhibits students ability to learn. Faculty in the HSC Schools and the School of Medicine are required to follow their school-specific procedures. STATEMENT ON DISABILITIES Students with diverse learning styles and needs are welcome in this course. In particular, if you have a physical, psychological, medical, or learning disability or health consideration that may impact your course work and/or require accommodations, please feel free to approach me and/or the Disability Support Services, ECC (Educational Communications Center) Building, Room 128, (631) DSS will determine with you what accommodations, if any, are necessary and appropriate. All information and documentation is confidential.

4 MUS 502 Syllabus 4 CLASS SCHEDULE NB This schedule may be updated during the semester. Always check the Blackboard site for announcements of weekly reading assignments and the most recent version. Week 1 (8/31) Introduction Week 2 (9/7) To turn a phrase Edward Cone, Schubert s Promissory Note (9 pages) Schubert, Moment Musical no. 6 Schubert, Impromptus, Op. 90, Nos. 2 and 3 Chopin, Nocturnes, Op. 9, Nos. 1 and 2 Brahms, Klavierstücke, Op. 118, Nos. 1 and 2 Haydn, Symphony No. 99, Mvt Hermeneutics and Analysis 2. Intro to Phrase Analysis Due: Assignment 1 Week 3 (9/14) Form following function William Caplin, Some Basic Formal Functions, The Sentence, The Period, Hybrid Themes (51 pages, read as necessary for analysis!) Haydn, Symphonies Themes Haydn, Symphony 103 ( Drumroll ) 1. A brief history of Formenlehre 2. Haydn and phrase types Due: Assignment 2 Week 4 (9/21) So not a theory, but sonata theories Caplin, Sonata Form (23 pages) James Hepokoski and Warren Darcy, Elements of Sonata Theory, Chapter 2 (8 pages) Haydn, Symphony No. 101 ( The Clock ) 1. Theories of sonata form 2. What difference does a theory make? Due: Assignment 3 Week 5 (9/28) MC Sonata feat. TR vs. Continuous Exposition Hepokoski and Darcy, Chapters 3 & 4 (39 pages) Haydn, Symphony No. 99 Haydn, Symphony No. 102 Haydn, Symphony No. 104 ( London )

5 MUS 502 Syllabus 5 1. Are all sonatas of two types? 2. What does analysis of form miss? Due: Assignment 4 Week 6 (10/5) Streaming music Yonatin Malin, Metric Dissonance in the German Lied (37 pages) Schubert, Wandrers Nachtlied II R. Schumann, Intermezzo, from Liederkreis, Op. 39 Brahms, Immer leiser wird mein Schlummer, from Five Songs, Op Music with text 2. Analysis of Rhythm and Meter Due: Assignment 5 Week 7 (10/12) The path of least resistance Richard Cohn, As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert (19 pages) Schubert, Piano Trio, op. 100 Schubert, Piano Sonata in B Major, Mvt Parsimonious voice-leading 2. Hexatonic poles and Weitzmann regions Due: Assignment 6 Week 8 (10/19) Analysis can be a transformational experience Steven Rings, The Learned Self: Artifice in Brahms s Late Intermezzi (31 pages) Brahms, Intermezzo in A major, Op. 118 No. 2 Haydn, Symphonies Nos. 99 and 101, Adagios 1. The transformational attitude 2. Why math? Due: Assignment 7 NB, the piece for your final paper must be chosen in consultation with the instructor by Week 9. Week 9 (10/26) On the Evolution of Species (Counterpoint) Allen Forte, Schenker s Conception of Musical Structure (30 pages) Heinrich Schenker, Further Considerations of the Urlinie: I (8 pages) Schumann, select songs from Dichterliebe, Op Species counterpoint 2. Intro to linear analysis Due Assignment 8

6 MUS 502 Syllabus 6 Piece for final presentation must be chosen. Week 10 (11/2) Rameau oder Beethoven? Carl Schachter, Linear Progressions and Neighbor Notes (19 pages). Haydn, Symphony No. 99, Adagio (21 pages) Schubert, Impromptu in A Major, Op. 142 Bach, O Gott, du frommer Gott Brahms, Meerfahrt, Op. 96, No. 4 Bach, French Suite No. 1, Allemande Schubert, Du bist die Ruh, D. 776 Haydn, Symphony No. 99, Adagio Due: Week 11 (11/9) Week 12 (11/16) Due: Linear analysis continued Final Paper Proposal No Class Meeting (Annual Conference of the American Musicological Society) Becoming Janet Schmalfeldt, The Beethoven-Hegelian Tradition and the Tempest Sonata (35 pages) Beethoven, Piano Sonata in D minor Tonal analysis today Final Presentation and Paper Outlines (11/23) Thanksgiving Week 13 (11/30) That s topical Leonard Ratner, Topics, in Classic Music (30 pages) Wye J. Allanbrook, Expression, Imitation, and the Musical Topos (9 pages) Mozart, Piano Sonata in F, K. 332 Haydn, Symphony No. 101 ( Military ) Week 14 (12/7) Topic Theory Final Presentations Final Paper is due Monday, May 8 by 4:00 pm via or in my mailbox in the Music Department office (Staller 3304).

Music 281: Music Theory III

Music 281: Music Theory III Fall 2017 (T-Th, 9:30-10:45, Bixler 150) Steve Saunders Office: 235 Bixler Phone: x5677; email: sesaunde@colby.edu Class Web Site: http://www.colby.edu/music/saunders/mu281