MUTH 5370: Analytical Techniques III, Fall 2014 MWF 2-2:50 MU 2006 Instructr: Dr. David Schwarz Office: MU 104 E-mail: david.schwarz@unt.edu Email 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 08.27.2014 Berg. Pian Snata Opus 1 by Maurizi Pllini audi 08.29.2014 Schenberg, Verklaerte Nacht (transitin between the snatas) by unknwn audi 09.03.2014 Webern Piece fr String Quartet Opus 5 n. 4 by Quartett Italian audi 09.08.2014 Webern Piece fr Vilin and Pian Opus 7 n. 1 by Isaac Stern and Charles Rsen audi 09.12.2014 Webern Opus 3 n. 1 by Bethany Beardsley audi 09.17.2014 Rchberg Caprice n. 42 fr sl vilin by Zvi Zeitlin audi 09.22.2014 Webern Bagatelle fr String Quartet Opus 9, n. 4 by Quartett Italian audi 09.29.2014 Webern Opus 10, n. 1 by unknwn audi 10.01.2014 Webern Opus 10, n. 3 by unknwn audi 10.08.2014 Webern, Wie bin ich frh by Bethany Beardsley audi 10.10.2014 Webern Symphny Opus 21, II by unknwn audi 10.17.2014 Webern Variatins fr Pian Opus 27, II by unknwn audi 11.03.2014 Berg, Lyric Suite (whisper music) by unknwn audi 11.05.2014 Emily Hwell frm Darkness, Light by unknwn audi 11.07.2014 Paert Fratres by Krns String Quartet audi 11.10.2014 Ligeti, Lux Aeterna by unknwn audi 11.14.2014 Varese Inizatin by unknwn audi 11.19.2014 Beri Sequenza III by unknwn audi 11.21.2014 Rchberg, Caprice n. 24 fr Sl Vilin by Zvi Zeitlin audi 11.24.2014 Yuasa White Nise by unknwn 08.25.2014 08.27.2014 Berg, Snata fr Pian Opus 1: pdf Berg, Snata fr Pian Opus 1: (first phrase) pdf 10:42
08.29.2014 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. 09.03.2014 Webern, String Quartet Opus 5, n. 4: pdf 09.05.2014 Straus Chapter 2: atnal pitch-class sets, segmentatin, nrmal rder A list f all pitch-class sets 09.08.2014 Webern, Pieces fr Vilin and Pian Opus 7: pdf 09.10.2014 Straus, Chapter 2: set classes 09.12.2014 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. 09.15.2014 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! 09.17.2014 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). 09.19.2014 Webern, Opus 7, n. 1 (revisited) Read the material in Straus n Atnal Vice-Leading (pp. 107-112). 09.22.2014 Webern, Bagatelle fr String Quartet Opus 9, n. 4: pdf 09.24.2014 Bijectin (n line) Injectin (n line) Surjectin (n line) 09.26.2014 Fr tday, shw the vice-leading amng the trichrds f triplet sixteenth ntes in Webern's "Wie bin ich frh."
09.29.2014 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 10.01.2014 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 4. 10.03.2014 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 10.06.2014 Read Straus n Serial / 12-tne Techniques 10.08.2014 Webern, "Wie bin Ich frh: pdf Webern, Wie bin ich frh: matrix: pdf 10.10.2014 Webern, Symphny Opus 21, II: pdf (NB: the scre is in C!) Webern, Opus 21, n. 2 (matrix): pdf 10.13.2014 Webern, Symphny Opus 21, II variatin I 10.15.2014 Webern, Symphny Opus 21, II variatin II 10.17.2014 Webern, Variatins fr pian Opus 27, n. 2: pdf 10.20.2014 Webern, Symphny Opus 21, II variatin III 10.22.2014 Webern, Opus 21, II variatin IV 10.24.2014 Webern, Opus 21, II variatin V 10.27.2014
Webern Opus 21, II, variatin VI 10.29.2014 Webern Opus 21, II, variatin VII 10.31.2014 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 11.03.2014 Berg, Lyric Suite "Whisper Music": pdf 11.05.2014 Emily Hwell, Frm Darkness, Light: pdf 11.07.2014 Paert: Fratres: pdf 11.10.2014 Ligeti, Lux Aeterna: pdf 11.12.2014 11.14.2014 Varèse, Inizatin: pdf 11.17.2014 11.19.2014 Beri, Sequenza III: pdf 11.21.2014 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 11.24.2014 1) Yuasa, White Nise (n scre) 12.01.2014 12.03.2014 Yur third paper is due tday.
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.