MUT 5629 ANALYTICAL TECHNIQUES Dr. Orlando Jacinto García Tuesdays and Thursdays 11:00 AM -12:15 PM Objectives and format: A required course for all graduate music students, Analytical Techniques is designed to help students obtain the skills necessary for an advanced understanding of a variety of musics evolving from the Art music tradition. The course consists of lectures, discussions and the analysis of works using several different analytical methods. Participation in class discussions is important. In addition, it is vital that students take clear and concise notes in class. The materials discussed are a compilation of several books, articles, and years of musical experience and research. Please note that the lectures will move at a relatively fast pace. Although some common practice music is analyzed, the majority of the course will deal with 20th century idioms. Prerequisites: Students must have been admitted into the graduate music program and must demonstrate a competent undergraduate level of knowledge regarding theoretical musical analysis in order to enter the course. This is determined by a placement test administered at the time of admission into the graduate music program. Students not having the minimum level of expertise in this area, are required to pass the Graduate Theory Survey course prior to enrolling in Analytical Techniques. Undergraduate students may enroll in the course with the permission of the instructor. Required Texts: Burkhardt, Charles. Anthology for Musical Analysis. 5th edition. Harcourt Brace, 1994 Cope, David. New Directions in Music. 7th edition Madison, Wisconsin: Brown Benchmark, 1999 Wingell, Richard J. Writing About Music: An Introductory Guide. 2nd edition Prentice Hall, 1997 Recommended Texts: Turek, Ralph. Analytical Anthology of Music. New York: Alfred A. Knopf, 1984. Lester, Joel. Analytical Approaches to 20th Century Music. New York: W.W. Norton and Company, 1989. Tenney, James. Meta Hodos and META Meta Hodos. Hanover, New Hampshire: Frog Peak Music, 1992. Forte, Allen, and Gilbert, Steven. Introduction to Schenkerian Analysis. New York: W.W. Norton and Company, 1982. Materials to be covered: (1) Common practice analysis (focus on chromaticism) (2) Overview of Schenkerian analysis (the basics) (3) Early 20th century devices (impressionism, neoclassicism) Page 1 of 5
(4) Music of the last 50 years: Set Theory, Gestalt Analysis, Vectoral Analysis (5) Writing research/analytical papers. Exams: There will be two exams, a mid-term and a final. Both exams will consist of the analysis of representative works using the techniques obtained in the class to that point as well as information from assigned readings and class discussions. The final exam will be comprehensive. The mid-term exam will be administered on Thursday, February 27 and will be worth 25% of the total grade for the course. The final exam will be worth 30% of the total grade for the course and will be administered on Thursday, April 24 as listed in the schedule book. Please note that no makeup exams will be given. Quizzes: There will be 3-5 quizzes given throughout the semester the average grade being worth 15% of the total grade for the class. The lowest quiz grade will be dropped. Quizzes are unannounced and as with the exams there will be no makeup quizzes given. Concert reviews and/or other similar types of assignments may be given throughout the semester as well and which will count as quiz grades. More details regarding these assignments will be given in class as warranted. Analysis Project: Each student is responsible for the analysis of a short work or movement as a final project. The work is to be chosen in consultation with the instructor from the 20th century repertoire. The analysis to be turned in must be an analytical paper with a complete bibliography, examples, graphs, charts, etc. The grade for this final project will be worth 30% of the total grade for the course. A first draft of the work will be due after the semester break which will be reviewed and returned to the student 2 weeks before the final exam date. The student will have 2 weeks to make any adjustments that may be necessary before turning in the paper on the final exam date if needed More detailed information regarding this project will be handed out later in the semester in class. Grading: Mid Term Exam 25% Final Exam 30% Quizzes 15% Performance/analysis 30% Total 100% Grade Scale: A 90-100 C 70-75 A- 88-89 C- 68-69 B+ 86-87 D+ 66-67 B 80-85 D 60-65 Page 2 of 5
B- 78-79 D- 58-59 C+ 76-77 F 57 & below Important: The total grade in this course is not solely based on test/quiz scores but a combination of test /quiz scores, and punctual attendance. Failure to attend lectures and/or be on time may result in a lowering of the final grade. My office is PA 145 B; office hours are Tuesdays and Thursdays 2:00-3:00. Other times by appointment. Please feel free to meet with me if you have any questions and/or contact me at the following:. email: garciao@fiu.edu web page: http://www.fiu.edu/~garciao office telephone: (305) 348-3357 MUT 5629 ANALYTICAL TECHNIQUES CLASS SCHEDULE 1/9 Diagnostic Exam; Introduction: Common Practice Review; 1/14 Common Practice Analysis/Chromatic Harmony (continued): Prelude to Tristan und Isolde (Wagner); Dichterleibe (Schumann), Preludes (Chopin); 1/16 Schenker basics; rhythmic reductions; Concert reviews assigned; (read Wingell re Concert Reports); Cope handout. 1/21 Review rhythmic reductions assignment; analysis: Wagner, Schumann, Chopin (if time permits); 1/23 CHAPTER I COPE - ORIGINS Introduction to Vectoral Analysis; Early 20th Century trends and early 20th century techniques; 1/28 Early 20th Century techniques continued; (Slonimsky and the perception of new music); analysis: Sarabande (Debussy) 1/30 Continue early 20th Century trends; analysis: Jeux (Debussy), the Rite of Spring (Stravinsky), Sensemaya (Revueltas); Page 3 of 5
2/4 Continue early 20th century trends; analysis: L'Histoire (Stravinsky), Music for Strings, Percussion, and Celesta (Bartok); 2/6 CHAPTER II COPE - ATONALITY AND SERIALISM Atonality: analyze Summer Morning by a Lake (Schoenberg), Pierrot Lunaire, Nacht (Schoenberg). 2/11 Serialism; 12 tone basics, matrix review; analysis: Wie bin ich froh (Webern), 2/13 Serialism continued; analysis: Symphonie Op 21 (Webern) and String Quartet (Ruth Crawford Seeger). 2/18 Intro. Set Theory; analysis: Concerto for 9 Instruments (Webern); practice sheets (Lester); towards total serialism 2/20 Set Theory continued; analysis: Semi simple variations (Babbitt); 2/25 Review set theory and 12 tone analysis and review for Mid Term. 2/27 Mid Term Exam. 3/4 Introduction to Gestalt Analysis by James Tenney; analysis: Five Movements for String Quartet (Webern) 3/6 CHAPTER III COPE - TEXTURALISM; Texture, rhythm, and new notation in music; analysis (Gestalt and vectoral): Available Forms (Brown); 3/11 CHAPTER IV COPE - TIMBRALISM AND TUNING; analysis (Gestalt and vectoral): Threnody for the Victims of Hiroshima (Penderecki), Black Angels (Crumb); Eight Songs for a Mad King (Davies) 3/13 Extended techniques continued; analysis The Banshee (Cowell), Sonatas and Interludes (Cage); An overview of John Cage 3/18 and 3/20 Spring Break (no classes). 3/25 CHAPTER V COPE - INDETERMINACY Improvisation in Music; Cage continued; analysis: Cartridge Music Page 4 of 5
(Cage) 3/27 CHAPTER VI COPE - EXPERIMENTALISM experimentalism and mixed media - discuss analyze works by Meredith Monk, Philip Glass, Pauline Oliveros, Ken Gaburo. 4/1 CHAPTER VII COPE - ELECTROACOUSTIC MUSIC; analysis: Song of the Youths (Stockhausen), Synchronisms for cello and tape (Davidovsky), Poeme Electronique (Varese), works by Dodge, Lansky, Risset, others. 4/3 CHAPTER VIII COPE - ALGORITHMIC COMPOSITION; analysis Xanakis 4/8 CHAPTER IX COPE MINIMALISM; analysis: Vermont Counterpoint (Reich), Piano Phase (Reich), In C (Riley); 4/10 CHAPTER X COPE - INTEGRATION - eclecticism; analysis Berio 4/15 Overview and the 21st Century; Review for Final Exam. 4/24 Final Exam ***Materials and/or when they are covered may be modified, however, exam dates are fixed. COURSE SYLLABI Page 5 of 5