CARNEGIE MELLON UNIVERSITY SCHOOL OF MUSIC ADVANCED ANALYTICAL TECHNIQUES 57934 Spring 2012 Class times: #A Tuesday, Thursday 10:30-11:20 MM #127 #B Tuesday, Thursday 9:30-10:20 MM #127 INSTRUCTOR Dr. Marilyn Taft Thomas OFFICE: #118 Margaret Morrison PHONE: 412-268-3429 E-MAIL: mt3f@andrew OFFICE HOURS: Tuesday & Thursday Afternoons (by appointment) EDUCATIONAL GOALS This course is designed to provide a working understanding of all styles and genres of Western classical and contemporary repertoire. Students will explore various aspects of the compositional process, from basic organizational structures to the details of individual musical phrases. They will learn to see and to hear the most important compositional features of a piece of music and will develop a deeper understanding of the music they perform, conduct, and compose. Students will learn how to think about music, how to talk about it, how to describe it to others, and how to determine the essence of each composition. They will learn how to use their historical knowledge as well as their newly
acquired analytical techniques to build a deeper understanding of the music they experience. The course will cover the following materials: Harmonic Analysis of Late Romantic Repertoire Schenkerian Analysis Twelve-Tone Analysis Set-Class Theory Graphic Analysis Major composers and their music will be placed in historical perspective, to aid in developing an understanding of the individual composers compositional styles and musical languages. Students will also gain an overall familiarity with the major theorists and musical theories that have evolved throughout history. EDUCATIONAL OUTCOMES Students completing this course should be able to: Analyze any piece of music using appropriate theoretical approaches; Observe and identify the essence of a composition from any historical period in terms of its formal structure and its melodic and harmonic language; Describe the details of a composition in technical terms through written and verbal means of communication; Discuss a wide range of analytical approaches with understanding and knowledge, including tonal harmonic and melodic analyses, Schenkerian linear analysis, twelve-tone analysis, set-class theory, and graphic analysis. 2
CLASS POLICIES GRADING POLICIES 4 ANALYSIS PROJECTS = 40% FINAL PROJECT = 30% CLASS ATTENDANCE & PARTICIPATION = 30% ATTENDANCE POLICY Classes missed in this course cannot be made up. If an absence is unavoidable, you must meet with the graduate assistant or a dependable colleague after your return to get a sense of the material covered; however, you will still miss the essence of that class, which involves important discourse between your classmates and the instructor. You will also be responsible for listening to any music played and discussed in the class you missed. Analysis Projects must be handed in by the next regularly scheduled class. Only two classes can be missed during the course of the semester without adversely affecting your grade. Every class missed beyond these two will result in a drop of one letter grade in your class attendance and participation. If four or more consecutive classes are missed, the student may be advised to drop the course. This could have serious consequences, if the course units are needed for graduation. (Dropping these units could also result in a loss of fulltime student status with a negative impact on the financial aid package.) CHEATING POLICY Every assignment must be the sole work of the student submitting it. This includes all four smaller projects as well as the final project. Any student having difficulty completing an assignment may seek assistance from the teaching assistant, whose job it is to tutor students needing help. Under no circumstances should a student work with another student on these assignments. Evidence of collaboration will result in a failing grade for both students, which will be averaged into the final grade for the course. 3
GUIDELINES for PROJECTS ANALYSIS PROJECTS are a vital part of the learning process in this course. They must be completed and handed in on time! Late projects will be accepted only up to the time of the next regularly scheduled class; a drop of one letter grade will result no matter what the reason for the delay. After this grace period, an R will be assigned to the project whether or not it is completed. (You may still submit it for the professor s comments to learn the analytical techniques involved.) Each of the four projects are worth 10% of the course grade. FINAL PROJECT GUIDELINES Your FINAL PROJECT will be the culmination of your analytical study. For this project, you will be expected to select an entire piece or a large movement from a multi-movement work from your own solo repertoire. (At least 64 measures of music.) If the piece is performed with piano, you must analyze both the piano and the solo part as a cohesive unit The same holds true if it is a work for two, three, or four instruments. All voices are an integral part of the whole and must be included in the detailed analysis of the composition. Orchestral works and solo unaccompanied pieces will not be accepted for this project without special permission. For the final analysis project, you should select whatever analytical techniques you feel would best serve to uncover the essence of the work. The entire work should be analyzed in detail, using your chosen methodologies. All projects should include a formal analysis of the structure of the piece, marking the main sections, identifying the primary themes, and showing the Exposition, Development, Recapitulation, Coda, Transitions/Episodes, if applicable. At least two of the following list of analytical methods should be employed: Harmonic/Melodic Analysis: including chord symbols indicating the function, inversion, and the structure of the chords, identification of non-harmonic tones, labeling of major cadences, and highlighting of important motives throughout the piece; Schenkerian Analysis: showing the foreground and background levels, all major structural notes, and the reduction of the piece to its melodic essence; Set-Class Analysis: 4
describing the fundamental intervals and interval classes used in the piece, both sequential and simultaneities, and how these materials are used and modified throughout the work; Twelve-Tone Analysis: numbering the notes in the score, showing the twelve-tone grid, labeling all forms of the row in the piece, noting the interval-class content of the row, describing any special features of this row used by the composer in the piece; Spatial or Timbral Analysis: preparing a graphic picture of all or a significant part of the composition, explaining how registral space and/or timbre are used as fundamental building blocks of the piece. Other musical elements, such as dynamics, register, phrase structure and rhythm should also be discussed, in so far as they play a significant role in the overall structure of the piece. The student should attempt to reveal the importance and the function of every aspect of the composition selected. In some cases, especially modern compositions, a combination of approaches must be taken to understand the work. Students are encouraged to develop their own methodologies whenever applicable. In all projects, measure numbers must be written into the score and specifically cited whenever needed to illustrate the analytical points made in class and in the written paper. A written paper of at least two typewritten pages must accompany your analysis, discussing the composer s vocabulary, his/her choice of musical language (harmonic, melodic, rhythmic, timbral, spatial), the overall structure of the work, and any distinguishing features that make this piece distinct or memorable. Primary themes may be delineated, but these must also be analyzed and described in terms of musical language and distinguishing features. The paper should attempt to identify the essence of the work, interpreting and summarizing the observations made in completing the detailed analysis. It should not be just a repetition of the analytical details marked in the score. Papers must be professionally submitted: typed, with no grammatical errors or misspelled words. Note: A thin pen should be used to analyze the score. Detailed analyses are very difficult to read in pencil. Do your initial work on a different copy in 5
pencil, making your final version in ink on a clean score, so that there are no erasures in the submitted analysis. Resource materials may be used to develop this final project. If other theorists opinions are utilized, they must be properly cited. Any articles or books read to provide insight into your composition must be listed, with the specific pages of the information applying to your piece noted. Your project must also be presented orally to your colleagues during one of the last three or four class periods. Each oral presentation should be 10-15 minutes in duration, of which 3-5 minutes should be a sample performance of the work on tape or live at the piano. Your oral presentation will be graded according to its effectiveness in capturing the essence of the work and communicating it to the class. This oral presentation grade will be approximately 1/3 of your project grade, with the detailed analysis counting 1/3, and the accompanying paper the final 1/3. Together, your three-part final project will count as 30% of your grade in the course. 6
COURSE SYLLABUS TUESDAY, JANUARY 17: Orientation Review of Harmonic & Melodic Analysis Techniques Techniques of the Romantic Period Schumann Three Romances for Oboe and Piano, op. 94, #1 ASSIGNMENT: Analysis Project #1: Due January 26 Chopin Prelude, Op. 28, No. 9 in E Major (1839) TUESDAY, JANUARY 19: Problems in Harmonic Analysis Frequent Modulations and Temporary Key Centers Use of Sequences Prolongation of the Dominant Brahms Violin Sonata in A Major, op. 100, 1 st Movement (1886) THURSDAY, JANUARY 24: Moving Out of Common Practice Postponing the Establishment of the Tonic Importance of the Diminished Seventh Chord Reinforcing the Home Key through Modulation Brahms - Intermezzo in E flat minor, Op. 118, No. 6 (1893) THURSDAY, JANUARY 26: PROJECT #1 DUE Dominant Ninths and Elevenths Use of Chromatic Harmonies in Modulation Franck - Sonata in A for Violin & Piano, 1st move (1886) 7
TUESDAY, JANUARY 31: Continuation of Franck Sonata in A Use of Chromatic Harmonies Advanced Modulation Techniques DISCUSSION: PROJECT #1 THURSDAY, FEBRUARY 2: An Overview of Schenkerian Analysis Taking a Melodic Approach ASSIGNMENT: Analysis Project #2: Schenkerian Analysis Due February 21 Chopin - Prelude, Op. 28, No. 11 in B Major (1839) TUESDAY, FEBRUARY 7: Schenkerian Analysis Finding the Structural Basis of a Piece of Music Bach - Musette from Anna Magdalena Bach Notebook Chopin - Prelude, Op. 28, No. 4 in e minor (1839) THURSDAY, FEBRUARY 9: Problems in Schenkerian Analysis Bach - Ich Bin s, Ich Sollte Bussen TUESDAY, FEBRUARY 14: A study of several Bach Chorales Putting Schenkerian Analysis to Use Bach - Christus, der ist mein Leben Bach - Jesu, meine Freude from the motet BWV 227 THURSDAY, FEBRUARY 16: Continued Study of Bach Chorales Bach - Schmucke dich, o liebe Seele from Cantata 180 (1724) Bach - Valet will ich dir geben Bach Du Friedefurst, Herr Jesu Christ 8
TUESDAY, FEBRUARY 21: PROJECT #2 DUE A closer look at reduction techniques THURSDAY, FEBRUARY 23: Discussion of Projects Chopin - Prelude, Op. 28, No. 11 in B Major (1839) TUESDAY, FEBRUARY 28: Introduction to Twelve-Tone Music Dealing with the loss of Tonality Webern -Three Pieces for Cello and Piano, Op. 11, No. 3 (1924) ASSIGNMENT: Analysis Project #3: Twelve-Tone Analysis Due March 8 Webern -Drei Lieder, Op. 25, No.1 Wie bin ich froh! (1935) THURSDAY, MARCH 1: The Twelve-Tone Row Looking Inside the System Webern - Variations for Piano, Op. 27, 2nd move (1936) TUESDAY, MARCH 6: Combinatoriality & Composers Languages Krenek - Twelve Short Pieces for Piano, Dancing Toys, Op. 83, No. 1 (1938) Babbitt - Duet THURSDAY, MARCH 8: PROJECT #3 DUE Introduction to Set-Class Theory Dallapiccola - Linee 9
MID-TERM SPRING BREAK TUESDAY, MARCH 20: Discussion of Projects Dallapiccola Quaderno musicale di Annalibera Simbolo ASSIGNMENT: Dallapiccola - Quartino DUE ON THURSDAY THURSDAY, MARCH 22: Discussion of Assignment Putting Set-Class Theory to Work Dallapiccola - Contrapunctus Secundus Babbitt - Semi-simple Variations TUESDAY, MARCH 27: Spatial Design Taking a Fresh Approach Josquin Des Prez - Missa L Homme Arme - Benedictus Bach French Suite No. 4 in E flat Allemande Mozart Laudate Dominum, K. 339 Beethoven - Piano Sonata in E flat, Op. 31, No. 3, 1st move Schoenberg - Six Little Pieces, Op. 19, No. 6 ASSIGNMENT: Analysis Project #4: Graphic Analysis Due April 5 (Piece of your choice) THURSDAY, MARCH 29: The Importance of Timbre Ligeti - Artikulation TUESDAY, APRIL 3: Timbre as a Fundamental Component Schoenberg - Summer Morning by a Lake (Colors), No. 3 of Five Pieces for Orchestra, Op. 16 (1909) 10
THURSDAY, APRIL 5: PROJECT #4 DUE Discussion of graphic projects TUESDAY, APRIL 10: Analyzing Modern Compositions Hindemith Interlude from Ludus Tonalis (1942) ASSIGNMENT: FINAL PROJECT: Due May 3 Review final project guidelines in the course syllabus THURSDAY, APRIL 12: Analyzing a 20 th Century Fugue Bartok Music for String Instruments, Percussion, and Celesta 1 st Movement (1936) TUESDAY, APRIL 17: Final Project Workshop SPRING CARNIVAL TUESDAY, APRIL 24: THURSDAY, APRIL 26: TUESDAY, MAY 1: THURSDAY, MAY 3: IN-CLASS PRESENTATIONS IN-CLASS PRESENTATIONS IN-CLASS PRESENTATIONS IN-CLASS PRESENTATIONS FINAL PROJECTS MUST BE HANDED IN THE LAST DAY OF CLASS 11
PARTIAL LIST OF MUSICAL SELECTIONS Babbitt - Duet Babbitt - Semi-simple Variations Bach - Christus, der ist mein Leben Bach - Du Friedefurst, Herr Jesu Christ Bach - French Suite No. 4 in E flat Major Allemande Bach - Ich bin s, ich sollte bussen Bach - Jesu, meine Freude from the motet BWV 227 Bach - Musette from Anna Magdalena Bach Notebook Bach - Schmucke dich, o liebe Seele from Cantata 180 (1724) Bach - Valet will ich dir geben Bartok Music for String Instruments, Percussion, and Celesta, 1 st move (1936) Brahms - Intermezzo in E flat minor, Op. 118, No. 6 (1893) Brahms Viiolin Sonata in A Major, Op. 100, 1 st move (1886) Chopin - Prelude No. 4 in e minor, Op. 28, (1839) Chopin Prelude No. 9 in E Major, Op. 28 (1939) Chopin - Prelude No. 11 in B Major, Op. 28, (1839) Dallapiccola - Quaderno musicale di Annalibera, (1953) Simbolo Linee Quartino Contrapunctus Secundus Franck - Sonata in A Major for Violin and Piano, 1st move (1886) Hindemith Interlude from Ludus Tonalis (1942) Krenek - Twelve Short Pieces for Piano, Dancing Toys, Op. 83, No. 1 (1938) Ligeti Artikulation (1958) Schoenberg - Five Pieces for Orchestra, Op. 16, No. 3 Summer Morning By A Lake (Colors) (1909) Schoenberg - Six Little Pieces, Op. 19, No. 6 Schoenberg - Suite fur Klavier, Op. 25, Gavotte (1923) Schumann Three Romances, Op. 94 Webern - Drei Lieder, op. 25, No. 1 Wie bin ich froh! (1935) Webern - Three Pieces for Cello and Piano, op. 11, No. 3 (1924) Webern - Variations for Piano, op. 27, 2nd movement (1936) 12
REFERENCES USED IN THIS COURSE * Sonic Design: The Nature of Sound and Music - Robert Cogan, Pozzi Escot, Englewood Cliffs, N.J.: Prentice-Hall, 1976 * Layer Analysis: A Primer of Elementary Tonal Structures - Gerald Warfield, NewYork: Longman, 1978 * A Generative Theory of Tonal Music - Fred Lerdahl, Ray Jackendoff, Cambridge, Mass.: MIT Press, 1983 * Anthology for Musical Analysis - Charles Burkhart, New York: Holt, Rinehart and Winston, 1979 *Analytical Anthology of Music, 2 nd Edition Ralph Turek, The University of Akron, McGraw-Hill, Inc. 1992 *Anthology of Musical Structure & Style Mary H. Wennerstrom, Indiana University, Prentice-Hall, Inc. Englewood Cliffs, New Jersey, 1983 13