Melbourne Music Analysis Summer School 30 November 4 December 2015 HANDBOOK
Welcome If you are reading this, then you are attending the first ever Melbourne Music Analysis Summer School. Not only is MMASS the first Australian music analysis summer school, but it may be the first ever such event to use a crowdfunding platform. Your support made this unique event possible and I thank you for your courage and vision. I would also like to thank the Musicological Society of Australia for their generous support for music research and training in Australia. Their donation will help ensure the viability of future editions of the school. Thank you also to the Sydney Conservatorium, who have generously funded a number of students to attend. Our warm thanks also go to MMASS patron Dr Michael Hannan, who cast an exceptional vote of confidence during our crowdfunding campaign. Finally, thanks to Effie Maniatis and Phillippa Connelly from Medley Hall for their seemingly endless in-kind support. It makes all the difference in the world for us to be able to explore these topics in such a commodious and focussed environment. Over the next week we will hear from some of the finest music analysts from Australia and around the world. We will cover several years worth of material in one week, so don t be dissuaded if you sometimes find yourself thrown in the deep end. MMASS is a rare opportunity to learn not only the rudiments of analysis, but also to see how these rudiments build into dynamic, fully-fledged studies. I hope you refer to your handbook and notes for many years to come. Most importantly, I hope you will be inspired! Yours sincerely, Matthew Lorenzon MMASS Director ii
Contents Melbourne Music Analysis Summer School i Welcome ii Contents iii Medley Hall v Getting to Medley Hall v From the airport vi Registration vi Can t get in? vi Food and Amenities vii Richard Cohn: Meter 1 Preparation instructions 1 Bibliography 2 David Larkin: Sonata Deformation 5 Preparation Instructions 5 Bibliography 6 Martin Greet: Schenkerian Analysis 9 Suggested Reading 9 Alistair Noble: Post-Tonal Analysis 10 Bibliography 10 Alan Davison: Schubert/Liszt 13 Elliott Gyger: Analysis and Composition 14 Suggested reading 14 Michael Hooper: Performance Analysis 15 Acknowledgements 1 iii
iv Program
Medley Hall All events will take place at Medley Hall in the sprawling nineteenth-century mcmansion named Benvenuta. MMASS joins an esteemed list of organisations who have called Benvenuta home including a small arms dealer, the Commonwealth Arbitration Court Offices, a shady vigneron, and an Italian club with a boxing ring. The Music Room can be found on the ground floor directly to the right of the main entrance. The Sir David Durham room is found to your left at the top of the main staircase. Medley Hall 48 Drummond St Carlton VIC 3053 Getting to Medley Hall Melbourne s public transport journey planner can be found at: http://ptv.vic.gov.au/ Medley Hall is close to Swanston St, the central street of the inner city. Catch any of the many trams going to Melbourne University and alight at stop 4 on the corner of Queensberry St and Swanston St. Walk east down Queensberry St and turn right at Drummond St. v
From the airport The 20-minute Skybus is the cheapest and most frequent form of transportation into the city from Tullamarine Airport at a stinging $18. The Skybus deposits you at Southern Cross Station from where you can take any tram up Bourke St or Collins St to Swanston St. Registration Come and say hi in the hallway of Benvenuta from 8:30am on Monday 30 November. We ll give you a badge, which must be kept with you to gain entry into the building. In order to keep class sizes equal, you will also be given a token for stream A or B when you register. Both streams receive the same lectures at different times and rotate between the two lecture rooms from day to day. This way everyone should have a comparable experience. If you have a preference for a particular stream, feel free to swap. Can t get in? The front doors will be locked from 10am and unlocked shortly before classes recommence after lunch. If you find the doors are locked, first try knocking. If nobody hears you, call Matthew on 0403 249 417 There is an intercom to the central office which may be used as a last resort. vi
Food and Amenities On the next page you will find a map of the quarter surrounding Medley Hall with some convenient stores and restaurants marked out. This map can be accessed online at: https://www.google.com/maps/d/edit?mid=zooqwjlrdue0.kfatu62rbj5g&usp=sharing Coffee Assembly: 60/62 Pelham St, Carlton. Filter coffee not enough? Good espresso is just around the corner at Assembly. Market Lane: 176 Faraday St, Carlton. A bit more of a trek, but easily the best coffee in Melbourne. Lunch Try any place on Lygon St, but we can suggest: ILoveIstanbul: 95 Lygon St, Carlton VIC. Not bad for a quick borek. Sonido: 69 Gertrude St, Fitzroy VIC. The restaurant of choice for Medley tutor Alex. Delicious Colombian arepas plus you get to walk through the Exhibition Gardens. Tank Fish and Chips: 149-151 Lygon St, Carlton. Fish and chips taken more seriously than is appropriate. Ying Thai 2: 110 Lygon St, Carlton. The student sensation. After School Heart Attack and Vine: 329 Lygon St, Carlton. Relax after class with an aperitivo and some Italian cicchetti (finger food). Dinner Kaprica: 19 Lincoln Square S, Carlton. The scene for our summer school dinner on Thursday night. If you haven t registered it is still worth getting some fellow music analysts together and paying a visit! Supermarkets IGA X-Press: 103/107 Lygon St, Carlton. Woolworths: Lygon Court, 368-380 Lygon Street, Carlton. Chemist Demarte s Amcal Chemist: Lygon Court, 368-380 Lygon Street, Carlton. vii
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Richard Cohn: Meter Preparation instructions Melbourne Music Analysis Summer School 3-Day Short Course on Meter 30 November - 2 December Richard Cohn, Battell Professor Music Theory, Yale University Professor of Musicology, Sydney Conservatorium of Music The remainder of this document contains a 32-page introduction tothe theory of meter. If your time is limited, I recommend giving priority to section 2 (Defining Meter, pages 7-14) and section 5 (Classifying and Representing Meter, pages 21-26). Following the presentation, I append some material from a book by Lerdahl & Jackendoff, which elaborates one of the points in section 2. If you have time to examine some score excerpts before our first meeting on 30 November, here is a list of ones that we will certainly study together, in roughly the order that they are most likely to be presented across the three days. All of these are easily available online through IMSLP. 1. Dvorak Slavonic Dance, C major, Op. 46 no, 1 (Orchestra version best), first 83 bars. 2. Fauré, Piano Quartet no. 1, Opus 15, second movement, pages 25-27 of the IMSLP- mounted "piano score," ending at the Eb major cadence. 3. Smetana, "Die Moldau," up through the first entry of the familiar melody. 4. Schumann, Symphony no. 3, 1st movement, first twenty bars. 5. Brahms Intermezzo, Op. 76 no. 6, A major, first eight bars. 6. Schumann, Fantasie for Piano, Op. 17, bars 42 through 61. 1
Bibliography Some Writings on Musical Meter Compiled by Richard Cohn, Nov. 2015 Music Analysis Summer School, Melbourne General Writings on Meter Hasty, Christopher. Meter as rhythm. Oxford University Press, 1997. Lerdahl, Fred, and Ray Jackendoff. A generative theory of tonal music. MIT press, 1985. London, Justin. Hearing in time: Psychological aspects of musical meter. Oxford University Press, 2012. Schachter, Carl. "Aspects of Meter." In Schachter, Carl. Unfoldings. Oxford University Press, 1998. Yeston, Maury. "The stratification of musical rhythm." Yale University Press (1976). Bach through Beethoven Cohn, Richard."Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven's Ninth Symphony." 19th-Century Music 15.3 (1992). Grant, Roger Mathew. Beating Time and Measuring Music in the Early Modern Era. Oxford University Press, 2014. Imbrie, Andrew. "'Extra'Measures and Metrical Ambiguity in Beethoven." Beethoven Studies 1 (1973): 45-66. Mirka, Danuta. Metric manipulations in Haydn and Mozart: Chamber music for strings, 1787-1791. Oxford University Press Rothstein, William. National metrical types in music of the eighteenth and early nineteenth centuries. In: Danuta Mirka and Kofi Agawu, Communication in 18th-Century Music, Cambridge University Press. 2
Temperley, David. "Hypermetrical Transitions." Music Theory Spectrum 30.2 (2008): 305-325. Willner, Channan. Metrical Displacement and Metrically Dissonant Hemiolas. Journal of Music Theory 57 (2013). Schubert through Brahms Cohn, Richard. Complex Hemiolas, Ski-Hill Graphs, and Metric Spaces, Music Analysis 20.3 (October 2001), pp. 295-326 Krebs, Harald. Fantasy pieces: Metrical dissonance in the music of Robert Schumann. Oxford University Press, 1999. Kurth, Richard. "On the Subject of Schubert's" Unfinished" Symphony:" Was bedeutet die Bewegung?"." Nineteenth- Century Music (1999): 3-32. Lewin, David. "On Harmony and Meter in Brahms's op. 76, no. 8." Nineteenth-Century Music (1981): 261-265. Malin, Yonatan. Songs in Motion: Rhythm and Meter in the German Lied. Oxford University Press, 2010. Murphy, Scott. "On Metre in the Rondo of Brahms s Op. 25." Music Analysis 26.3 (2007): 323-353. Murphy, Scott. "Metric Cubes in Some Music of Brahms." Journal of Music Theory 53.1 (2009): 1-56. Schoenberg through Reich Cohn, Richard. "Pitch-Time Analogies and Transformations in Bartók s Sonata for Two Pianos and Percussion." Music Theory and Mathematics: Chords, Collections, and Transformations (2008): 49-71. Roeder, John. "Interacting Pulse Streams in Schoenberg's Atonal Polyphony." Music Theory Spectrum 16.2 (1994): 231-249. 3
Roeder, John. "Beat-class modulation in Steve Reich's music." Music Theory Spectrum 25.2 (2003): 275-304. Van den Toorn, Pieter C. "Stravinsky Re-Barred." Music Analysis (1988): 165-195. Popular Music, Jazz, World Music Butler, Mark Jonathan. Unlocking the groove: Rhythm, meter, and musical design in electronic dance music. Indiana University Press, 2006. Clayton, Martin. Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance. Oxford University Press, 2001. Danielsen, Anne. Presence and pleasure: The funk grooves of James Brown and Parliament. Wesleyan University Press, 2006. Folio, Cynthia. "An analysis of polyrhythm in selected improvised jazz solos." Concert music, rock, and jazz since (1945): 103-134. Pressing, Jeff. "Cognitive isomorphisms between pitch and rhythm in world musics: West Africa, the Balkans and Western tonality." Studies in Music 17 (1983): 38-61. Rahn, Jay. "Turning the analysis around: Africa-derived rhythms and Europederived music theory." Black Music Research Journal (1996): 71-89. 4
David Larkin: Sonata Deformation Preparation Instructions Introduction In the last few decades, there has been a revival of serious analytical engagement with structural archetypes such as sonata form. Sonata Theory, the work of James Hepokoski and Warren Darcy, has been at the forefront of what has been called the new Formenlehre movement. As they conceive sonata form, it is a set of norms and more-or-less frequently encountered default procedures derived from a body of influential late eighteenth-century works; individual compositions are seen to be engaged in dialogue with this past repertory (and eventually, with theoretical models of the form). One of the more stimulating, and at the same time, more controversial ideas associated with Sonata Theory is sonata deformation. Both the name and the associated concept have been subjected to critique, but it has quickly gained popularity as a way of studying works which engage with some aspects of sonata form but which in other respects diverge markedly from normative procedures. Over the course of the two lectures on this topic I will present an outline of Sonata Theory before turning to the issue of sonata deformation, which will be explored as a theoretical concept and as a practical tool for helping the analyst to engage meaningfully with a range of nineteenth-century works. The work of Hepokoski and Darcy will be contextualised by considering the responses to and applications of their ideas by theorists/analysts such as Julian Horton, Paul Wingfield, Steven Vande Moortele and Seth Monahan. Preparation Read: Hepokoski, James & Warren Darcy. Elements of Sonata Theory: Norms, Types and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford UP, 2006 Chapter 2: Sonata Form as a Whole: Foundational Considerations : 14-22 Hepokoski, James. Sibelius: Symphony no. 5. Cambridge Music Handbooks. Cambridge: Cambridge UP, 1993 Introduction: 1-9 Works to be explored 5 Wagner, Overture to Tannhäuser (1845 Dresden version) Schumann, Fantasy in C, Op. 17, first movement (1839) Strauss, Don Juan (1889) The two short assigned readings are designed to give participants the opportunity to familiarise themselves with the terminology used by Hepokoski and Darcy to analyse the so-called Type 3 sonata, and to learn about some of the major types of structural deformation. The works chosen are all substantial in length, so to get the most from these classes it would be advisable to have listened to these a number of times, and to have given consideration to how they might (and might not) fit with different aspects of sonata form.
Bibliography Sonata Deformation David Larkin (University of Sydney) Adorno, Theodor W. On the Problem of Musical Analysis, trans. Max Paddison. Music Analysis Vol. 1/2 (July 1982): 169-187 Bonds, Mark Evan. Wordless Rhetoric: Musical form and the metaphor of the oration. Cambridge MA: Harvard UP, 1991. The Spatial Representation of Musical Form. The Journal of Musicology Vol. 27/3 (2010): 265-303 Buhler, James. Breakthrough as Critique of Form: The Finale of Mahler s First Symphony. 19 th -Century Music Vol. 20/2 (Autumn 1996): 125-143 Burnham, Scott. Aesthetics, theory and history in the works of Adolf Bernhard Marx. PhD diss.: Brandeis University, 1988. The Role of Sonata Form in A. B. Marx s Theory of Form. Journal of Music Theory Vol. 33 (1989): 247 71. Form. In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 880-906. Cambridge: Cambridge UP, 2002 Caplin, William. Classical Form: A Theory of Formal Functions in the Instrumental Music of Haydn, Mozart and Beethoven. Oxford: Oxford UP, 1998 Caplin, William E., James Hepokoski & James Webster. Musical Form, Forms and Formenlehre: Three Methodological Reflections, ed. Pieter Bergé. Leuven: Leuven UP, 2009 Darcy, Warren. Bruckner s sonata deformations. In Bruckner Studies, ed. Timothy L. Jackson & Paul Hawkshaw, 256-277. Cambridge: Cambridge UP, 1997. Rotational form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler s Sixth Symphony. 19 th -Century Music Vol. 25/1 (Summer 2001): 49-74 Harper-Scott, J. P. E. Elgar s Invention of the Human: Falstaff, Op. 68. 19 th -Century Music Vol. 28/3 (2005): 230-253 Hepokoski, James. Fiery-pulsed libertine or domestic hero? Strauss s Don Juan reinvestigated. In Richard Strauss: New Perspectives on the Composer and His Music, ed. Bryan Gilliam, 135-176. Durham: Duke UP, 1992. Sibelius: Symphony no. 5. Cambridge Music Handbooks. Cambridge: Cambridge UP, 1993. Back and forth from Egmont: Beethoven, Mozart and the Nonresolving Recapitulation. 19 th -Century Music Vol. 24/2-3 (Fall/Spring 2001-02): 127-154 6
. Beyond the Sonata Principle. Journal of the American Musicological Society Vol. 55/1 (Spring 2002): 91-154. Framing Till Eulenspiegel. 19 th -Century Music Vol. 30/1 (2006): 4-43 Hepokoski, James & Warren Darcy. The Medial caesura and Its Role in the Eighteenth- Century Sonata Exposition. Music Theory Spectrum Vol. 19 (1997): 115-54. Elements of Sonata Theory: Norms, Types and Deformations in the Late- Eighteenth-Century Sonata. Oxford: Oxford UP, 2006 Horton, Julian. Bruckner s Symphonies: analysis, reception and cultural politics. Cambridge: Cambridge UP, 2004. Bruckner s Symphonies and Sonata Deformation Theory. Journal of the Society of Musicology in Ireland Vol. 1(2005): 5-17. John Field and the alternative history of concerto first-movement form. Music and Letters Vol. 92/1 (2011): 43-83 Horton, Julian & Wingfield, Paul. Between Tradition and Innovation: Norm and Deformation in Mendelssohn s Sonata Forms. In Mendelssohn Perspectives, ed. Nicole Grimes & Angela Mace, 83-112. Farnham: Ashgate, 2012 Kaplan, Richard. Sonata Form in the Orchestral Works of Franz Liszt: The Revolutionary Reconsidered. 19 th -Century Music Vol. 8/2 (Autumn 1984): 142-152 Marston, Nicholas. Schumann: Fantasie, Op. 17. Cambridge Music Handbooks. Cambridge: Cambridge UP, 1992 Marx, Adolf Bernhard. Musical Form in the Age of Beethoven: Selected Writings on Theory and Method ed. & trans. Scott Burnham. Cambridge: Cambridge UP, 1997 Monahan, Seth. Success and Failure in Mahler s Sonata Forms. Music Theory Spectrum Vol. 33/1 (Spring 2011): 37-58. Inescapable Coherence and the Failure of the Novel-Symphony in the Finale of Mahler s Sixth. 19 th -Century Music Vol. 31/1 (Summer 2007): 53-95. Mahler s Symphonic Sonatas. Oxford: Oxford UP, 2015 Ratner, Leonard. Classic music: expression, form, and style. New York: Schirmer, 1980. Harmonic Aspects of Classic Form. Journal of the American Musicological Society Vol. 2/3 (Autumn1949): 159-168 Riley, Matthew. Sonata Principles. Music and Letters Vol. 89/4 (2008): 590-598 Rosen, Charles. Sonata Forms. Rev ed. New York: Norton, 1988 Schmalfeldt, Janet. In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford: Oxford UP, 2011 Taruskin, Richard. Review: Speed Bumps. 19 th -Century Music Vol. 29/2 (2005): 185-207 Vande Moortele, Steven. Form, Program, and Deformation in Liszt s Hamlet. Dutch Journal of Music Theory Vol. 11 (2006): 71-82 7
. Beyond Sonata Deformation: Liszt s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form. Current Musicology No. 86 (Fall 2008): 41-62. Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental works by Liszt, Strauss, Schoenberg, and Zemlinsky. Leuven: Leuven University Press, 2009. Form, Narrative and Intertextuality in Wagner s Overture to Der fliegende Holländer. Music Analysis Vol. 32/1 (2013): 46-79. In Search of Romantic Form. Music Analysis Vol. 32/3 (2013): 404-431 Wingfield, Paul. Beyond Norms and Deformations : Towards a Theory of Sonata Form as Reception History. Music Analysis Vol. 27/1 (2008): 137-177 8
Martin Greet: Schenkerian Analysis Suggested Reading Allen Forte and Steven Gilbert. Introduction to Schenkerian Analysis. Chapters 7 13. New York: Norton, 1982. 9
Alistair Noble: Post-Tonal Analysis Bibliography Babbitt, Milton. Words about Music. Ed. Stephen Dembski and Joseph N Strauss (Madison, Wisconsin: University of Wisconsin Press, 1987). The Collected Essays of Milton Babbitt. (Princeton University Press: 2003). (1955). "Some Aspects of Twelve-Tone Composition". The Score and I.M.A. Magazine 12:53 61. (1958). "Who Cares if You Listen?". High Fidelity (February). (1960). "Twelve-Tone Invariants as Compositional Determinants," Musical Quarterly 46/2. (1961). "Set Structure as Compositional Determinant," Journal of Music Theory 5/1. Bailey, Kathryn. 1991. The Twelve-Note Music of Anton Webern. Cambridge: Cambridge University Press. Bourdieu, Pierre. The Field of Cultural Production, or: The Economic World Reversed [1983] in The Field Of Cultural Production: Essays on Art and Literature Ed. Randal Johnson (Columbia University Press: 1993). Cage, John. Silence: Lectures and Writings by John Cage (Wesleyan University Press, 1961).. A Year From Monday (Middletown, Conn.: Wesleyan University Press: 1969). Cage, John and Morton Feldman. Radio Happenings: Conversations Gespräche Tr. Gisela Gronemeyer (Köln: MusikTexte, 1993). Cook, Nicholas and Mark Everist (eds.), Rethinking Music (Oxford University Press, 1999) Feldman, Morton. Give My Regards to Eighth Street: Collected Writings of Morton Feldman. Ed. by B.H. Friedman (Exact Change, 2000). Morton Feldman Says: Selected Interviews and Lectures 1964-1987. Ed Chris Villars (London: Hyphen Press, 2006). Forte, Allen. 1973.The Structure of Atonal Music. New Haven: Yale University Press. Guck, Marion. Analytical Fictions in Music Theory Spectrum, 16/2 (Autumn 1994) 217 230. Hanninen, Dora. Feldman, Analysis, Experience in Twentieth-Century Music 1/2 (2004) 225 251. Hasty, Christopher. Segmentation and Process in Post-Tonal music Music Theory Spectrum 3 (Spring 1981) 54 73. Howat, Roy. Debussy in Proportion: A Musical Analysis (Cambridge University Press, 1983). Johnson, Steven. Jasper Johns and Morton Feldman: What Patterns? in The New York Schools of Music and the Visual Arts. Ed. Steven Johnson (New York, London: Routledge, 2002). Messiaen, Olivier. 1944. Technique de mon langage musical. Paris: Leduc. 10
Morris, Robert. 1987. Composition with Pitch Classes. New Haven: Yale University Press.. 2001. Class Notes for Atonal Theory. Lebanon, NH: Frog Peak. Perle, George. 1962/1991. Serial Composition and Atonality, 6th ed. rev. Berkeley: University of California Press. Schuijer, Michiel. 2008. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. Rochester: University of Rochester Press. Straus, Joseph N. 2005. Introduction to Post-Tonal Theory, 3rd ed. Englewood Cliffs, NJ: Pearson- Prentice Hall.. 2001.Stravinsky's Late Music. New York: Cambridge University Press.. 2009.Twelve-Tone Music in America. New York: Cambridge University Press.. 1991. A primer for atonal set theory in College music symposium (Vol. XXXI) 1-26.. 1982. Stravinsky s Tonal Axis in Journal of Music Theory (26/2) 261 90. Schechner, Richard. Performance Theory, (Routledge, 2005). Originally published as Essays on Performance Theory (Ralph Pine, 1977). Tomlinson, Gary. The Web of Culture: A Context for Musicology Nineteenth Century Music 7/3 (April 1984) 350 62. Varèse, Edgard. The Liberation of Sound in Contemporary Composers On Contemporary Music. Ed. Elliott Schwartz & Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967). New Instruments and New Music in Contemporary Composers on Contemporary Music. Ed. Elliott Schwartz and Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967). Rhythm, Form, Content [1959] in Contemporary Composers on Contemporary Music. Ed. Elliott Schwartz and Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967). Wolpe, Stefan. Thinking Twice in Contemporary Composers On Contemporary Music. Ed. Elliott Schwartz & Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967). Thoughts on Pitch and Some Considerations Connected with It Ed. Austin Clarkson, Perspectives of New Music, 17/2, (1979) 28 57. [Text of a talk given at Black Mountain College, August 1952.] On New (and not-so-new) Music in America [Darmstadt, 1956] Tr. Austin Clarkson in Journal of Music Theory 28/1 (1984) 1 45. On Proportions [1960] Tr. Matthew Greenbaum in Perspectives of New Music 34/2 (Summer 1996) 132 184. [Lecture given at Darmstadt, July 1960]. Some Music Witold Lutoslawski, Symphony No.3 11
Moya Henderson, Prelude No.1 Rohan Phillips, Transit 1-6 Morton Feldman, Intermissions 5 & 6, Intersection 3, Piano Piece 1952 Igor Stravinsky, late serial works And a few pieces by: Lin Chi-wei Wang Fujui 12
Alan Davison: Schubert/Liszt Essential Listening Liszt, Sonata in B minor (S.178) IMSLP: First edition, Leipzig: Breitkopf und Härtel, 1854 Schubert, Fantasie in C major (D. 760) IMSLP: Leipzig: Breitkopf & Härtel, 1888 Highly Recommended Reading: Cohn, Richard L. "As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert." Nineteenth-Century Music (1999): 213-232. Dunsby, Jonathan. "Adorno's Image of Schubert's Wanderer Fantasy Multiplied by Ten." 19th-Century Music 29, no. 1 (2005): 042-048. Wingfield, Paul. "Beyond Norms and Deformations : Towards a Theory of Sonata Form as Reception History." Music Analysis 27, no. 1 (2008): 137-177. Moortele, Steven Vande. Two-Dimensional Sonata Form: Form and cycle in singlemovement instrumental works by Liszt, Strauss, Schoenberg, and Zemlinsky. Leuven University Press, 2009. [ch 1 & 2] Suggested Reading: Moortele, Steven Vande. "Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form." Current Musicology 86 (2008): 41-62. Hamilton, Kenneth. Liszt: Sonata in B minor. Cambridge University Press, 1996. 13
Elliott Gyger: Analysis and Composition Suggested reading Frisk, H. & Östersjö, S. (2006). Negotiating the Musical Work: An Empirical Study. Conference paper, International Computer Music Conference. http://www.henrikfrisk.com/documents/articles/negotiateems/html/ NegotiateEMS.html 14
Michael Hooper: Performance Analysis Analysing Performance This lecture will analyse performance from several directions. Each has an extensive literature, and so the following texts are a good place to start. Sonic Visualizer resources: http://www.sonicvisualiser.org http://www.charm.rhul.ac.uk/analysing/p9_1.html http://charm.cchcdn.net/redist/pdf/analysing_recordings.pdf There are many studies of an empirical nature, of which the following two are a good place to start: Dorottya Fabian and Alistair Sung (2011), Variety in Performance: A comparative Analysis of Recorded Performances of Bach s Sixth Suite for Solo Cello from 1961 to 1998, Empirical Musicology Review, 6/1, 20-42. Dorottya Fabian and Eitan Ornoy (2009) Identity in Violin Playing on Records: Interpretation Profiles in Recordings of Solo Bach by Early Twentieth-Century Violinists, Performance Practice Review: Vol. 14: No. 1, Article 3. Some challenges to performance that go to the heart of some of the problems of analysing performance: Marc Battier (2015). Describe, Transcribe, Notate: Prospects and problems facing electroacoustic music, Organised Sound, 20, 60-67. Jason Stayek (2014), Forum on Transcription, Twentieth-Century Music, 11/1, March, pp. 101-161. Hollis Taylor (2008), Decoding the Song of the Pied Butcherbird: An Initial Survey. Transcultural Music Review 12, 1-30. [Taylor s recent writings on birdsong are also worth reading, but this is a good place to start.] The challenges of analyzing performance that we will cover can be usefully theorized through the following: Dora Hanninen (2012) A Theory of Music Analysis: on segmentation and associative organization (University of Rochester Press). Dora Hanninen (2001), Orientations, Criteria, Segments: A General Theory of Segmentation for Music Analysis, Journal of Music Theory, Vol. 45, No. 2, pp. 345-433. [This is a shorter introduction, replaced by the book, but worth reading.] 15
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Acknowledgements MMASS patron Dr Michael Hannan Inaugural Melbourne Music Analysis Summer School supporters Adrian Dries Aidan Charles Rosa Aidan Maizels Alex Clayton Alex Turley Alisa Yuko Bernhard Amanda Tong Ambika Taylor Caitlin Rowley Carla Doyle Caterina Turnbull Chermaine Chew Chris Healey Claire Chia-Yu Hu Claire Race Clare Johnston Daniel Rojas Edwin Spark Eli Simic-Prosic Elizabeth Jigalin Elizabeth Younan Hana Zreikat Inti Figgis-Vizueta Jakob Bragg James Wierzbicki Janet Deshon Healy Jaslyn Robertson Jasmin Wing Yin Leung Jeremy Tatar Jess Crowe Jessica Lindsay Smith Jonathan Barakat Kevan Atkins Kitty Xiao Leonard Mammoliti Lisa Cheney Louis Nicoll Mara Davis Marjorie Li May Lyon Michael Bradshaw Michael Hannan Michael Weiss Nathaniel Currie Nick Freer Noemi Friedman Philip Andrew Eames Philip Shields Philippa Lo Phoebe Green Roger Cheng Sam Thompson Samantha Wolf Samuel Smith Simon Perry Stephanie Rocke Tsz Ching Chung Vanessa Nimmo Will Sheells Xue Yin Zhang The Melbourne Music Analysis Summer School Acknowledges the generous support of the Musicological Society of Australia, Medley Hall, and the Sydney Conservatorium of Music.