FORM ANALYSIS (MUTH 3510) – Fall 2011 Dr. Frank Heidlberger, Professor of Music Theory, [email protected] Office Hours: Tuesday and Thursday, 9.30-­‐11 a.m. CLASS SESSIONS: TR 8-­‐9.20 a.m., Room 289 TOPIC •
Analysis and discussion of concepts of musical form in Western music •
We will focus on the core repertory of the classical and romantic periods but also discuss earlier music and 20 century examples. th
OBJECTIVES •
Understanding form in music and its relationship to musical structure, style and genre within historical contexts. •
Learning how to describe musical structures with proper methodology and terminology. We will discuss analytical methods and its relevance for the understanding of musical works •
Exploring, investigating and communicating the interrelationship between musical idea, compositional practice and formal functions in music LITERATURE
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Charles Burkhart: Anthology of Musical Analysis, sixth edition, Thompson/Schirmer 2004 (required) James Mathes: The Analysis of Musical Form, Prentice Hall 2007 (required) ATTENDANCE POLICY •
Regular attendance is mandatory. Roll will be taken. Missing more than 2 sessions will reduce your grade, unless it is an officially approved leave (sickness or concerts in the course of a degree requirement). TESTS, QUIZZES, PAPERS, ACTIVE PARTICIPATION •
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Quizzes will not be announced in advance, be ready to expect a quiz any time. No make up. Tests will be announced in advance. YOU MUST ATTEND. If you miss the test, you will receive 0 points. Paper assignments are DUE on the given date. No late turn in is accepted. GRADING •
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For each assignment/test/quiz you can receive 100 points max., scale: A = 90-­‐100, B = 80-­‐89, C = 70-­‐79, D = 60-­‐69, F = less than 60, cheating, plagiarism All tests and assignments count for your final grades (quiz 10%, test and paper assignment 20%, up to a total of 60% of the final grade. The final project will count 40% of the final grade). Regular active participation in classroom discussions is required in order to receive an A as the final grade. Extra credit for classroom presentation of projects •
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Review Sessions: December 6, 8 FINAL ESSAY: will be distributed on December 8, and will be due on December 13, at noon. •
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FINALS CLASSROOM RULES •
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It is expected that every participant actively contributes to the discussion during the session. In order to achieve this goal, take the Burkhart Anthology and Mathes, Analysis with you every session. PERSONAL ELECTRONIC DEVICES (cell phones, any I-­‐devices) MUST BE SWITCHED OFF during the session. NO READING MATERIALS other than assigned. If you have an established disability as defined by the “Americans with Disabilities Act”, and would like to request accommodation, please see me as soon as possible. MUTH 3510 Form Analysis, General Schedule (Heidlberger, Fall 2011) Instructions •
Each Unit is divided into sections on special issues of form, and examples for extended analysis. •
Each Unit is completed either by a test or an analytical essay. •
Repertoire and topics may vary, suggestions are welcome. •
The dates are tentative. •
References: B: Burkhart, Anthology for Musical Analysis; M: James Mathes, The Analysis of Musical Form UNIT I – Basic concepts of form, and methods of analysis Section
TOPIC
EXAMPLES
Date
1
- What is form, what is analysis (questionnaire)
- Methods of analysis, critical assessment, discussion, and
essay writing
- The concept and nature of form (M, 3, 6-10)
Schubert, Lindenbaum
Bach, Polonaise (B)
Schubert, Theme in F
08/25,
08/31
2
- Phrase structure and tonal design (M. 26, 40, 59, 75)
Beethoven, Symph. 5, I
Beethoven Bagatelle g-Minor
Haydn, Symph. 101, III (B)
08/31,
09/01
Mozart: Voi che sapete (Figaro)
Brahms, Intermezzo op.119,3 B
09/06,
09/08
- Basic formal designs: binary/ternary forms: rounding,
transitions, “developmental” elements (M, 102, 110)
UNIT II – Ternary forms, Theme and variation, ostinato 1
- simple, extended/”compound” ternary forms (M, 124, 131)
- ternary forms and complex harmonic progressions, “open”
theme structures
2
- Theme and variation forms, Ostinato variation (M. 258, 247)
- chaconne and passacaglia (M. 107, 108, 254)
Mozart, piano son. K.284, II B
Purcell, Dido’s lament B
Schoenberg, “Nacht” from Pierrot
lunaire
09/13,
09/15
3
- dance forms and their order (suite), harmonic unity
Bach Cello suite B
09/20
UNIT III – Sonata forms and concepts 1
Sonata: single movement/multi movement
Mozart Eb-Major piano son. I, II B
Mozart g-minor symphony, I
Beethoven, piano sonata op.13 B
09/22,
09/27,
09/29
paper assignment (midterm)
analytical essay on a sonata
movement
10/04
Sonata, extended, complex harmonic progression,
mono/multithematic models (M, 196, 121)
Beethoven, Waldstein Sonata, I B
Brahms, clarinet Sonata op. 120, 1,
IB
10/04,
10/06,
10/11
Haydn piano sonata D-Major
Mozart Eb-Major piano son., III B
Haydn, Symph. 101, IV, B
10/13,
10/18,
10/20
Chopin, Nocturne on Db-Major B
Prokofiev, piano sonata 4, III
10/25,
10/27
(M, 143ff.)
Essay writing techniques
2
Unit IV – Rondo forms 1
Rondo/Sonata Rondo
(M, 221, 231)
2
Special Rondo forms (voice leading and harmonic
progression)
UNIT V – The Concerto 11
Concert/ double exposition in opening movement
Sonata Rondo in concert (final movement)
(M, 201)
Mozart, clarinet concerto B/6
Mozart, piano concerto A, K488
B/5
11/01,
11/03,
11/08
Beethoven, Violin Concerto, III
12
Special problems (assignments: short essays, including
selected presentations)
Weber, Clarinet Concerto, f-Minor
Mendelssohn, violin concerto,
Liszt, piano concerto
REVIEW SESSIONS
FINAL ESSAY
11/10,
11/15,
11/17,
11/29,
12/01
12/06,
12/08
Analysis of a major piece of the
repertoire: interrelationship of
form and structure
DUE
12/13,
noon