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.
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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.
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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:
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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
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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.
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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, 1st 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)
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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
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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”
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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)
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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 20th Century Fugue
Bartok – Music for String Instruments, Percussion, and Celesta
1st 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
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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, 1st move (1936)
Brahms - “Intermezzo in E flat minor”, Op. 118, No. 6 (1893)
Brahms – “Viiolin Sonata in A Major”, Op. 100, 1st 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)
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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, 2nd 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
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