Schedule

Tentative Seminar Schedule: Topics and Readings may change as the course progresses.

Section 1 - Beyond Basic Form

January 8 - Introduction and Review of Terms and Concepts
We’ll get our feet wet with some Haydn and Mozart piano pieces.

January 10 - Beethoven Symphony no. 3, I - expansion of sonata principle.
Reading: Philip G. Downs, “Beethoven’s ‘New Way’ and the ‘Eroica’”, The Musical Quarterly, 56 (1970): 585-604.

January 15 - No Class

January 17 - Beethoven Symphony no. 7, II - composite forms
Reading: Mosco Carner, “A Beethoven Movement and its Successors”, Music and Letters 23 (1939): 281-291.

January 22 - Introduction to Schenkerian Analysis - various pieces
Reading: Allen Cadwallader and David Gagné, Analysis of Tonal Music: A Schenkerian Approach, New York: Oxford University Press, 1998, Chapters 1, 3, and 5. ON RESERVE

January 24 - Schenker’s Free Composition and Five Graphic Music Analyses
These books are on reserve - please give them a brief look before the seminar.

Section 2 - Metrical Structure

January 29 - Lerdahl and Jackendoff’s Generative Theory. Mozart G Minor Symphony no 40, I.
Reading: Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music, Cambridge: MIT Press, 1983.

January 31 - No Class

February 5 - Metrical and Hypermetrical Ambiguity. Schubert Symphony no. 8, I.
Reading: Richard Kurth, “On the Subject of Schubert’s ‘Unfinished’ Symphony: Was bedeutet die Bewegung?”, 19th Century Music 23,1 (1999): 3-32.

February 7 - Hypermetric conflict as dramatic structure. Beethoven Symphony no. 9, II.
Reading: Richard L. Cohn, “The Dramatization of Hypermetric Conlicts in the Scherzo of Beethoven’s Ninth Symphony,” 19th Century Music 15,3 (1992): 188-206.

February 9-11 - Acadia New Music Festival
Feb 10 Public Lecture: Jeffrey J. Hennessy, “Beneath the Skin of Time: Alternative Temporalities in Grisey’s Prologue for Solo Viola.”

February 12 - Metrical Dissonance and Robert Schumann
Reading: Harald Krebs. “Some Extensions of the Concepts of Metrical Consonance and Dissonance”, Journal of Music Theory 31 (1987): 99-120.

February 14 - Popular Music Approaches - Butler, Krims, and Hennessy.
Readings: Mark J. Butler, “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music”, Music Theory Online 7.6, http://mto.societymusictheory.org/issues/mto.01.7.6/mto.01.7.6.butler_frames.html
Adam Krims, Rap Music and the Poetics of Identity, Cambridge: Cambridge University Press, 2001. ON RESERVE

Section 3 - 20th Century (for the most part)

February 26 - 20th Century Tonality - Korndorf’s “Hymn III”
No reading but study the score and listen to the recording, and bring your analytical observations to class.

February 28 - Spectralism - Grisey’s “Modulations”
Reading: François Rose, “Introduction to the Pitch Organization of French Spectral Music”, Perspectives of New Music 34,2 (1996): 6-39.

Analysis Presentation: Ian

March 5 - Textural Composition and Ligeti - “Ramifications”, “Chamber Concerto, I”, and “String Quartet 2, V”.
Reading: Miguel A. Roig-Francolí, “Harmonic and Formal Processes in Ligeti’s Net-Structure Compositions”, Music Theory Spectrum 17,2 (1995): 242-267.

Article Presentation: Kristen

March 7 - Lutoslawski -“Mi Parti”
Reading: Steven Stuckey, Lutoslawski and His Music, New York: CUP, 1981. ON RESERVE

Analysis Presentation: Mitch

March 12 - The Fibonacci Series and the Golden Mean - we’ll make a slight historical detour here back to the Renaissance - various pieces.
Reading: Newman W. Powell, “Fibonacci and the Golden Mean: Rabbits, Rumbas, and Rondeaux”, Journal of Music Theory 23, 2 (1979): 227-273.

Article Presentation: Ian

March 14 - Bartok - “Music for Strings, Percussion, and Celeste”
Readings: Jonathan Kramer, “The Fibonacci Series in Twentieth-Century Music”, Journal of Music Theory 17, 1 (1973):110-121; and Larry Solomon Symmetry as a Compositional Determinant, Ph.D. Dissertation Chapter 7 (online).
http://solomonsmusic.net/diss7.htm

Article Presentation: Madeleine

Section 4 - Why Analysis?

March 19 - Adorno on Analysis
Reading: Theodor Adorno, “On the Problem of Musical Analysis”, Music Analysis 1 (1982): 169-187.

Analysis Presentation: Kristen

March 21 - Kerman’s Challenge
Reading: Joseph Kerman, “How We Got into Analysis, and How to Get out”, Critical Inquiry 7 (1980): 311-331.

Analysis Presentation: Madeleine

March 26 - Feminist Criticism
Reading: Susan McClary, “Introduction: A Material Girl in Bluebeard’s Castle”, in Feminine Endings (Minneapolis: University of Minnesota Press, 1991), 3-34. ON RESERVE

Article Presentation: Erin

March 28 - Musical Unity
Reading: Fred Everett Maus, “Concepts of Musical Unity” in Rethinking Music, Nicholas Cook and Mark Everist eds., (Oxford: OUP, 1999),171-192. ON RESERVE

Article Presentation: Mitch

April 2 - The Role of Analysis in Performance
Reading: Nicholas Cook, “Analysing Performance and Performing Analysis” in Rethinking Music, Nicholas Cook and Mark Everist eds., (Oxford: OUP, 1999), 237-261. ON RESERVE

Analysis Presentation: Ryan

April 4 - Composer vs. Audience - is analysis a requirement for true appreciation of a musical work?
Reading: Milton Babbitt, “Who Cares if you Listen? (The Composer as Specialist)”, in Composers on Modern Musical Culture, Bryan R. Simms ed., (Belmont: Wadsworth, 1999), 152-159. ON RESERVE

Article Presentation: Ryan

April 9 - Course summary and evaluation.

Analysis Presentation: Erin