Form and Analysis - MUS 417 3 Semester Hours, MWF 11-11:50AM

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Form and Analysis - MUS 417

3 Semester Hours, MWF 11-11:50AM

Bob Knupp-Aven 319

Office Phone # 925-3977 knupp@mc.edu

Texts:

Form in Tonal Music, 2nd ed. Douglass M. Green. Holt, Rinehart and Winston, 1979.

Anthology for Musical Analysis by Charles Burkhart, 6th.Thomson/Schirmer

Prerequisites : Completion of Music 202 and 206; transfer students must pass a

Diagnostic/Advanced Standing theory test or pass Music 202 with a “C” average.

Description : A detailed study of the forms used by composers, primarily from the

Baroque to the present day.

Rationale : The ability to analyze music is one of the most important skills a musician can develop. Interpretation of musical symbols, structure and language is required every time a performer or teacher works with a musical composition. Skills learned in this class enable the student to begin to view the role and importance of the different musical elements in the shaping of an interpretation. The basic idea behind teaching such a course is that the more the student understands the way in which a musical work is put together, the more insight he will bring to his interpretation of that work.

Objectives : 1. To become familiar with the various standard musical forms and the elements that shape each.

2. To develop the ability to break down a musical composition into its various sections and see the inter-relationships in those sections.

3. To develop the skill of identifying both visually and aurally the tonal areas in a musical work.

4. To apply the insights gained through analysis to the problem of developing an interpretation of a musical work.

5. To become increasingly aware of the importance of repetition and variation as fundamental elements in the language of music and the role these elements play in shaping a musical work.

6. To become increasingly aware of the role of tension - release in a work, how it shapes a work, and the means by which those feelings are generated.

7. The principal outcome of this course should be an increased awareness of the elements of musical form and how they are important in developing an interpretation of that musical work.

Academic Integrity : While students can study together, plagiarism and turning in work not one’s own will not be tolerated and will be given no (zero) credit. The student should read the school policy on honesty in the catalog and the policy stated in the latest issue of the Tomahawk. An example of plagiarism/cheating in this class would be copying verbatim material from other sources and including it in a term paper without giving proper credit to the original author.

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Methods of Instruction : class lecture, reading material from textbook, analysis assignments, listening assignments, outside reading assignments. The student may be asked to participate in a group report given to the class. One analysis paper will be required.

Required Practices.

Reading assignments in textbook and other sources, listening assignments, writing assignments. Group oral presentations may also be required.

Other information : Missed tests cannot be made up, except under family death or hospital stay. Sinus infections are not serious, unless it requires a hospital stay. If you’re healthy enough to be in Singers rehearsal, you are healthy enough to be here.

Each absence over three counts one point against the final average. Any student accumulating 12 absences receives the grade of “F.”

Grading Policies:

1. Each assignment, test, quiz, other projects are graded

2. Each assignment counts; no grade will be dropped.

3. Incomplete and late homework assignments will receive zero points.

93-100% = A

84-92% = B

75-83% = C

66-74% = D

Below 66% = F

You are solely responsible for tracking your own grade

Days we do not meet:

September 6-Labor Day

October 4-Fall Break

October 27-Fall Singers Tour

November 12-NATS

November 19-Music Department Discovery Day-you may be required to volunteer.

November 24 and 26-Thanksgiving Break

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1st week 8/26 Music as language; limitations and possibilities; musical gestures

8/28 Aspects of tensions and release; forms vs. “Form;” relationship of analysis a class to performance. Read chapters 1-4 in FTM Last day to add

2nd week 8/31 Continue class discussion on tension /release amd motivic development

9/2 Discuss motive development: read in text about motives, phrases, phrase

Groups. Brahms Symphony #2, mvt. 4 – motivic usage

9/4 AMA: pp. 92, 94, 311-316, 332-338 Locate phrase endings and identify cadence types.

3rd week 9/7 Labor Day Holiday

9/9 Beethoven, op. 14, #1 – motive development, phrasing, cadences

9/11 Read chapter 5 in FTM; discussion of periodic structure; AMA, pp.

249-250, 175-177(mm. 1-58), 312-313, pp. 311-315

4 th week 9/14 Read Chapter 6, FTM:

Table of small forms, FTM, p. 93

Chopin Mazurka, selected example

Chopin, Prelude, #4, #20

9/16 Test on periodic structure, binary movements :- music to be assigned

9/18 Ternary movements: 367-369

5th week 9/21 chapter 8, compound ternary forms AMA, pp. 143, 261-262,

Assign music for test

9/23 TEST , Chapters 1-6, 8: Reading essays due

9/25 chapter 9, rondo; AMA, pp. 140-142, 240-242

6th week 9/28 AMA, pp. 184-189 - sonata rondo; see chapter 12 for discussion.

9/30 Chapter 10; binary dance movements; characteristics of suite movements

10/2 chapter 11; sonata movements; early expansion of binary form

Scarlatti, Sonata, D major, K. 96 (AMA, pp. 130-134)

7th week 10/5 Fall Break

10/7 Haydn, Sonata, piano, Hob XVI/36, c# minor, mvt.1, pp. 136-139

In this work, look for characteristics of SMSF(stable vs. unstable key areas, development of motives, re-appearance of material from earlier sections, evidence of expansion of binary forms, long-term tension and release related to tonality.)

10/9 Mozart, pp. 175-181

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8th week 10/12 Brahms, Sonata, op. 120, #1, 1 st mvt. AMA, pp. 373-382

10/14 Analysis Test

– Beethoven, Quartet, e minor, op. 59, #2, 1 st movement

9 th week

10/16 Review Test Materials

10/19 chapter 13, Concerto; ritornello principle

Baroque examples of use in solo keyboard works, vocal works

10/21 Mozart, Concerto , K.622, 1st movement; AMA, pp. 201-218 double exposition , tonal differences in exp I and exp II, differences in tutti and solo themes, application of SMSF to concerto, difference in exp and recapitulation. Try to chart the tonal direction of the development section.

10/23 20th cent. approaches to concerto form: Barber, Violin Concerto ,

1st mvt.

10th week 10/26 Test, chapters 9-13 – Reading Essays due

10/28 Choir Tour

– no class

10/30 Chapter 7 – Continuous Variations; characteristics

11 th week 11/2 chapter 7; theme and variations Bach, Chaconne, AMA, pp. 95-

100

In the following, be prepared to discuss how the composer changes the musical elements to shape the work. Are there “rhythmic crescendos” present? If so, what is their purpose? How does increasing or decreasing complexity work to shape a piece? Show examples. Show elements which keep the work from becoming too sectionalized and elements which are retained or altered in each variation.

11/4 Contemporary approaches to ground bass technique:

Lutoslawski, Concerto for Orchestra , finale, Britten, Serenade , op. 31, “Dirge”

11/6 Sectional variations, Mozart, K. 284, 3 rd mvt. AMA, pp. 165-174

12 th week 11/9 Discussion of selected theme. Each class member will be assigned a variation from a work and will turn in an essay dealing with the elements which are changed and the elements which are retained. Essay will be no more than two typed pages and is due _____. A sheet of musical examples can also be added if desired. This is a test grade and late essays are not accepted.

11/11 Chapter 14; basics of fugue terminology and style

11/13 fugue – AMA, pp. 106-119

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13 th week 11/16 fugue - AMA, pp. 106-119

11/18 complete discussion of fugue

11/20 Test, fugue analysis

14 th week 11/23 New approaches to form - discontinuity

11/25 – 11/29 Thanksgiving Holidayss

15 th week 11/30 Tippett, Piano Sonata #2

Variations essay due

12/2 Stravinsky, Symphonies of Wind Instruments

Score/CD on reserve in LRC

12/4 Messiaen, Quatuor pour la fin du temps , AMA, pp. 502-508

Discuss isorhythmic elements, free elements; how is tensionrelease achieved ?

Final reading list essays due

16 th week 12/7 Two approaches to mirror writing: Webern,Variations for Piano, op.

27, mvt. 2, AMA, pp. 485-486 and Tippett, piano Sonata #3, last movement

12/9 Newer strategies for form/structure: Available Forms (Earle Brown); process music - In C (Terry Riley)

Final Exam ______________ Comprehensive test, but emphasis will be over material covered since last test. Will include listening not covered in previous tests.

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