Course Outline-20th Century Music (Analytical Techniques III)
Fall 2009
9866 MUTH
5370
Information for Students
Dr. Timothy L. Jackson (Associate Professor of Music, Music Building, Room 111, tel.
(940) 565-3748 (wk)). Re. Private consultations: the student is responsible for requesting meetings with the instructor. The best times to meet are Monday, Wednesday, and
Friday, 12-1.
The primary focus of the course will be the music of Schoenberg, Webern, Berg (The
Second Viennese School), Bartok, Hindemith, and Stravinsky. Other composers to be discussed include: Wilhelm Furtwängler, Richard Strauss, Sibelius, Vaughan Williams,
Rachmaninov, Shostakovich, Prokoviev, Messiaen, Boulez, Ligeti, Xenakis, Ives, Carter,
Babbitt, etc..
Learning to write well about music a primary goal of the course:
The assignments will involve at least two short analytical essays (6-8 pages) supported by clear musical examples and bibliographies. The student is encouraged to avail him/herself of all library resources , including RILM, ILL (inter-library loan), The Music Index , etc. to gain access to needed materials. Our librarians will help you. Ask lots of questions!
IF your diction and writing are poor, you may be asked to re-write and resubmit a paper. My grading policy is to delay giving grades until certain basic skills of academic writing have been mastered.
Some potentially useful books and articles:
Elliott Antokoletz, The Music of Bela Bartok , University of California Press, 1984.
--.
Bartók perspectives : man, composer, and ethnomusicologist, New York : Oxford
University Press, 2000.
Milton Babbitt, Words about Music , eds. Stephen Dembski and Joseph N. Straus, The
University of Wisconsin Press, 1987.
James Baker. "Schenkerian Analysis and Post-tonal Music," in Aspects of Schenkerian
Theory ed. David Beach, New Haven: Yale University Press, 1983.
1

Kathryn Bailey, The Twelve-note Music of Anton Webern. Old Forms in a New
Language , Cambridge University Press, 1991.
Allen Forte. The Structure of Atonal Music , New Haven, Yale University Press, 1973.
--. The Harmonic Organization of the Rite of Spring , Yale University Press, 1978.
David Gable and Robert P. Morgan eds., Alban Berg. Historical and Analytical
Perspectives , Oxford: Clarendon Press, 1991.
Ethan Haimo. Schoenberg's Serial Odyssey. The Evolution of his Twelve Tone Method ,
Oxford: Clarendon Press, 1990.
Douglas Jarman, The Music of Alban Berg , University of California Press, 1979.
--. The Berg Companion , The Macmillan Press, Ltd., 1989.
Alan Lessem. Music and Text in the Works of Arnold Schoenberg. The Critical Years ,
1908-1922, UMI Research Press, 1979.
Jan Maegaard. Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schoenberg ,
Copenhagen, 1972.
Scott Messing, Neoclassicism in Music. From the Genesis of the Concept through the
Schoenberg/Stravinsky Polemic , UMI Research Press, 1988.
Silvina Milstein. Arnold Schoenberg : Notes, Sets, and Forms , Cambridge University
Press, 1992.
Andrew Mead. "The State of Research in Twelve-tone and Atonal Theory," Music
Theory Spectrum XI (1989), pp. 41-48.
Robert Morgan. "Dissonant Prolongation: Theoretical and Compositional Precedents,"
Journal of Music Theory (1976), pp. 49-91.
George Perle. Serial Composition and Atonality (6th ed.) Berkeley: University of
California Press, 1991.
--. "Pitch Class Set Analysis: An Evaluation," The Journal of Musicology VIII (1990), pp. 151-72.
John Rahn. Basic Atonal Theory .
Alexander Ringer. Arnold Schoenberg. The Composer as Jew , Oxford University Press,
1992.
2

Joseph Rufer. Composition with Twelve Tones , trans. Humphrey Searle, New York, 1954.
David Schiff. The Music of Elliott Carter . Eulenberg Press, 1983.
Janet Schmalfeldt, Berg's Wozzeck. Harmonic Language and Dramatic Design , Yale
University Press, 1983.
Hans Heinz Stuckenschmidt. Schoenberg: His Life, World and Work , trans. Humphrey
Searle, New York, 1977
Pieter C. van den Toorn, Stravinsky and The Rite of Spring. The Beginnings of a Musical
Language , University of California Press, 1987.
Paul Wilson, The Music of Bela Bartok . New Haven : Yale University Press, 1992.
Short papers submitted during the semester: there will be at least two short papers on assigned topics (as described above).
Informal Discussion of Essays in Schoenberg, Style and Idea
Each student leads a brief discussion of essays in Schoenberg's Style and Idea .
Some of the essays to be discussed:
Score Reading:
The student should be able to read and, if necessary reduce, scores at the piano.
Listening Test:
There is a listening test. The student is required to identify aurally pieces discussed in class. Other pieces, not necessarily discussed in class but on the Listening List, are included to give the student a certain command of the literature. Warning : Do not wait until late in the semester to listen to the items on the listening list. Rather, spread listening out over the entire semester. Experience shows that crammed listening does not work; the student does not retain what he/she hears and simply confuses and confounds one work with another. The student should allocate approximately three hours per week for listening to recordings in the library. Always listen to the music with the score.
That way the student has a visual as well as aural impression of what he/she is hearing. The student is not expected to know every piece on the listening list. The test will be conducted on a pass/fail basis, with a certain number of correct identifications (about
60%) needed to pass.
3

Portfolio of Work Presented at the End of the Semester and Breakdown of Final
Grade:
1) Short papers 60%
3) In-class participation 30%
4) Listening test 10%
Attendance Policy
If you miss have more than three unexplained absences, the instructor reserves the right to drop you from the course with a “WF.”
Marking policy:
To receive a grade, all written assignments must be submitted no later than one class after the announced due date. One unit may be deducted for lateness (e.g. A becomes A-).
Attendance is expected at all classes. Student's may obtain advance permission to submit work late or miss class.
A list of topics to be addressed. Important Note: the class will move freely from one topic to another. In other words, the class will not necessarily begin with Unit 1 and end with Unit 6; rather, certain aspects of the various units may be discussed, left, and then returned to as the occasion arises.
Unit 1 At the Crossroads: The Twilight of Common Practice Tonality
Tonal practice of the New German School (Wagner, Liszt, Bruckner, Wolf, Mahler, and
Schoenberg's first period). The relationship of tonality to structure. New manifestations of the sonata principle. Large- and small-scale linear counterpoint and the new harmonic vocabulary.
Unit 2 The Path to the "New Music"
The break-through from tonal to non-serial post-tonal music by Schoenberg and his pupils Berg, and Webern (1908-20). Contextual structure. Basic elements of the theory of pc sets (integer notation, normal order, prime form, transpositional and inversional equivalence, invariance, vector). Set relations, harmonic structure, voice-leading, largescale auxiliary progressions and referential sonorities.
Unit 3 Towards the Twelve-tone Method of Composition
4

Proto-serial technique in Schoenberg and Berg. Composition with six- to twelve tone rows. Tropes. Voice-leading in a twelve-tone context. Row formation and characteristics
(the matrix, combinatoriality, invariance, derived sets, the row and the structure of the piece). These topics to be continued in Unit 5.
Unit 4 Stravinsky and Bartok, The Break-through to Post-tonalTonality
The integration of post-tonal procedures within large-scale tonal frameworks. Octatonic, neo-modal, and "polytonal" regions in Stravinsky and Bartok. Additive tonality and rhythm. Large-scale voice-leading in Stravinsky and Bartok. The Schoenberg/Stravinsky clash with regard to relationship to the past and "neo-classicism."
Unit 5 The Serial Masterpieces of Schoenberg's American Years (1933-51), Late
Webern (1936-45), Babbitt and Messiaen. Bartok's Advanced Style and Ligeti.
Stravinsky's serial technique.
Detailed examination of Schoenberg's and Webern's late styles. Special properties of
Schoenberg's rows and their compositional ramifications. Confluence and contradiction between row and structure in Schoenberg and Webern. Impact of Schoenberg and
Webern on the "neo-Schoenbergian" Milton Babbitt and the "neo-Webernian" Olivier
Messiaen. Messiaen's serialism and modes of limited transposition. Impact of Bartok's advanced style on Ligeti's micro-polyphony.
Unit 6 Other Neo-Tonal, Post-tonal Tonal, and Post-tonal Languages
Unusual features of Rachmaninov's neo-tonality. Sibelius's advanced language. Vaughan
Williams' subtle modernism. Tonal displacement in Soviet neo-tonality. Shostakovich's use of "Jewish" Steiger s. Hindemith's neo-tonal theory and practice. Neo-tonality and motivic metamorphosis in the late works of Richard Strauss. Carter's technique of
"tempo modulation."
Listening List and Some Helpful Call Numbers
Berlioz
Symphonie fantastique
Benvenuto Cellini (overture)
Wagner
Parsifal Acts I and III
5

Bruckner
Seventh Symphony
Ninth Symphony
Mahler
Kindertotenlieder
Fifth Symphony
Das Lied von der Erde
Tenth Symphony
Debussy
Prelude to "The Afternoon of a Faun" (L'Apres-midi d'un faune)
La Mer (The Sea)
Alexander Scriabin
Promethee, le poeme de feu , Op. 5
Richard Strauss
Also sprach Zarathustra
Alpensinfonie
"Vier letzte Lieder" (Letzte Orchesterlieder)
Elektra
Schoenberg
Verklärte Nacht
Kammersymphonie No. 1, Op. 9
Second String Quartet , Op. 10
Fourth String Quartet
Piano Pieces , Op. 23 and Op. 33
Ode to Napoleon, Op. 41 (complete).
Survivor from Warsaw , Op. 46
Berg
Songs, Op. 2
Chamber Concerto
Violin Concerto
Lyric Suite
6

Webern
Movements for String Quartet, Op. 5
Fünf Kanons,
Op. 16
Symphonie, Op. 21
Variations for Piano, Op. 27
Stravinsky
Rite of Spring
Petroushka
Les Noces
Bartok
The Miraculous Mandarin
Fourth String Quartet
Music for Strings Percussion and Celesta
Sonata for Two Pianos and Percussion
Shostakovich
Fifth Symphony
Piano Trio No. 2 in E minor, Op. 67
Eighth String Quartet
Prokofiev
Seventh Sonata for Piano
Fifth Symphony
Rachmaninov
Island of the Dead
Third Piano Concerto
Second Symphony
Sibelius
Fourth Symphony
Seventh Symphony
Luonnotar
Messiaen
7

Quatuor pour la fin du Temps
Hindemith
Mathis der Maler Symphony
The Four Temperaments
Vaughan Williams
Fantasia on a Theme by Thomas Tallis
Fifth Symphony
Gyoergy Ligeti
Lux aeterna
Requiem
Iannis Xenakis
Eonta
Elliot Carter (superb recordings by the Juilliard String Quartet)
Third String Quartet
[Some helpful call numbers
> 1 Klavierstück, op. 33a Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M25.S34 K55 1956 3
> 2 Fünf Klavierstücke, op. 23. Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M25 .S341 op.23 10
> 3 Variationen : für Klavier, op. 27 Webern, Anton, 18 I
> 05-15-96
> WILLIS 4FL MUSIC M27.W42 V3 1937 C.3 7
> 4 Kammerkonzert : für Klavier und Geige mi Berg, Alban, 1885 I
> 05-15-96
> WILLIS 4FL MUSIC M344.B46 K3 1926 0
> 5 String quartet no. 2, op. 10 : (revised Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M452 .S36 op.10, 198 0
> 6 Fourth string quartet, op. 37. Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M452 .S36 op.37, 193 C.4 13
> 7 Five pieces : for two violins, viola and Webern, Anton, 18 I
> 05-15-96
> WILLIS 4FL MUSIC M452 .W32 op.5 1998a 0
> 8 Verklaerte nacht = Transfigured night : Schoenberg, Arnol I
8

> 05-15-96
> WILLIS 4FL MUSIC M652 .S37 op.4, 1980 2
> 9 Symphonie fantastique. Fantastische Sinf Berlioz, Hector, I
> 05-15-96
> WILLIS 4FL MUSIC M1001.B53 op.14, 190 17
> 10 Symphonies nos. 4 and 7 Bruckner, Anton, I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .B89 no.4, 199 10
> 11 V. Symphonie B-Dur : Originalfassung Bruckner, Anton, I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .B89 no.5, 197 1
> 12 VIII. Symphonie, c-Moll : Fassung von 18 Bruckner, Anton, I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .B89 no.8, 197 7
> 13 Symphony no. 5 in C-sharp minor Mahler, Gustav, 1 I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .M21 no.5, 199 5
> 14 Symphony VI, A minor : first version = O Mahler, Gustav, 1 I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .M21 no.6, 196 10
> 15 Symphony no. 8 : "Symphony of a thousand Mahler, Gustav, 1 I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .M21 no.8 2001 1
> 16 Symphony no. 10 : (Posthumous) Mahler, Gustav, 1 I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .M21 no.10, 19 C.2 6
> 17 Chamber symphony no. 1 : for 15 solo ins Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .S364 op.9 192 0
> 18 Eine Alpensinfonie = An alpine symphony Strauss, Richard, I
> 05-15-96
> WILLIS 4FL MUSIC M1001 .S85 op.64, 19 6
> 19 La mer : three symphonic sketches : for Debussy, Claude, I
> 05-15-96
> WILLIS 4FL MUSIC M1002.D28 M4 1962 13
> 20 Prelude to the afternoon of a faun. An a Debussy, Claude, I
> 05-15-96
> WILLIS 4FL MUSIC M1002.D28 P7 C.3 5
> 21 Pelleas und Melisande : symphonische Dic Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M1002 .S36 op.5, 191 C.2 1
> 22 Prometei : po°ema ognia, dlia bolshogo s Scriabin, Aleksan I
> 05-15-96
> WILLIS 4FL MUSIC M1002 .S629 op.60, 1 4
> 23 Also sprach Zarathustra : op. 30 Strauss, Richard, I
> 05-15-96
> WILLIS 4FL MUSIC M1002 .S91 op.30, 19 16
> 24 Violinkonzert Berg, Alban, 1885 I
> 05-15-96
> WILLIS 4FL MUSIC M1012 .B43 1936b C.2 7
> 25 Violinkonzert, op. 36 Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M1012 .S36 op.36, 19 C.2 1
> 26 Kammerkonzert für Klavier und Geige, mit Berg, Alban, 1885 I
> 05-15-96
> WILLIS 4FL MUSIC M1040.B48 K3 1953 4
9

> 27 Georg Buechners Wozzeck : Oper in 3 Akte Berg, Alban, 1885 I
> 05-15-96
> WILLIS 4FL MUSIC M1500.B48 W6 1955 5
> 28 Elektra : Tragödie in einem Aufzuge von Strauss, Richard, I
> 05-15-96
> WILLIS 4FL MUSIC M1500.S918 E4 1943 1
> 29 Salome: Musikdrama in einem Aufzuge nach Strauss, Richard, I
> 05-15-96
> WILLIS 4FL MUSIC M1500.S918 S32 1943b 4
> 30 Parsifal Wagner, Richard, I
> 05-15-96
> WILLIS 4FL MUSIC M1500.W13 P266 1986 6
> 31 Tristan und Isolde; complete orchestral Wagner, Richard, I
> 05-15-96
> WILLIS 4FL MUSIC M1500.W13 T74 1973 C.2 10
> 32 Agon : ballet for twelve dancers Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M1520.S9 A4 1957b C.2 4
> 33 The soldier's tale Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M1520.S9 H4 1900z 11
> 34 Petroushka : a burlesque in four scenes Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M1520.S9 P3 1970z 4
> 35 The rite of spring = Le sacre du printem Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M1520.S9 S3 1970 4
> 36 Les noces = The wedding Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M1520.S9 S8 1900z 3
> 37 Sea drift : for baritone solo, mixed cho Delius, Frederick I
> 05-15-96
> WILLIS 4FL MUSIC M1530.D35 S4 1939 0
> 38 Gurrelieder : for soloists, chorus and o Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M1533.S355 G9 2000 3
> 39 A survivor from Warsaw : for narrator, m Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M1538.3.S387 S9 1949 1
> 40 Kindertotenlieder : for solo voice and o Mahler, Gustav, 1 I
> 05-15-96
> WILLIS 4FL MUSIC M1613.M212 K5 1988 9
> 41 Das Lied von der Erde (The song of the e Mahler, Gustav, 1 I
> 05-15-96
> WILLIS 4FL MUSIC M1613.M212 L45 1
> 42 Abraham and Isaac; a sacred ballad for b Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M1613.3.S93 A3 1965 C.2 1
> 43 Herzgewächse : op. 20, [für] hoher Sopra Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC M1614 .S365 op.20, 1 0
> 44 Vier Lieder für eine Singstimme mit Klav Berg, Alban, 1885 I
> 05-15-96
> WILLIS 4FL MUSIC M1621 .B465 op.2, 19 C.3 5
> 45 Mass : for mixed chorus and double wind Stravinsky, Igor, I
> 05-15-96
10

> WILLIS 4FL MUSIC M2010.S9 M3 1948 5
> 46 Symphonie de Psaumes. Symphony of Psalms Stravinsky, Igor, I
> 05-15-96
> WILLIS 4FL MUSIC M2020.S882 S95 1948a C.2 4
> 47 Fünf Canons nach lateinischen Texten für Webern, Anton, 18 I
> 05-15-96
> WILLIS 4FL MUSIC M2103.3 .W42 op.16 C.2 2
> 48 German essays on music I
> 05-15-96
> WILLIS 4FL MUSIC ML55 .G44 1994 4
> 49 Style and idea. Schoenberg, Arnol I
> 05-15-96
> WILLIS 4FL MUSIC ML60 .S374 1950 C.2 16
> 60 Berlioz, Benvenuto Cellini. I
> 61 Das Marienleben = (The life of Mary) : f Hindemith, Paul, I
> 05-15-96
> WILLIS 4FL MUSIC MT121.H56 M3 1954]
11