- MUTH 5360: Analytical Techniques II, Summer 2018
- Monday, Tuesday, Wednesday, Thursday, (plus one Friday, June 8) 2 lectures per day: online
- Instructor: Dr. David Bard-Schwarz
- Office: MU 104
- E-mail: david.schwarz@unt.edu Office Hours: To be Announced
In this course we will listen to and analyze music of the common practice era (1700-1900); our work will be divided among 3 units: 1) diatonic and chromatic harmony, 2) text and music: the Lied, 3) form: the Concerto and the Sonata.
All course materials are present on this website in the form of pdf files (that you may download) and mp3 files to which you may listen. There will be two video lectures per day; I will compress and upload them to my YOUTUBE channel + Blackboard by 5 p.m. on each day. I expect you to watch the lecture; take notes on it; and have questions for me during online office hours. I will announce how online communication will work once the term gets underway.
Grades will be determined as follows:.
- Paper #1 on diatonic and chromatic harmony = 33%
- Paper #2 on text and music = 33%
- Paper #3 on the sonata= 33%
- All papers must be double-spaced, with 12 point font, 1 inch margins, and your name on each page (no cover pages); please write your name as: First Name + Last Name. Please put the following subject heading on the emails: subject: AT II paper #1 (or #2 for the second; #3 for the third). Papers must be saved as pdf files. I must receive papers by noon US Central Standard Time on the day due; papers will loose 1 letter grade for each day late.
- 06.04.2018
1) introduction to the course: the overtone series: pdf | pitches and pitch-classes: pdf | pitch names: pdf | functional harmony / scale step harmony
2) description and analysis; implication-realization
- 06.05.2018
Do some descriptive and analytic work with the Bach below. It will be relatively simple to do some roman numeral descriptions; try and find examples of simple, underlying harmonic motions (particularly towards the end of the Bach--hint, hint). Start reading the Meyer for next time. It's not easy going, but do your best and focus on how Meyer writes about emotion, affect, and meaning (evident, hypothetical, and determinate).
Unit 1: Diatonic and Chromatic Harmony
1) hearing and music; consider before today's talk on this topic, how you hear in your lives with music
- 06.06.2018
Markedness, Implication, and Realization
1) Leonard Meyer, Emotion and Meaning in Music: pdf Read pages 1-38 for today. What does Meyer mean by "emotion" and "affect" and his three types of meaning: (evident, hypothetical, determinate)?
- 06.07.2018
1) Chopin, Prelude Opus 28, no. 4: pdf
Chopin, Prelude Opus 28, no. 4: mp3
- 06.08.2018
1) Beethoven, Piano Sonata Opus 110, slow movement: pdf
Beethoven, Piano Sonata Opus 110, slow mocement: mp3
2) Schubert, Moments Musicaux no. 6 in A-flat major: pdf
- 06.11.2018
1) Schubert, Moments Musicaux no. 2: pdf
2) Writing about Music: towards your first paper
- 06.12.2018
1) Chopin, Prelude Opus 28 no. 1: pdf
- 06.13.2018
1) Wagner, Prelude to Tristan and Isolde: pdf
- 06.14.2018
2) George Rochberg, Caprice Variations no. 31: pdf
Paper on Diatonic and Chromatic Harmony due. Write your first paper on the first 50 measures of Beethoven, Symphony no. 5, II (excerpt): pdf. There are long passages that are very clear harmonically; focus on those passages that are not so clear! In your paper, you should state a thesis (idea) about how you hear the musical language of this passage; make sure you comment on the relationship between the key of this passage and the A-flat major of the movement as a whole. Your paper should work through the music illustrating what you hear with musical examples and a few well-chosen citations from the readings (Meyer, most obviously). Here is a sample documentation handout. And here are writing quidelines: pdf. Make sure, above all, that you use "I"--you are making an argument based not on what "reality" may or may not be, but on how you hear the piece and understand its musical language.
Please submit your paper as a pdf by noon today; papers received after noon will loose 1/3 letter grade per 6 hours late. So an A paper received at 12:15 will receive an A-; that A paper received at 6:15 will receive a B+, etc.
Please double-space your work with page numbers + your name on every sheet of paper. Email the paper to me at my UNT email address; I'll confirm receipt from each of your!
- 06.18.2018
Unit 2: Text and Music
1) On the first papers
2) Writing about Music + Text: Describing Poetry | Grasshopper by John Keats: pdf
- 06.19.2018
1) Motive and Text in Four Schubert Songs by Carl Schachter: pdf | scores referenced by Carl Schachter in the above article: pdf
Schubert, Ihr Bild (text):pdf | Schubert, Ihr Bild | Lewin: Ihr Bild (from Studies in Music with Text | Schubert, Ihr Bild: mp3
2) Schubert, Der Doppelgaenger: pdf
Heine, Der Doppelgaenger (text):pdf
Schubert, der Doppelganger, progressions through the diatonic mediant: pdf
- 06.20.2018
1) Schumann, Am leuchtenden Sommermorgen: pdf
Schumann, Am leuchtenden Sommermorgen (text): pdf
Schumann, Am leuchtenden Sommermorgen: mp3
2) Schubert, Die Stadt (text): pdf
Schwarz: "Die Stadt and Sublime (Dis)pleasure: pdf from Listening Awry
- 06.21.2018
- 06.25.2018
Paper on Text and Music Due. Write an analysis of Schumann, Im wunderschoenen Monat mai (text): pdf
Schumann, Im wunderschoenen Monat mai: pdf
Schumann, Im wunderschoenen Monat mai: mp3
Your audience: a fellow member of class; your purpose: to convince him / her of your understanding both of Heine's poem and Schumann's setting of it. Argue for the extent to which you feel that Schumannt is loyal to the text, departs from it in some way, or adds to it, or distorts it, or changes it completely, or changes it substantially, etc. Be sure to demonstrate your points with musical examples.
Be sure not to be lured into the notion that placing roman numerals under all harmonies is necessary; be sure to relate harmonies to the contexts in which they occur (there are tonicizations in this piece). Pay attention to both pitch-classes and pitches. Most of all, make sure to respond to your ears, and use "mind" only in the service of what you hear. Be sure to manifest harmonies (ones that are present on the surface of the work) and latent harmonies (ones that are implied but not stated).
Unit 3: Form--the Concerto and the Sonata
1) introduction to the sonata: pdf
2) a cross-reference in the first movement of Beethoven's 5th
- 06.26.2018
1) A cross reference between the transition to second key area of the exposition and the recapitulation of the first movement of Beethoven's fifth symphony first movement
2) A cross reference between the end of the development of Beethoven's fifth symphony first movement + the coda.
- 06.27.2018
- 06.28.2018
1) Compare the re-transition and the coda in Beethoven's ninth symphony, first movement Beethoven, Symphony no. 9, I (part one): pdf | Beethoven, Symphony no. 9, (part two) I: pdf
2) Beethoven, Symphony no.6, I: pdf harmony of the development section
- 07.02.2018
1) Schubert, Symphony no. 8, I: pdf (a motive of a third)
2) a structural gap filled in two stages across the entire first movement
- 07.03.2018
1) Schoenberg on the Grundgestalt: pdf
2) Brahms, Symphony no. 3, I: pdf
- 07.05.2018
Paper on the Sonata Due
Write a final paper on Medelssohn, Piano Trio no. 1 in D minor, first movement: pdf
Write a paper on any one aspect of this movement. Your audience: a member of a piano trio preparing to perform this piece. You could focus on any one aspect of the form: the second theme in both exposition and recapitulation; you could focus on a harmonic or motivic feature of the development section. You could focus on any anomaly that you hear / see in the score; you might focus on how Mendelssohn understand the dynamics inherent in the sonata form in this piece. This assignment is much more ambitious than the others in terms both of the scope of the work at hand and the breadth of its musical materials from which to draw a clear thesis.