david bard-schwarz

Proposals (GADCOM Approved), Theses, Dissertations

Undergraduate Writing

Video Games

Cole Dapprich's paper on Dear Esther: pdf

Andrew Garcia's final paper on Lacan + Video Games: pdf

Emmalee Mosher's final paper on sound + image in Video Games: pdf

Rage Beattie's final paper on free-association in Inside: pdf

Keith Armstrong's final paper on sound in Limbo and Inside: pdf

Theory IV

Michael Mendoza's Serialism paper: pdf

Aiden Beimer's Serialism paper: pdf

Emma Bittner's Serialism paper: pdf

Ruth Merten's Atonal Pitch-Clsss Set Theory paper: pdf

Graduate Writing

Analytical Techniques II

This is a paper that Gideon Burrows did for Analytical Techniques II (online summer 2017) on Beethoven's Fourth Symphony, first movement. The assignment was to choose one parameter that most deeply controlled the musical materials of the movement and to construct a thesis-driven argument how a conductor might use your paper to guide the preparation for the work's performance.

This is a paper that Ben Allred did for Analytical Techniques II on Beethoven's Opus 111 Piano Sonata and Beethoven's Opus 130 String Quartet. The assignment was to compare and contrast Beethoven's use of the Slow Introduction into each of these sonata movements.

This is a paper that Juan Vizcarra did for Analytical Techniques II on Beethoven's Opus 111 Piano Sonata and Beethoven's Opus 130 String Quartet. The assignment was to compare and contrast Beethoven's use of the Slow Introduction into each of these sonata movements.

Analytical Techniques III

This is a paper that Levi Walls did for Analytical Techniques III (online summer 2017) on Schoenberg's Hemmung for male chorus.

This is a paper that Michael Schnitzius did for Analytical Techniques III on Berg's Opus 5, no. 2 for Clarinet and Piano. One of the challenges of the assignment was to articulate coordination or subordination of tonal and atonal materials to one another. The paper is near perfect at all rhetorical levels.

This is a paper that Seth Shafer did for Analytical Techniques III on Webern's Opus 11, no. 1.

This is a paper that Reuben Allred did for Analytical Techniques III on Alban Berg's Pieces for Clarinet Opus 5, no. 4.

Dan Tramte's on line application on Berg's Opus 5, no. 4 (CSEG / Statistics) (Analytical Techniques III first "paper")

AT III serial papers, online applications

This is a paper that Timothy Harenda did for Analytical Techniques III on Webern's Opus 27, no. 1.

This is a paper that Patrick Peringer did for Analytical Techniques III on Variation IV of Webern's Symphony Opus 21, II. One of the challenges of the assignment was to discuss the variation with serial precision and indicate how the variation reads the theme. The paper is stunning in its clarity with only a few surface mistakes (such as m.51 instead of m. 51).

AT III hybrid papers, online applications

This is a paper that Joseph Lyszczarz wrote on Henze's Sonatina for Trumpet

This is a paper that Joseph Turner wrote on Henze's Sonatina for Trumpet

This is a paper that Kenny Lovern wrote on Henze's Sonatina for Trumpet

This is an online application that explore Henze's Sonatina for Trumpet by Seth Shafer

This is a paper that Wayla Chambo did for Analytical Techniques III on Jay Alan Yim's Rain Palace. This is a contemporary work and the assignment was to account for its large-scale shape / design / structure and then analyze a small portion of the score in detail accounting for the musical language of the work on microcosmic and macrocosmic levels. Wayla describes the work as small waves within large waves consisting of moving towards and away from hexatonic musical materials. In addition to remarkable precision, her language is highly evocative and fun to read.

This is a paper that Cara Stroud did for Analytical Techniques III on Jay Alan Yim's Rain Palace. The assignment is the same as above. Cara focused on binary oppositions; they begin as clear and mutually exclusive (as in the complementary relations between pc sets that belong to set class (014589)) and then become blurred as in her discussion of Klangfarbenmelodie. Cara saves to the end the possibility of the work being based on a poem "Rain Palace" by Yvan Goll.