- Instructor: Dr. David Bard-Schwarz
- Office: MU 104
- E-mail: david.schwarz@unt.edu
- Theory IV section 002: 10 to 10:50 in MU 2006
- Theory IV section 003: 11 to 11:50 in MU 2006
Office Hours: Thursdays 11 to 1 p.m.
In this course we will study 20th and 21st Century music. The progress of the course is roughly chronological, beginning with music of the 19th Century that points to the styles of modernism, moving to high modern, atonal works, followed by serial works, and then a wide variety of styles leading up to the present.
Coming to class regularly and punctually is very important. You will be dropped from the course after three unexcused absences; I take roll at the top of the hour; three latenesses = one unexcused absence. You will be excused from class due to natural disasters, transportation problems beyond your control, medical emergencies (concerning you or members of your immediate family), and official UNT musical activities.
Please dress with a reasonable degree of decorum appropriate for university life.
Grades will be determined as follows:
- Analytical Paper = 33%
- Midterm = 33%
- Final Exam (cumulative) = 33%
Student Perception of Teaching (SPOT) is a requirement for all organized classes at UNT. This short survey will be made available to you at the end of the semester, providing you a chance to comment on how this class is taught. I am very interested in the feedback I get from students, as I work to continually improve my teaching. I consider the SETE to be an important part of your participation in this class.
- 08.27.2018
introduction to the course
- 08.29.2018
towards the 20th century
- 09.05.2018
Can you guess why the diagram in this sketch suggests a moment in the history of music? On the left is everything before 1900; on the right is everything after 1900?
- 09.10.2018
- 09.12.2018
- 09.17.2018
- 09.19.2018
Paper Topics Due
- 09.24.2018
Straus, Chapter 1: Introduction to Post-Tonal Theory: pdf
Bartok, Music for Strings, Percussion, and Celeste first movement: pdf
Bartok, Music for Strings, Percussion, and Celeste online audio
- 09.26.2018
introduction to atonal pitch-class set theory: pitch-class numbers, pitch-class sets, normal form, prime form
Straus, Chapter 2 (normal form and prime form: pdf
Webern, Pieces for Violin and Piano Opus 7: pdf
Webern, Pieces for Violin and Piano Opus 7 no. 1: mp3
Please bring to class (this will be graded as part of your paper grade) a one-page sample analysis of the Webern Opus 7 no. 1 above. Make and use a simple segmentation of the trichords in the right hand of the piano part on the first two systems (starting in measure 3). Begin your sample analysis with a general, large-grain comment about the passage; introduce an example (either an exact transcription of the passage or a reduction); include an example tag; then comment on the example getting as specific and precise as you can on both pitch class and pitch levels.
- 10.01.2018
NORMAl FORM
Sample Analysis Page Due
- 10.03.2018
PRIME FORM
Sample Analysis Back
more work on Webern Opus 7, no. 1
- 10.08.2018
For today, read in Straus on Transposition (Chapter 2, pp. 38–44)
Webern, Pieces for String Quartet Opus 5: pdf
- 10.10.2018
For today, read in Straus on Inversion (Chapter 2, pp. 44–52).
more work on Webern, Opus 5
- 10.15.2018
Straus, Chapter 3: pdf | read the material on atonal voice-leading, pp. 107–110.
- 10.17.2018
First Drafts of Papers Due
more work on Berg, Songs Opus 2
- 10.22.2018
review for midterm
Our midterm will involve putting trichords and tetrachords (from a piece by Schoenberg) into normal form and prime form, determining if they are related (trichords to trichords and tetrachords to tetrachords), and if they are related, then how— in both pitch-class and pitch space. You need to be pretty fluent in putting trichords and tetrachords into both normal and prime forms. Remember; the exam is open-book; make sure at least to bring Straus' list of prime forms to the exam. And I recommend practicing putting random pc sets into normal and prime form with this random pc set generator (that I made in php):
random trichord and tetrachord generator: php Once you load the page, refresh for a new pc set.
First Drafts of Papers Back
- 10.24.2018
midterm exam
- 10.29.2018
Midterms back; review for Wednesday's Make-Up Midterms
- 10.31.2018
Make-Up Midterm: whatever you make on this test, it will replace the previous midterm grade.
- 11.05.2018
For your papers, here is more information: your audience = a fellow UNT music major who is preparing a recital containing your piece; he / she is nervous about playing a piece whose language he / she doesn't really "get". Your purpose: to show him / her something about the coherence of the music using tools we used in class. Begin your paper with a thesis containing your idea in a nutshell; then unfold that thesis logically supported by musical examples properly introduced and tagged. Comment on your examples critically. The paper needs to be as short as possible and as long as necessary to unfold and demonstrate your thesis. Remember, you may narrow your topic at will; go short and deep rather than wide and shallow!
introduction to serialism: the row, the permutations, the matrix
Webern, Symphony Opus 21, II: pdf
- 11.07.2018
review of the 12-tone row; the permutations; and the matrix
See if you can describe the 12-tone structure of the first variation of the Webern Opus 21, II (above)
- 11.12.2018
Webern, Opus 21 II: variation I
- 11.14.2018
Webern Opus 21 II: Variation II
- 11.19.2018
Webern, Opus 21, II: Variation III
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- 11.26.2018
Papers Due
Dallapiccola, Quaderno (complete) for Piano: pdf
Work on no. 3 of the Dallapiccola for today
- 11.28.2018
Dallapiccola no. 3 and 4
- 12.03.2018
Dallapiccola no. 1
- 12.05.2018
review for final exam
- 12.08.2018
Final Exam for 10:00 section: 8 to 10
- 12.10.2018
Final Exam for 11:00 section: 10:30 to 12:30