Music 408,
Section 1: Form and Analysis; Spring, 2008, 3 credits
Dr. Paul Seitz, instructor; email:
ptseitz@pasty.net
Mondays, 4:00 to 6:30 p.m., HFA 147
Week 1 (January 28):
From copy on reserve in Music Library, photocopy movement 3 (Theme and Variations) of Mozart's Sonata, K. 284 and bring this to next class. Be prepared to present initial analytical observations (see week 2, below) for your assigned variation. Read, in Groves Music Online, and answer questions pertaining to, the following terms: Motif, Theme, Phrase, Period, Analysis, Criticism
Week 2 (February 4):
Discussion of the articles assigned in Groves Music Online. Discussion of student's analysis of the Theme of Mozart K. 284. Include harmonic analysis issues, but extend discussion to include motivic ones (rhythm, gesture), formal design including issues of symmetry/parallelism, large-scale melodic motion. With the score, the class will listen to movement 3, Theme and variations, of Mozart's K. 284 piano Sonata. All students will be assigned to one of the twelve variations and work in teams to prepare and present a preliminary discussion of that particular variation (similarities in harmony, phrase structure, etc. to Theme, as well as differences from Theme, including motivic elements, aspects of development, elaboration, intensification). ASSIGNMENT: For next week, write up your analysis of the variation, including harmonic analysis, in a one page paper describing the points you made in class verbally, as well as any others you wish to raise. Also discuss several examples of "intensification" found throughout the entire movement. Include a formal diagram of the movement. Be sure to bring to next week's class: Your copy the score of Menuetto I from Mozart's Sonata, K. 282 and, from previous handout. A handout of movment 1 from Muzio Clementi's Sonatina, Op. 36, No. 2 will also be provided. In Groves Music Online, read articles on: Binary Form, and on Ternary Form. Then read: Bathia Churgin article,
Francesco Galeazzi's Description (1796) of Sonata Form. Journal of the American Musicological Society, Vol. 21, No. 2. (Summer, 1968), pp. 181-199, AND answer questions to turn in at next class.
Week 3 (February 11):
Discussion of Galeazzi's 1796 description of Sonata Form and more modern descriptions. Consider the kinds of issues crucial to analysis of a sonata allegro movement: harmonic process, phrase/period structures, motivic elements. Practice the discussion of such issues in smaller pieces containing some related features: Mozart Menuetto I, from K. 282 Piano Sonata, and first movement from Clementi Sonatinas No. 2. Discuss Course calendar up to week 6, including Paper 1, due March 10. Assignment: Read and outline for study (in preparation for Midterm and for use in Paper 1) the following articles, under the heading of Sonata Form in Groves Music Online: Principles - (i) Intrinsic, The Exposition,
, The Recapitulation, The Development. Analyze the Exposition and Recapitulation sections of Clementi Sonatina Op. 36, No. 3, movement 1. Bracket and label each Theme. Analyze principle key areas. Give harmonic analysis for Transition section. Hand in a copy of the marked score plus a one page description of the analysis shown on the score. Print, from e-reserves (or copy from physical reserves) movement 1 of Mozart Piano Sonata K. 309. Also LISTEN to this movement with the score (using e-reserves or CD on reserve in library). Bring this score to our next class.
.
Week 4 (February 18):
Presidents' Day Recess. Class does not meet.
Week 5 (February 25):
Discussion of Clementi Op. 36, No. 3 (movement 1) homework and creation of "consensus" analysis of Exposition and Recapitulation, based on that discussion, including creation of a "Formal Scheme Diagram." In-class discussion of the brief "development" section. Comparison of Sonata Form Terms and Sonata Form Outline. Discuss "formal scheme diagrams". Presentation of sample analysis of sonata allegro form in movement 1 of Mozart's Piano Sonata K. 309, including handout illustrating another Formal Scheme Diagram. Handout detailed description of requirements for Paper I, due March 5. Assignment: Begin work on Paper 1. Using your Northon Anthology, vol. 2, listen (in library) to J. C. Bach, Concerto for Harpsichord or Piano and Strings, Op. 7, No. 5, first movement, and W. A. Mozart, Piano Concerto in A Major, K. 488, first movement. Bring Norton Anthology (or scores to these two movements) to next class. In Groves Music On-line, under "Sonata Form," read: (iii) Concerto. Also in Groves on-line, read: Concerto -- (vii) Mozart. (a) Repertory, influences.
Week 6 (March 3):
The formal orignins of the of the Classical concerto, beginning with discussion of assigned reading in Groves. You will need your scores for the concerto movements listed in the February 25 assignment. Concerto first movements as a "sonata for soloist and orchestra" treating Sonata form as a "Sonata style," while drawing on prinicples from earlier concertos as well as opera. Further exploration of Sonata form (in Concerto) in Beethoven's Piano Concerto No. 3. Assignment: Continue work on Paper, due at next class. Review all the readings assigned, to this point, in Groves, and your notes of class discussions about them, for the Mid-term Exam.
.
Week 7 (March 10):
"Mid-Term Paper" due. Mid-term Exam. This will include analytical questions about Mozart K. 281 Piano Sonata, first movement, and some of the assigned readings (and related discussions in class). You may use your own copy of the K.281 score and any ideas you've already developed in your paper pertaining to this movement. Also read in Grove's On-line Dictionary, Rondo - 5. The Rondo as movement in a larger work. AND 6. The Sonata-Rondo, and AFTER you have read these, print (from e-reserves) or copy (from physical reserves) movement THREE ("Rondeau") of Mozart Piano Sonata, K. 309. Then, LISTEN to this movement and come to next class ready to discuss aspects of Rondo, Sonata and/or Sonata-Rondo in this movement.
Week 8 (March 17): Spring Recess. Class does not meet.
Week 9 (March 24):
Discussion of Rondo, Sonata, and/or Sonata-Rondo in Mozart K. 309, movement 1. Discussion of Groves articles on Rondo and Sonata-Rondo. Consider, in class, analysis of third movement of Mozart Piano Sonata K. 309, as Sonata-Rondo. Assignment: Analyze the form of Mozart's Piano Sonata, K. 281, third movment, and represent your analysis in a formal scheme diagram (to hand in). Also: 1. Read, in NAWM2, article that follows Beethoven Eroica Symphony, mvmt. 1, and (AFTER reading the article) 2. Listen to movement (E-reserve).
Week 10 (March 31):
Consider/compare student diagrams of Mozart K. 281, third movement. New Topic: Expansion of Sonata-allegro form I. Preliminary issues: How long is a "Theme"? What else can be expanded? Brief further discussion of K. 281 mvmt. 1. New link. Beethoven Eroica Symphony, mvmt. 1 (in NAWM2). Assignment: Come to class prepared to engage in a class discussion aguing either side of the three "debatable" points raised in the NAWM2 article. Print (from e-reserves) or Copy, and listen to (in library or e-reserves), Schubert String Quartet in G, Op 161, D 887, first mvmt. EXTRA CREDIT Assignment: Beneath excerpts from Eroica Symphony score, provide your harmonic analysis form mm. 45-83 and mm. 448 - 486 and provide a brief (one page, typed) discussion of similarities and differences between these passages. Related files for viewing in class: Rhythmic Motives, Board Examples, Issues Raised in NAWM2 article, Large Scale Motives.
Week 11 (April 7):
Begin with discussion of "debatable" issues raised in NAWM2 article about the Beethoven Eroica Symphony, movment 1. Topic: Expansion of Sonata-allegro form 2 -- Schubert. Begin with a preliminary discussion of "Gretchen am Spinnrade" (in NAWM2). Consideration of Schubert String Quartet in G, Op 161, D 887, first mvmt. Assignment: Either of the following (which group you're in will be determined during class): Group 1: Read The Classical Nature of Schubert's Lieder" by Walter Gray, from The Musical Quarterly, Jan. 1971, and answer questions about article handed out in class. Also, copy "Gretchen am Spinnrade" from NAWM2 to hand in and, on this score, provide your harmonic analysis for the song. (Use this link to listen to a performance of: "Gretchen am Spinnrade".) Group 2: Read "Schubert the Instrumental Composer" by Walter Gray, from The Musical Quarterly, Oct. 1978, and answer questions about article handed out in class. Also, copy the three necessary pages of the score for Schubert's String Quartet, D. 887, first movement, on which you can provide your harmonic analysis for measures 420 - 448. (PLEASE NOTE: BOTH THE SCORE AND THE AUDIO OF THE SCHUBERT D. 887 ARE NOW AVAILABLE ON E-RESERVES!)
Week 12 (April 14):
Art Song, continued. Discussion of homework readings and analyses. Discussion of Schubert's "Der Lindenbaum" from Winterreise, D. 911 (score in NAWM2). Discussion of second paper, due at last class meeting -- an analysis of an art song or short piano work (details in class). Consideration of Schumann Phantasiestücke, Op. 12, No. 4 (in NAWM2), with specific focus on one or more of the following: "Des Abends" and "Aufschwung", "Warum?" or "Grillen", and, from Schumann's Dichterliebe, Op. 48, in NAWM2 (
"Im wunderschönen Monat Mai".
. Assignment: Find in NAMW2, score to Debussy Nuages, read article after this and listen to this piece on ereserves or in library. Also print, from erserves or reserve score: Debussy, Preludes I, no. 2 (Voiles). Read article after the scores. Listen to both songs using ereserves (or CD on reserve). EXTRA CREDIT: Copy score for EITHER "Im wunderschoenen Monat Mai," OR "Ich grolle nicht" (in NAWM2) and provide your harmonic analysis. Related class materials: Gretchen am Spinnrade performance and Song text and Score.
Week 13 (April 21):
Turn of the Twentieth Century. Liszt, Nuage gris (1881), Erik Satie. Claude Debussy: “Non-progressive harmony” and implications for form. Debussy, “Voiles” -- non-progressive harmony, musical motion/stasis, use of whole-tone and pentatonic scales (more non-Western influence), rhythmic motives, verticality of melodic intervals, “planing”. Assignment: Visit (using the following link) the The Wagner Experience web site, hosted by the University of Texas. In particular, use the links at the top of the home page to explore "Ring Motives," which discusses important (mainly melodic) motives that recur throughout the cycle and "Ring Tonal Structures," which deals with (VERY) large-scale harmonic organization, AND, the link to "RING VIDEO." View all of the brief video excerpts provided from all four of the following: Das Rheingold, Die Walküre, Siegfried, Götterdämmerung. Extra Credit (Make up) Assignment: Create a formal scheme diagram, based on discussion in class, of Debussy's "Voiles" (Preludes I, No. 2).
Week 14 (April 28):
Further discussion of Debussy examples and formal analysis in music employing extended tonality (including Preludes I, No. 6 , or nonfunctional tonality. German Opera since The Magic Flute: Weber, Der Freischütz (excerpt): The Wolf's Glen Scene (in NAWM2). Wagner, Leitmotifs as formal strategy: Excerpts, including: Immolation Scene (conclusion) and/or Prologue (excerpt) from Götterdämmerung Brief introduction to Wagner, The Ring of the Nibelungen. Discussion of final stages of your second paper, due next Monday, May 5.
Week 15 (May 5):
(Second Project Paper is due.) Review of Significant Topics from the semester. See class notes and also the Indiana University Theory Review site containing Form Descriptions and Formal Scheme Diagrams, as well as hand-outs and notes from throughout the semester. These can be especially helpful when used in conjuction with review of assigned listening on reserve in Music Library and on e-reserves. Additional examples for review: Ternary example. Rounded Binary Example. Haydn Examples for Dec. 3 class discussion.