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
Course Description:
Music 408 will explore the thoughtful experience of formal structures and processes in music. Our focus will be on concert music from (broadly speaking) the European tradition, from the 18th century to the present, and formal models that have been identified, described, modified and challenged by composers and theorists in the last two or three centuries. We will study a variety of techniques and strategies to use in exploring this repertoire, in order to discover features that reflect the cultural preferences of a particular time and place, as well as unique characteristics that lead us to some of the questions we can try to answer and choices we may need to make in developing an individual point of view about a piece of music.
Required Materials:
• Manuscript paper, pencils and erasers.
• The Norton Anthology of Western Music, Vol. 2, Classic to Modern. NY: W.W. Norton. 5th Edition (February, 2001): ISBN: 0072852607.
• Groves Music Online via the UNLV Music Library Home Page, Journal Articles, and e-reserve materials (scores and audio).
• Additional scores, books and articles will be on reserve in the Library and each member of the class will be responsible for making personal study copies of these sources for use in class discussion.
Attendance:
Attendance is required at all class meetings. Our subject is very large, and we need to focus closely on a new aspect of it in every class. Our purpose is not to provide a list of static facts, diagrams or lists. The experience of musical form occurs within the mind of one person at a time. One reason that we have a class is in order to compare the ways that individual class members approach and experience musical form. Sometimes we will share strikingly similar experiences, and sometimes individual opinions will differ considerably, but both situations are crucial in learning about the experience of form. If you are not present and/or are not prepared for class discussions, you will (1) reduce what you will be able learn and (2) diminish your own contribution to what every other member of the class can learn from your ideas. For this reason, regular, consistent, participation in the class is essential for success in the course. Attendance will be taken and will be a significant factor in your grade. However, if attendance is not possible, you are responsible for all assignments. In the case of a medical emergency, please communicate with me as soon as possible to discuss alternative arrangements for completing course work or taking an incomplete in the course.
Assignments:
Written assignments provide a focus to discussions of concepts and techniques covered in the course, as well as material on exams. Assignments done on time allow you to focus your thoughts and questions about course topics enrich our class discussion. For this reason, assignments are due on time (at the beginning of class). Excepting specific arrangements pertaining to a medical or other emergency, late assignments will be penalized, and assignments turned in more than 72 hours after they are due will not receive a grade. There will also be listening assignments related to CDs on reserve in the Music Library and examples available from any computer, via e-Reserve.
Grading System:
Grades are given on the basis of (1) what we
consider to be the minimum standards of competence, (2) the performance
of the class or section as a whole, and (3) the growth and progress
of each student. That said, the following gives a general idea of
the emphasis that will be given to various course components.
• Homework Assignments – 25%
• Class Participation – 25%
• Two Analysis Projects – 30%
• Mid-Term Exam – 10%
• Final Exam – 15%
Final Exam:
According to the UNLV web site, our Final Exam is on Monday, December 10, at 6:00 p.m. Please make necessary arrangements in advance so that you can be there, as attendance is required.
Course Description:
Some Specific Course Topics and Objectives:
Review of harmony and voice-leading issues and concept of motivic development fundamental to formal analysis of eighteenth century music, as well as:
• Binary, Ternary and Rounded Binary formal schemes.
• Sonata-allegro process.
• Theme and Variations.
• Rondo and Sonata-Rondo
• Large-scale formal issues in 18th-century opera
Issues related to 19th-century repertoire:
• Expansion of 18th-century Sonata-allegro
• The Scherzo
• Formal issues in 19th-century opera
Issues related to 20th-century repertoire:
• non-progressive harmony
• modal and synthetic scales
• interval, rhythm and gestural motives
• cadential process, goal-directed motion vs. stasis