CALENDAR

 

 

 

This is an approximate outline, subject to change. Please consult in-class notes for details.

For overview of concepts and overview of coursework, please see the syllabus.

 

 

 

[ See syllabus for details. ] 

 

OCTOBER

 

LECTURE & LAB

 

   LISTENING & READING (due Wednesdays)

 

ANALYSIS & COMPOSITION (Due Mondays except where noted)

 

 

 

3

 

Guidelines for melody and two- part writing, types of elaboration

Lab Assignment 1

 

Ellis Koss “The Melodic Phrase”

 

 

   Due October 6: Three melodic sketches.

 

 

 

 

 

 

 

Kent Kennan: Chapter 4 (excerpt) (Oct. 8)

 

 

 

 

6

8

10

 

Two-voice Framework Part 1: prolongational, intermediate, and cadential harmony

Lab Assignment 2

Sight-singing: Melodia II,3

Kbd sight-reading: Notenbuch für Wolfgang (Leopold Mozart)

and Viennese Sonatinas (W. A. Mozart)

 

   Listening Assignment 1: Bach Lute Suites  

Cadwallader & Gagne Ch.2, pp. 15-24;

Kent Kennan: Chapter 6 (3:1 & 4:1); (Oct 15)

 

 

 

   Due October 13: Mozart Sonatina Mvt. Analysis

 

   EXTRA CREDIT due Oct. 15: Revision/extension of a melodic sketch

 

 

13

15

17

 

Two-voice Framework Part 2: sentences, sequences, and development

Lab Assignment 3

Sight-singing: Melodia II,5 (pp 86-89)

 

Cadwallader & Gagne Ch.3, pp. 45-53 (Oct 22)

 

   

Due October 20: Analysis I, step 1: Graph two full phrases of a Schumann/Schubert song.

{ Song assignments }

 

 

 

 

 

 

 

 

 

20

22

24

 

Foreground and middleground structure

Lab Assignment 4

Sight-singing: Melodia II,5 (pp 90-92)

 

[ Schachter, Carl (1999). Excerpts of Chapter 1: “A preliminary study,” [Electronic resource*] in “Rhythm and Linear Analysis,” Part I of Unfoldings. New York: Oxford. pp 17-30. ]

Listening Assignment 2: Schubert, Hensel, and Schumann (Due Oct. 31)

 

 

October 27: Analysis I, step 2 (Schumann/Schubert)

 Mid-term Review

 

 

27

29

31

 

Mid-term review

Lab Mid-term

Sight-singing: Melodia II,5 (pp 95-98)

 

MID-TERM 1: non-chord tones, tonal sequences, elaborations, and textural reduction       

 

 

 FINAL PRESENTATION GUIDELINES

(You will present either on Analysis I or II)

 

 

NOVEMBER

 

 

 

 

 

 

 

 

 

3

5

7

 

Polyphonic melody, non-cadential digression

Lab Assignment 6

Sight-singing: Melodia II, 7 (pp 133-136)

Hensel Op. 9 No. 6 w/ solfegge

 

 

   

Listening Assignment 3: Liszt and Wagner (Due Nov. 17) 

 

 

   Due November 10: composition derived from essential intervals of a favorite melody

 

 

10

12

14

 

Chromatic and borrowed mediants, motive as a basis for unity

Lab Assignment 7

Keyboard sight-reading: Ludwig Schytte & Cesar Franck (Compilation I)

Mild und Leise,” from R. Wagner Tristan und Isolde (Act III)

 

pp 40-49 of Carl Dahlhaus “Issues in Composition”, in Between Romanticism and Modernism (trans. Mary Whithall)

 

 

   Due November 17: Analysis II, step 1—motive and harmony in a late-19th-c song

 

 

17

19

21

 

Omnibus progression, Individuated form

Lab Assignment 8

G. Bizet — Chanson D’Avril 

Sight-singing: Melodia, II, 7 (pp 137-139)                                       

 

   

pp 52-64 of Carl Dahlhaus “Issues in Composition” 

 

 

   Due November 24: Composition with structural chromaticism

 

 

24

26

 

 

Mid-term review

Lab Assignment 9

R. Strauß Op. 10 No. 8 “Allerseelen

Keyboard sight-reading: Ludwig Schytte & Cesar Franck (Compilation II)

 

MID-TERM 2: chromatic and borrowed mediants, real sequences, enharmonic modulation

Listening Assignment 4: Mahler, Strauss, & Schoenberg

 

 

   Due December 5: Analysis II, step 2—extend your motivic and harmonic analysis of a late-19th-c song or aria

 

 

DECEMBER

 

 

 

 

 

 

 

 

 

1

3

5

 

Individuated Harmony; Extended Tertian Harmony

LAB FINAL

Sight-singing: Melodia, II, 7 (pp 143-146)

In case p 2 of the Lab Final won’t print … here’s the source file: Strauß Op. 10. No. 8 — partial reduction

 

pp 68-78 of Carl Dahlhaus “Issues in Composition”   

 

 

 

   Due December 8: Take-home Quiz (Scriabin); Composition with Structural Chromaticism — Second Draft

 

 

8

10

12

 

Final Presentations

Sight-singing: Melodia, II, 7 (pp 147-148.150)  

 

 

 

 

 

 

 

 

17

 

 

FINAL EXAM: WEDENSDAY, DECEMBER 17. 8:00 - 11:00 AM

 

 

 

 

 Due December 15: Analysis Project II

Due December 17: Composition with Structural Chromaticism — Final Draft