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. ]
DATES
LECTURE & LAB
LISTENING & READING (due Wednesdays)
ANALYSIS & COMPOSITION (Due Mondays except where noted)
9/27
10/4
Guidelines for melody and two- part writing, types of elaboration
Ellis Koss “The Melodic Phrase”, Kofi Agawu “How We Got Into Analysis…”
Due October 4: Three melodic sketches.
9/30
10/2-
Kent Kennan: Chapter 4 (excerpt) (Oct. 2)
10/7
9
11
Two-voice Framework Part 1: prolongational, intermediate, and cadential harmony
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 9)
Due October 9: Mozart Sonatina Mvt. Analysis
EXTRA CREDIT due Oct.11: Revision/extension of a melodic sketch.
10/14
16
18
Two-voice Framework Part 2: sentences, sequences, and development
Sight-singing: Melodia II,5 (pp 86-89)
Cadwallader & Gagne Ch.3, pp. 45-53 (Oct 16)
Due Friday, October 18 (steps 1abc + part of step 2), and Monday October 21:
Analysis I,
PART 1: Draft a graph of two full phrases of a Schumann/Schubert song.
{ Song assignments }
10/21
23
25
Foreground and middleground structure
Sight-singing: Melodia II,5 (pp 90-92)
Listening Assignment 2: Schubert, Hensel, and Schumann (Due Oct. 21)
Due Monday, October 28: Analysis I, PART II (Schumann/Schubert)
Mid-term Review
10/28
30
11/1
Mid-term review
Sight-singing: Melodia II,5 (pp 95-98)
[ 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. ]
(Note: You will present either on Analysis I or II)
11/4
6
8
Polyphonic melody, non-cadential digression
Sight-singing: Melodia II, 7 (pp 133-136)
Hensel Op. 9 No. 6 w/ solfegge
November 6 — MID-TERM: non-chord tones, tonal sequences, elaborations, and the two-voice framework
Listening Assignment 3: Liszt and Wagner (Due Nov. 3)
Due November 13 & 22: composition derived from essential intervals of a favorite melody
11/11
13
15
Chromatic and borrowed mediants, motive as a basis for unity
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 Nov. 10
EXTENDED — Due November 20: Analysis II, Part 1—motive and harmony in a late-19th-c song
11/18
20
22
Omnibus progression, Individuated form
G. Bizet — Chanson D’Avril
Sight-singing: Melodia, II, 7 (pp 137-139)
pp 52-64 of Carl Dahlhaus “Issues in Composition” (Due Nov. 11)
Due November 27: Composition with structural chromaticism (First Draft)
11/25
27
Mid-term review
R. Strauß Op. 10 No. 8 “Allerseelen”
Keyboard sight-reading: Ludwig Schytte & Cesar Franck (Compilation II)
MID-TERM 2 (November 15): chromatic and borrowed mediants, real sequences, enharmonic modulation
Listening Assignment 4: Mahler, Strauss, & Schoenberg
Due December 4: Analysis II, Part 2—extend your motivic and harmonic analysis of a late-19th-c song or aria
12/2
4
6
Individuated Harmony; Extended Tertian Harmony; Final Presentations
Sight-singing: Melodia, II, 7 (pp 143-146, pp 147-148.150)
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 Dec. 1)
Due Wednesday, December 11:
— Composition with Structural Chromaticism — Final Draft
— Extra Credit revisions to Analysis Project II
12/10
FINAL EXAM: TUESDAY, DECEMBER 10. 8:00 - 11:00 AM