Music Theory IV Music 222

Robert Snarrenberg Spring 2013

Contact Information rsnarren@artsci.wustl.edu (314) 599-0895 (emergencies only, please) Music Classroom Building 107 Ofce hours, Tuesdays and Thursdays, 2:003:30 PM Overview The core hypothesis of our theoretical study is that composers, listeners, and performers conceive/perceive tonal music in terms of a repertory of mental categories. Thus far you have learned the elementary categories: notes, diatonic systems, monotriadic lines, linear elaborations, species counterpoint, and harmonic progression. You have also developed skill in using this knowledge to understand or interpret musical artworks. This course builds upon that foundation, deepening your understanding of elaboration through the study of motive, variation, and invention; the syntactic functions of clause and sentence; a variety of rhetorical devices and designs found in sonatas, symphonies, and concertos; and the interaction of musical and poetic structures in song. Required Course Materials Readings and scores will be posted to the course website: www.artsci.wustl.edu/rsnarren/222/ Pieces to listen to are on CDs distributed in class. 1 Please use 8 2 11 nonperforated staff paper; there is a link on the course website to a variety of types of paper that you can print as needed. Attendance Be arrive in class no later than 10:10. Fundamental concepts are usually introduced in the rst 15 minutes of class. If you have to miss class, either for illness or other reason, please email me in advance as a matter of courtesy and to avoid the imputation of ill intentions. Ofce hours are for answering questions about assignment and providing additional help with the material, but not to nd out what you missed in class. Preparing for Class For pieces marked Listening on the syllabus, you should listen to the entire piece several times, making notes on aspects that relate to the days topic. And always bring the score of the assigned passage to class (either in paper or on an e-reader). For texts marked Reading on the syllabus you should (a) read the text at least twice, (b) take notes on the content, and (c) be able to describe the authors main ideas. Some readings will also involve studying a piece of music. Assignments Assignments will be distributed either in class or via email. These will mainly be in preparation for class discussion.

Projects There will be ve major projects. Due dates are listed on the syllabus. Late Papers Projects must be submitted on or before the due date, without exception. Non-Collaboration Group study is permitted for class preparation assignments. Collaboration on projects is strictly prohibited. The projects you turn in are to be your own work. Do not work together with someone else. While you are certainly encouraged to discuss questions of a general nature with other members of the class, the project you submit is to be yours alone and not the product of collaboration. Inappropriate collaboration is in the long run unhelpful, as it can lead to a false sense of security rather than the real thing that comes with mastering and exploring the subject yourself. If you have a question about what constitutes fair or unfair collaboration, please ask. Grading Homework assignments (and quizzes, if any) will make up 20% of your nal grade; class participation will also be taken into account. Projects will constitute 70% of your nal grade. The nal exam will count as 10% of your nal grade. A grade of C or above is required to receive the grade of CR. A+ A A 100 95 92 C+ C C 78 75 72 B+ B B 88 85 82 D+ D D F 68 65 62 <60

1/15 Introduction to Motivic Content Theory III Final Project Syllabus Bach, WTC I, Prelude in C minor 1/17 Motive: Denitions, Descriptions, Variations Reading: Schoenberg on form and motive (pp. 815) Listening: Bach, WTC I, Prelude in C minor 1/22 Motive: Transformations, Development Reading: Snarrenberg, A Glossary of Terms, chapter 6, Motive and Invention, pp. 1517 Listening: Chopin, Nocturne, Op. 32 No. 1, mm. 120 Listening: Beethoven, Piano Sonata, Op. 90, rst movement, mm. 13045 Listening: Bach, Invention No. 1 in C major 1/24 Motivic Analysis Listening: Brahms, Chorale Prelude, Schmucke dich Listening: Brahms, Symphony No. 2, rst movt., mm. 163 Listening: Brahms, Symphony No. 4, rst movt., mm. 119 1/29 Inventions and Structural Functions Reading: Dreyfus, What Is an Invention Listening: Bach, Two-Part Invention in C major Listening: Bach, Brandenburg Concerto No. 3, rst movement, mm. 18 1/31 Invention and Disposition Reading: Snarrenberg, A Glossary of Terms, chapter 6, Motive and Invention, pp. 1821 Listening: Bach, Two-Part Invention in D minor 2/5 Atonal Motives Listening: Var` ese, Density 21.5 2/7 Atonal Motives Listening: Var` ese, Density 21.5

2/12 Introduction to Syntax: Clause-nal Markers Reading: Snarrenberg, Clauses and Sentences, chapters 12 Project 1 due 2/14 Clauses Reading: Snarrenberg: Clauses and Sentences, chapter 3 Print chapter 6 and bring to class 2/19 Periods and Couplets Reading: Snarrenberg: Clauses and Sentences, chapter 4, 4.14.6 Bring chapter 6 to class 2/21 Periods and Couplets Reading: Snarrenberg, A Glossary of Terms, chapter 8, Clauses and Sentences Bring chapter 6 of Clauses and Sentences to class Listening: Mozart, String Quartet, K. 464, second movement, Minuet

2/26 Complex Sentences Reading: Snarrenberg: Clauses and Sentences, chapter 4, 4.74.14 Listening: Mozart, String Quartet, K. 464, second movement, Minuet Listening: Beethoven, String Quartet, Op. 127, rst movement, mm. 122 2/28 Complex Sentences Listening: Beethoven, Symphony No. 9, third movement, mm. 119 Listening: Brahms, String Quartet, Opus 67, second movement, mm. 129

3/5 A Brief Introduction to Song Listening: Schumann, Op. 48 No. 1,Im wunderschonen Monat Mai Listening: Schumann, Op. 48 No. 2,Aus meinen Th anen spriessen Project 2 due 3/7 Another Song Listening: Brahms, Op.72 No. 3, O kuhler Wald 3/12 SPRING BREAK 3/14 SPRING BREAK 3/19 A Longer Song Listening: Brahms, Op.72 No. 3, O kuhler Wald Listening: Brahms, Op.86 No. 2, Feldeinsamkeit 3/21 A Final Song Listening: Brahms, Op.86 No. 2, Feldeinsamkeit

3/26 Introduction to Form Overview of multi-part forms Binary forms Listening: Bach, Goldberg Variations, Aria Project 3 due 3/28 Binary and Hybrid Forms Reading: Snarrenberg, A Glossary of Terms, chapter 9, Form 4/2 More Forms 4/4 Even More Forms Reading: Snarrenberg, A Glossary of Terms, chapter 9, Form 4/9 Sonata Forms Reading: Tovey, Sonata Forms Types of form in sonatas, chamber music, and symphonies (Haydn, Mozart, Beethoven)

4/11 Analysis Reading: Allanbrook, Threads through a Labrynth Listening: Mozart, Piano Sonata, K 332, rst movement

4/16 Outlining and Diagramming Complex Form Reading: Berry, Sonata (chapter 6) Listening: Mozart, String Quartet, K. 464, rst movement, mm. 187 Project 4 due 4/18 Exposition Listening: Beethoven, Piano Sonata Op. 53 (Waldstein), rst movement, exposition 4/23 Recapitulation Listening: Mozart, Piano Sonata, K. 311, rst movement (not on CD) Listening: Haydn, Symphony No. 100, rst movement, exposition and recapitulation 4/25 Development Listening: Mozart, Piano Sonata, K. 283, rst movement, development Listening: Mozart, Piano Sonata, K. 332, rst movement, development

Finals 5/3 Project 5 due 5/7 Final exam, 6:008:00 PM