Syllabus     e-reserve     listening links and assignments

Introduction To Large Forms

MUSI 3215, Fall 2013
Section 13193, MSM 116, MW 10:00 - 11:00
Section 18234, MSM 116, MW 12:00 - 1:00

Dr. Tim Koozin     office: 148     phone: 743-3318     office hours: MW 9:00 and by appointment     email:     web page:

Course Description and Learning Outcomes: Introduction to the study of larger musical forms of the eighteenth through twentieth centuries; introduction to the analysis of contrapuntal textures. Course objectives and learning outcomes include facility in score analysis and understanding of formal process in music.

Prerequisite: MUSI 2214 and passing grade on Theory Proficiency Exam IV and Aural Skills Proficiency Exam II

Scores and study materials will be available by e-Reserve. Students should be prepared to bring photocopies of assigned materials to class. Additional scores, recordings, and reference books are available in the Music Library.

Media Lab component: Assigned score study, readings, and listening assignments in electronic format

The information in this syllabus is subject to change. Students are expected to be aware of any additional course policies presented during the course.

Selected List of Works

Eighteenth-Century Contrapuntal Forms (and a few 17th-century pieces)

Selected pieces by Monteverdi, Corelli, Purcell, and Handel
Selected pieces by J.S. Bach and D. Scarlatti

Small Binary and Ternary Forms

Robert Schumann, Album for the Young: 1. Melody, 3. Humming Song, 6. Poor Orphan Child, 17. Little Morning Wanderer
Ludwig van Beethoven, Piano Sonata No. 4 in E flat major, Op. 7, second mvt.
Frederic Chopin, Mazurkas: Op. 7, No. 1; Op. 7, No. 2
Paul Hindemith, “A Swan” from Six Chansons
Bela Bartok, Mikrokosmos: “Bulgarian Rhythm,” No. 115, vol. 6

Works with Trio

Ludwig van Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1, third mvt.
Ludwig van Beethoven, Piano Sonata No. 9 in E major Op. 14, No. 1, second mvt.
Joseph Haydn, Symphony No. 101 in D major, mvt 3.
Johannes Brahms, Intermezzo in A major, Op. 118, No. 2

Sonata Form

Ludwig van Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1, first mvt.
Ludwig van Beethoven, Piano Sonata No. 1 in E major, Op. 14, No. 1, first mvt.
Ludwig Beethoven, Sonata for Violin and Piano Op. 24, “Spring,” first mvt.
Wolfgang Amadeus Mozart, Piano Sonata in B flat major, K. 333, first mvt.
Paul Hindemith, Piano Sonata No. 2, first mvt.


Ludwig van Beethoven, Piano Sonata No. 8 in C minor, Op. 13, third mvt.
Wolfgang Amadeus Mozart, Piano Sonata in B flat major, K. 333, third mvt.
Joseph Haydn, Symphony No. 101 in D major, Hob. 1/101, fourth mvt.

Variation Forms

Henry Purcell, “Dido’s Lament” from Dido and Aeneas
Wolfgang Amadeus Mozart, Piano Sonata in D major, K. 284, third mvt.
Igor Stravinsky, Octet for Wind Instruments, second mvt. (excerpt).

More Contrapuntal Music

Selected works by Mozart and Beethoven
Selected works by Bartok, Stravinsky, Webern, Dallapiccola, Hindemith


Assignments and Quizzes  25%
Class participation            25%
First Analysis Project        25%     Assigned Oct 9; Due Oct 23
Second Analysis Project    25%     Assigned Nov 13; Due Dec 4

Four absences are allowed for any reason. There will be no “excused” absences beyond that number.
Fifth absence lowers final grade by a minus.
Sixth absence lowers final grade by an additional minus.
Seventh absence results in being dropped from the course (resulting in a W or F as appropriate).

Last day to drop without a grade: September 11       Last day to drop or withdraw: November 1

Photocopying rule: When using a photocopied score for assignments, always photocopy it before doing your work. No assignment will be accepted if the student’s score annotations are photocopied.

UH Policies on Academic Honesty can be found online at You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in the undergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation.

Students with disabilities are asked to bring to the instructor's attention any special accommodations they may require. Students will document a disability with the UH Center for Students with Disabilities (phone: 713 743 5400). The CSD will provide recommendations to the instructor and student to help in accommodating a disability. 

Reference texts for analysis of form in tonal music:

Benjamin, Thomas. Counterpoint in the Style of J.S. Bach.  MT55.B446 1986
Berry, Wallace. Form in Music (Yale University Press, 1989. MT58 .B34   
Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. (Oxford University Press, 1998) UH Library E-book.
Green, Douglass. Form in Tonal Music: An Introduction to Analysis. MT58.G75 1979
Hepokosk, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. (Oxford University Press, 2006) MT62 .H46 2006