Moores School of Music
University of Houston
Spring 2020 MUSI 6341 Section 29789 MW 1:00-2:30 Room 116
Dr. Timothy Koozin tkoozin@uh.edu office: 148 phone: 743-3318 office hours: Monday 12:00-1:00 and by appointment
UPDATES TO OUR SCHEDULE FOLLOWING THE CAMPUS CLOSURE ARE SHOWN IN BOLD. We will resume with online meetings starting Monday, March 23rd.
Course Description and Learning Outcomes: A survey of tonal harmony and post-tonal techniques, musical form, and analytical approaches in tonal and post-tonal music. Course objectives and learning outcomes include understanding of harmonic and formal process in music and facility in score analysis accross a broad range of musical repertoires.
Required textbook: Joseph Straus. Introduction to Post-Tonal Theory, 4th edition
Optional recommended text for reference: Benjamin, Horvit, Koozin & Nelson. Techniques and Materials of Music, enhanced 7th ed. (Web tutorial links available in Blackboard.)
e-book resource: Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. Oxford University Press, 2006.
e-book resource: Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. (Oxford University Press, 1998.
Musical scores and study materials are available through Blackboard and at the Music Library.
Always bring staff paper (blank staff paper PDF file).
Aural Skills exercises are available at MusicForEarTraining.com
Grading: Class participation, homework, and quizzes 70% Late work not accepted.
Final Exam: (time TBA) 30%
Photocopying rule: When using a photocopied score for assignments, always photocopy it before doing your work. No assignment will be accepted if the studentÕs score annotations are photocopied.
Students are expected to comply with UH Policies on Academic Honesty. You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently.
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.
(Please watch here for updates. All items are available on UH Blackboard unless otherwise noted.)
Week 1: January 13-15
Rudiments and diatonic harmony
For close study: Part Writing Basics p. 1-9
Reference: Techniques and Materials of Music, Part 1 and Part 2, Units 1-8
TMM Online Study Guides 1-4
For close study: Phrase structures: Form and Analysis Basics, p. 1-19
Analysis: Small Binary and Ternary Examples, nos. 1-4
To turn in Wednesday: e-Workbook (Part 2) exercises: p. 11, 19
No class Monday: Martin Luther King Day
To turn in Wednesday next week: e-Workbook (Part 2) exercises: p. 24 (#1, top half of page, only), 29 (all) , 34 (#1, top half of page, only)Introduction to post-tonal theory
Study Straus Ch 1, including Model Analyses and Guided Analyses. Listen to all pieces discussed.
Study the Webern Symphony, Op. 21, mvt 2, Thema. Listen to the work and follow analysis instructions in Straus, p. 32.
TMM Online Study Guide 11 (chord symbols, modes, scales and other basics)
Week 2: January 22 (No class Monday: Martin Luther King Day)
Chords of inversion, other diatonic chords, variant qualities, binary and ternary forms
To turn in Monday next week: e-Workbook (Part 2) exercises: p. 41, 51
Complete Small Binary and Ternary Examples through no. 8Post-tonal theory
Study Straus Ch 2, including Model Analyses and Guided Analyses. Listen to all pieces discussed.
For any set of 3 or 4 pitch classes, be able to identify normal form, prime form, and interval vector.
Score analysis to turn in Wednesday next week: Schoenberg, Op. 11, No. 1
Techniques and Materials of Music Study Guide 12 (some basics of set theory and serialism)
Week 3: January 27-29
Secondary Dominants
To turn in Monday next week: e-Workbook (Part 3) exercises: p. 3 and 6
Analysis: Complete Small Binary and Ternary Examples through no. 12Post-tonal study
Techniques and Materials of Music Study Guide 11 (chord symbols, modes, scales and other basics)
Techniques and Materials of Music Study Guide 12 (some basics of set theory and serialism)
Score analysis: Debussy, selected preludes
Score analysis: Debussy, Danse sacree (Turn in Monday next week)
Week 4: February 3-5
Modulation
e-Workbook (Part 3) exercises to turn in Wednesday: p. 10 and 11
Small Binary and Ternary Examples as assignedPost-tonal study
Score for study: Messiaen, prelude: La colombe
Score for study: Messiaen, selection from Quatuor pour la fin du temps
Week 5: February 10-12
Sonata form studies, topic theory, 18th-century repertoire
Study Form and Analysis Basics, p. 30-42 (Blackboard)
Study Hepokoski and Darcy e-book, chs. 1-3
Score analysis: Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1. Study first movement in detail. Listen and follow the score on all movements. Naxos (all Beethoven piano solo works)
Score analysis: Mozart, Piano Sonata in B flat major, K. 333. Study first movement in detail. Listen and follow the score on all movements. Naxos (several Mozart piano sonatas)Post-tonal study
Serialism: Study Straus, ch 6
Scores for study: Webern selections, Schoenberg Op. 25, No. 1, Schoenberg Op. 25, No. 2
Listen to all pieces included in the reading and the score excerpts.
Week 6: February 17-19 (Beethoven 250 Houston 2020 Festival begins). Note extra credit assignment in Blackboard.
Topic theory: Readings by Ratner and Hatten.
Study Leonard Ratner, Classic Music: Expression, Form, and Style; Chs 1 & 2 (Blackboard)
Study Robert Hatten, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert; Introduction & ch 1(Blackboard)
Take notes. Be ready to explain the main concepts covered in the readings. Listen to the music discussed.
Score analysis: Beethoven, Piano Sonatas, Op. 2, No. 2 & 3. Study first movements in detail. Listen and follow the score on all movements.
Post-tonal study:
Jonathan Cross, The Stravinsky Legacy, Ch 1 & 2 (postponed until later)
Week 7: February 24-26 (TSMT meeting: Friday-Saturday, February 28-29)
For Monday: (No class Wednesday, Feb 26)
Score analysis:
Beethoven, Piano Sonata Op. 2, No. 3 1st movement: to be turned un Monday, Feb. 24.
Beethoven, Symphony No. 1, Op. 21. Study first movement in detail. Listen and follow the score on all movements.
To be turned in Monday, March 2: 1st movment score with analysis.
Modal Borrowing, more on Modulation. (Complete Dr. Durrani's Part Writing Basics)Serialism: Study Straus, Ch 6, Basic Concepts of 12-tone music
Listen to all pieces included in the reading and the score excerpts.Scores for study: Webern selections, Schoenberg Op. 25, No. 1, Schoenberg Op. 25, No. 2
Ludwig van Beethoven, Sonata for Violin and Piano Op. 24, “Spring,” first mvt (Blackboard)
New Schedule following campus closure:
For Wednesday, March 25: Score analysis of Schoenberg Op. 25, No. 2. Label row forms and recurring motives.
Chromatic Harmony, 19th-century repertoire
See online Study Guide 9: Linear Diminished Seventh Chords, The Neapolitan Triad
Neapolitan Sixth Chord (TMM part III, ch 4)
To be turned in Wednesday: E-Workbook (Part 3) exercise, p. 21
To be turned in Monday, March 30: E-Workbook (Part 3) exercise, p. 23 (from the 3 exercises, choose 2)Post-tonal study (All postponed. We may review some of this, time permitting.):
Jonathan Cross, The Stravinsky Legacy, Ch 1, 2, and 5 (Block forms, Minimalism)
Works by Stravinsky, Varese, Messiaen, Stockhausen, and others
Score for study: Petrushka excerpts
Jonathan D. Kramer. “Postmodern Concepts of Musical Time” Indiana Theory Review 17/2 (1996): 21-62.
Augmented Sixth Chords (TMM part III, ch 5. See also, Dr Durrani's PWB p. 22-27.)
See online Study Guide 10: Augmented Sixth Chords; Modulation by Other Means; Ninth Chords
Due Wednesday, April 1st: E-Workbook (Part 3) exercise, p. 26 (Parts 1-3 only).
Due Monday, April 6: "Practice Midterm" (a regular assignment, not really a midterm exam)
Rondo form:
Ludwig van Beethoven, Piano Sonata No. 8 in C minor, Op. 13, third mvt.
To be turned in Wednesday, April 8: Mozart, Piano Sonata in B flat, K. 333, Finale. Create a list or chart to diagram the form, showing formal sections with measure numbers, key areas, and brief comments.
To be turned in Monday, April 13: Joseph Haydn, Symphony No. 101 in D major, Hob. I/101, fourth mvt. Create a list or chart to diagram the form, showing formal sections with measure numbers, key areas, and brief comments.
Variation forms:
Purcell. "Didos Lament" from Dido and Aeneas (Blackboard)
Mozart. Piano Sonata, K. 284, mvt. 3 (Blackboard)
Beethoven. Seven Variations on "God Save the King," excerpt. (Blackboard)
Concerto forms
Mozart, Concerto in G major for piano and orchestra, K. 453, mvt 1 (Blackboard)
To be turned in Monday, April 20: Mozart, Concerto in A major for piano and orchestra, K. 488, mvt 1. Create a list or chart to diagram the form, showing formal sections with measure numbers, key areas, and brief comments. (Blackboard)Chromatic Harmony in Song Repertoire
Songs by Franz Schubert, Clara Schumann, and Jerome Kern (Blackboard)
To be turned in Wednesday, April 22: Detailed score analysis of one of the three songs (your choice: Schumann, Schubert, or Kern). Directly on the score, provide detailed harmonic analysis, markings to label form, and brief analytical comments.To be turned in Monday, April 27: Practice Final Exam (Blackboard)
FINAL EXAM: Take-home format, to be completed and returned within 24 hours. Will be available Monday, April 27, 3:00pm via Blackboard. To be uploaded via Blackboard no later than Tuesday, April 28, 3:00pm.
Benjamin, Horvit, Koozin & Nelson. Techniques and Materials of Music (optional textbook for reference)
Online Study Guides, links via Blackboard
e-Workbook (Part 2, diatonic)
e-Workbook (Part 3, chromatic)
Durrani. Part Writing Basics (Blackboard)
Durrani. Form and Analysis Basics
Durrani. Small Binary and Ternary Examples
Hepokoski, James and Warren Darcy. Elements of Sonata Theory (e-book)
Caplin, William. Classical Form (e-book)
Ratner, Leonard. Classic Music: Expression, Form, and Style; Chs 1 & 2 (Blackboard)
Jonathan Cross, The Stravinsky Legacy, Ch 1, 2, and 5 (Block forms, Minimalism) (Blackboard)
Jonathan D. Kramer. ÒPostmodern Concepts of Musical TimeÓ Indiana Theory Review 17/2 (1996): 21-62 (Blackboard)
Small Binary and Ternary Forms (see Study Guide)
Robert Schumann, Album for the Young: 1. Melody, 3. Humming Song, 6. Poor Orphan Child, 17. Little Morning Wanderer Naxos
Ludwig van Beethoven, Piano Sonata No. 4 in E flat major, Op. 7, second mvt Naxos (all Beethoven piano solo works)
Frederic Chopin, Mazurkas: Op. 7, No. 1 Naxos; Op. 67, No. 2 Naxos
Selections from Bach, French Suite No. 5, and Scarlatti, Sonata in D, L. 415
Works with Trio
Ludwig van Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1, third mvt. Naxos (all Beethoven piano solo works)
Ludwig van Beethoven, Piano Sonata No. 9 in E major Op. 14, No. 1, second mvt. Naxos (all Beethoven piano solo works)
Joseph Haydn, Symphony No. 101 in D major, Hob. I/101, third mvt. Naxos (several Haydn symphonies)
Johannes Brahms, Intermezzo in A major, Op. 118, No. 2 Naxos (Brahms Opp. 117, 118, & 119)
Sonata Form
Ludwig van Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1, first mvt. Naxos (all Beethoven piano solo works)
Ludwig van Beethoven, Sonata for Violin and Piano Op. 24, “Spring,” first mvt. Naxos (Spring and Kreutzer sonatas)
Wolfgang Amadeus Mozart, Piano Sonata in B flat major, K. 333, first mvt. Naxos (several Mozart piano sonatas)
Rondo
Ludwig van Beethoven, Piano Sonata No. 8 in C minor, Op. 13, third mvt. Naxos (all Beethoven piano solo works)
Joseph Haydn, Symphony No. 101 in D major, Hob. I/101, fourth mvt. Naxos (several Haydn symphonies)
Variation Forms
Henry Purcell, “Dido’s Lament” from Dido and Aeneas
Wolfgang Amadeus Mozart, Piano Sonata in D major, K. 284, third mvt.