Moores School of Music
University of Houston
MUSI 6305, section 22513
1:00 - 2:30 MW, Room 112
Prerequisite: Graduate standing in music
Course Description and Learning Outcomes: Reductive analysis, levels of structure in tonal music, and graphing techniques. Course objectives and learning outcomes include facility in score analysis and understanding of linear/structural process in tonal music.
Required text and workbook: Allen Cadwallader and David Gagné. Analysis of Tonal Music: A Schenkerian Approach. 3rd edition with workbook. Oxford, 2010.
Materials on Reserve: UH e-reserve will be used for scores and readings. Works for assigned listening are available online and in the Music Library. Log on to online listening resources by way of the UH Library music research media page.
Schedule (subject to change)
5 weeks Basic principles
Grading and Policies
Short assignments / class participation
Last day to drop without a grade: September 11 Last day to drop or withdraw: November 1
UH Policies on Academic Honesty can be found online at http://www.uh.edu/provost/policies/uhhonesty_policy.html. 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.
Weeks 1-2: Aug 26 - Sept 4
Study Cadwallader & Gagne, Chapter 1. Bring the score for Beethoven's Op. 2, No. 1 piano sonata, mvt 1. (on e-Reserve). Be ready to discuss the whole movement in terms of form, harmony, and motivic structure. How does the Ch 1 discusion of the piece add to your understanding of the movement?
For Wednesday, Sept 4:
Study Chapter 2. Complete the Workbook assignment 1 (Beethoven, Seven Variations on "God Save the King," theme and Variation 1).
Analyze one other piece from the Ch 2 list, p. 39-40. (Several are on e-Reserve.) Use examples in Ch 2 as models for your analysis. Be ready to discuss your analysis in class.
Weeks 3-5: Sept 9-15 (Guest lecture Wednesday, September 11: Dr Snyder)
Wrap up Chapter 2 and Study Chapter 3, "Bass Lines and Harmonic Structure"
For Monday, Sept 9: Begin workbook assignments No. 3 (Ashgrove) and 4 (Chopin nocturne)
For Wednesday, Sept 11: Explore the website for David Neumeyer and Susan Tepping's A Guide to Schenkerian Analysis. See how their chapters 1-3 relate to Cadwallader & Gagne's chapter 3.
For Monday, Sept 16: Complete workbook assignments 3, 4, and 5 (Bellini).
For Wednesday, Sept 18: Complete one Workbook assignment selected from Nos. 6-11. Be ready to show and discuss it in class.
Begin studying Chapter 4 in our textbook. Find your own examples of (1) Linear progressions and (2) Linear-intervallic patterns.
For Wednesday, Sept 25, Workbook #18 (Haydn).
Weeks 6-7: Sept 30 - Oct 9
Study Chapters 5 (Tonal Structure)and 6 (Techniques of Melodic Prolongation)
Study Chs 1 and 2 from Rothstein, Phrase Rhythm in Tonal Music (on eReserve)
For Wednesday, Oct 2: Complete workbook assignment No. 19 (Beethoven)
Weeks 8-9: Oct 14-23
Rothstein, Ch 7 (Chopin)
Reader Response Essay: Due Monday, Oct 14; 2 pages. Discuss some essential topics and terms from chapters 1, 2, and 7. How does Rothstein's approach to phrase rhythm integrate a Schenkerian conception of musical structure?
Complete Cadwallader & Gagne, Chapters 6 (Techniques of Melodic Prolongation) and 7 (Basic Elaborations)
Explore Part II (Analytical Applications)
Midterm Paper Due: Monday, Oct 28
Week 10, Oct 28-30
Study ch ch 11 (Sonata Principle). Begin an analysis of Mozart's piano sonata, K. 332, first movement.
Week 11, Nov 4-6
Complete ch ch 11 (Sonata Principle). Complete an analysis of Mozart's piano sonata, K. 332, first movement.
Week 12, Nov 11-13
Study Ch 7 (Some Basic Elaborations of Fundamental Structures). Begin David Beach readings from Advanced Schenkerian Analysis.
Selected Reserves (books):
Heinrich Schenker, Five Graphic Music Analyses (Fünf Urlinie-Tafeln). New York, Dover Publications, 1969. MT140.S29
________. Free Composition (Der freie Satz), V. III of New Musical Theories and Fantasies. New York: Longman, 1979. MT40.S29213 and Supplement
________. Harmony (Neue Musikalische Theorien und Phantasien, 1). Chicago: The University of Chicago Press, 1954, 1980. MT40.S2912 1980x
________. "A Contribution to the Study of Ornamentation," Music Forum 4, p. 1-139. ML55 .M49 v. 4
Allen Forte and Steven E. Gilbert. Introduction to Schenkerian Analysis. New York: Norton, 1982. MT6.F642 I6 1982
David Beach, ed. Aspects of Schenkerian Theory. New Haven: Yale University Press, 1983. MT6.A766 1983
Maury Yeston, ed. Readings in Schenker Analysis and Other Approaches. New Haven : Yale University Press, 1977. ML423.S33.R4
Felix Salzer. Structural Hearing. Charles Boni, 1952; repr. Dover, 1962. MT40.S2 1962 v. 1-2
David Neumeyer and Susan Tepping. A Guide to Schenkerian Analysis. Prentice-Hall, 1992. https://webspace.utexas.edu/dn235076/www/NT0/NT0_TOC.html
Tom Pankhurst's Guide to Schenkerian Analysis. http://www.schenkerguide.com/