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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

Office hours, Tuesdays and Thursdays, 2:003:30 P M

Overview

The core hypothesis of our theoretical study is that composers, listeners, and performers con-ceive/perceive tonal music in terms of a repertory of mental categories. Thus far you have learnedthe elementary categories: notes, diatonic systems, monotriadic lines, linear elaborations, speciescounterpoint, and harmonic progression. You have also developed skill in using this knowledge

to understand or interpret musical artworks. This course builds upon that foundation, deepeningyour understanding of elaboration through the study of motive, variation, and invention; the syn-tactic 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.Please use 8 1

2 11nonperforated 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 first 15minutes of class. If you have to miss class, either for illness or other reason, please email me inadvance as a matter of courtesy and to avoid the imputation of ill intentions. Office hours are foranswering questions about assignment and providing additional help with the material, but not tofind 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 assignedpassage to class (either in paper or on an e-reader).

For texts markedReadingon the syllabus you should (a) read the text at least twice, (b) takenotes on the content, and (c) be able to describe the authors main ideas. Some readings will alsoinvolve studying a piece of music.

Assignments

Assignments will be distributed either in class or via email. These will mainly be in preparation forclass discussion.

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Projects

There will be five 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 discussquestions of a general nature with other members of the class, the project you submit is to beyours alone and not the product of collaboration. Inappropriate collaboration is in the long rununhelpful, as it can lead to a false sense of security rather than the real thing that comes withmastering and exploring the subject yourself. If you have a question about what constitutes fair orunfair collaboration, please ask.

GradingHomework assignments (and quizzes, if any) will make up 20% of your final grade; class partic-ipation will also be taken into account. Projects will constitute 70% of your final grade. The finalexam will count as 10% of your final grade. A grade of C or above is required to receive the gradeof CR.

A+ 100 C+ 78 B+ 88 D+ 68A 95 C 75 B 85 D 65A 92 C 72 B 82 D 62

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1/15 Introduction to Motivic Content

Theory III Final ProjectSyllabusBach, WTC I, Prelude in C minor

1/17 Motive: Definitions, 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. 1517Listening:Chopin, Nocturne, Op. 32 No. 1, mm. 120Listening:Beethoven, Piano Sonata, Op. 90, first movement, mm. 13045Listening:Bach, Invention No. 1 in C major

1/24 Motivic Analysis

Listening:Brahms, Chorale Prelude, Schmucke dichListening:Brahms, Symphony No. 2, first movt., mm. 163

Listening:Brahms, Symphony No. 4, first movt., mm. 119

1/29 Inventions and Structural Functions

Reading:Dreyfus, What Is an InventionListening:Bach, Two-Part Invention in C majorListening:Bach, Brandenburg Concerto No. 3, first movement, mm. 18

1/31 Invention and Disposition

Reading:Snarrenberg,A Glossary of Terms, chapter 6, Motive and Invention, pp. 1821Listening:Bach, Two-Part Invention in D minor

2/5 Atonal Motives

Listening:Varese,Density 21.5

2/7 Atonal Motives

Listening:Varese,Density 21.5

2/12 Introduction to Syntax: Clause-final Markers

Reading:Snarrenberg,Clauses and Sentences, chapters 12

Project 1 due

2/14 Clauses

Reading:Snarrenberg:Clauses and Sentences, chapter 3Print chapter 6 and bring to class

2/19 Periods and Couplets

Reading:Snarrenberg:Clauses and Sentences, chapter 4, 4.14.6Bring chapter 6 to class

2/21 Periods and Couplets

Reading:Snarrenberg,A Glossary of Terms, chapter 8, Clauses and SentencesBring chapter 6 ofClauses and Sentencesto classListening:Mozart, String Quartet, K. 464, second movement, Minuet

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2/26 Complex Sentences

Reading:Snarrenberg:Clauses and Sentences, chapter 4, 4.74.14Listening:Mozart, String Quartet, K. 464, second movement, MinuetListening:Beethoven, String Quartet, Op. 127, first movement, mm. 122

2/28 Complex Sentences

Listening:Beethoven, Symphony No. 9, third movement, mm. 119Listening: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 MaiListening:Schumann, Op. 48 No. 2,Aus meinen Thanen spriessen

Project 2 due

3/7 Another Song

Listening:Brahms, Op.72 No. 3, O kuhler Wald

3/12 SPRING BREAK3/14 SPRING BREAK

3/19 A Longer Song

Listening:Brahms, Op.72 No. 3, O kuhler WaldListening: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 formsBinary formsListening: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 FormsTypes of form in sonatas, chamber music, and symphonies (Haydn, Mozart, Beethoven)

4/11 Analysis

Reading:Allanbrook, Threads through a LabrynthListening:Mozart, Piano Sonata, K 332, first movement

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4/16 Outlining and Diagramming Complex Form

Reading:Berry, Sonata (chapter 6)Listening:Mozart, String Quartet, K. 464, first movement, mm. 187

Project 4 due

4/18 Exposition

Listening:Beethoven, Piano Sonata Op. 53 (Waldstein), first movement, exposition

4/23 Recapitulation

Listening:Mozart, Piano Sonata, K. 311, first movement (not on CD)Listening:Haydn, Symphony No. 100, first movement, exposition and recapitulation

4/25 Development

Listening:Mozart, Piano Sonata, K. 283, first movement, developmentListening:Mozart, Piano Sonata, K. 332, first movement, development

Finals

5/3 Project 5 due5/7 Final exam, 6:008:00 P M