LONGY SCHOOL OF MUSIC TH322A: FORM AND ANALYSIS COURSE SYLLABUS SPRING 2020
Instructor: Dr. John H. Morrison Cell Phone: 617 223 1689 E-mail: john@johnmorrison.org Office Hours: Tuesday, Wednesday, noon, Room L-10 (or by appointment) Credit Hours: 2 Meeting Times: 1:00 – 2:25 T-Th Location: Room L-10
Texts: Form in Tonal Music by Douglass M. Green Anthology for Musical Analysis by Charles Burkhart
Reserve texts: Form in Music by Wallace Berry A Practical Approach to the Study of Form by Spencer-Temko COURSE DESCRIPTION, RATIONALE, AND GOALS
The study of musical form is critical to the development of a trained musician. The methods of discovering the forms and uncovering the deeper contents of those forms, a process we generally know as analysis, must be learned and practiced just as scales and other rudiments which supply the foundations of the language of western classical music must be practiced. The aim of this two-semester course is to establish the ability to analyze music and to gain a firm understanding of the common forms and means of organizing music in the western tradition. The primary focus is to learn the standard forms which crystallized in the classical period of music history, with study extending from the baroque through modern periods. COURSE REQUIREMENTS AND PROCEDURES
Class meetings will consist of lectures (to provide grounding in fundamental concepts), review of work done outside of class (to ensure maximum benefit from that analysis), and discussions of music studied.
Regular, punctual attendance is mandatory. Simply do not miss class. Roll will be taken every day. One is allowed three free absences, which include absences for sickness. Therefore, a doctor's note or other excuse is unnecessary to explain an absence. If one misses more than three classes, one's semester grade will be lowered by a grade fraction per class missed (i.e. A becomes A-, then B+, then B, and so on with each successive absence.)
Homework will be measured, with mostly in-class study of examples affording the opportunity to study more than one example of most concepts under examination, and allowing time to be devoted to section-ending projects. Some of that homework will be written, and turned in for evaluation, while some homework will be evaluated on the spot by judging the accuracy of one's analysis as well as one's readiness and ability to respond to questions and support answers with sound reasoning.
At the end of each section of the course, a project will be due. The projects will vary slightly in the components to be turned in, but in general each will require a photocopy of harmonic analysis, a formal diagram of the passage analyzed, and a typed analytical essay. For this semester, a specific example will generally be assigned.
A certain amount of effort will be exerted toward developing the ability to articulate verbally one's insights into music. Essays are obvious tools for the task, and will be regular components of end-of-section projects. Another tool will be the requirement that a case be made to support one's answers during class discussions. A final exam will be administered during the semester. It will require that one demonstrate command of the terminology by writing definitions or completing statements with terms. In addition to testing terminology, the final exam will test one's grasp of the last course section completed (analysis of new music), requiring that one demonstrate one's analytical skill with a time restriction. The exam will occur on the first class day at the usual meeting time after classes end.
ACADEMIC INTEGRITY Standards of academic integrity are implicit: if you claim your work as your own, it must be so. Sharing of analysis is authorized only if specifically assigned as such. Any use of the work of others must be footnoted and sources listed. EVALUATION
The final grade will be determined as below:
Average of homework grades: 30% Average of project scores: 60% Final exam grade: 10% GRADING SCALE Numerals in parentheses indicate value assigned to letter grades when computing averages.
A 94-100 (97) C 73-76 (75) A- 90-93 (92) C- 70-72 (71) B+ 87-89 (88) D+ 65-69 (67) B 83-86 (85) D 60-64 (62) B- 80-82 (81) F 0-59 (50) C+ 77-79 (78)
COURSE OUTLINE While all effort will be applied to maintain the schedule outlined below, it is always possible to fall behind or realize it is not necessary to go as slowly as planned.
dates topic assigned readings Jan. 14-21 ternary forms Green Ch. 8 - 9 Spencer/Temko Ch. 5
Jan. 23-30 rondo Green Ch. 9 Spencer/Temko Ch. 9
Feb. 4, 6 binary Green Ch. 10
Feb. 13 Project 1 due
Feb. 11-25 sonata Green Ch. 11, 12 Berry Ch. 6, 7 March 5 Project 2 due
Feb. 27-March 5 concerto Green Ch. 13, 14 Berry Ch. 8 March 10-22 fugue Berry Ch. 12
April 12 Project 3 due
April 10-19 20C approaches Green Ch. 15 Berry Ch. 13 April 24 Final exam
ASSIGNMENTS The information which follows contains all the assignments which will be due through the semester, in the order they will come due. The list includes projects, but not reading. Reading for each topic group is listed above, and is understood to be read across the span of coverage for the topic.
Project 1 (rondo): due February 13
Analyze the form and harmony of the second movement of Beethoven's Piano Sonata in G, Op. 49 #1. (Score will be provided.) Make a diagram of the form which includes modulations and labels transitions and themes, and identifies small forms of the refrain and episodes.
Turn in a copy of the score you analyzed along with the diagram. Include a brief essay to explain your rationale for making decisions about the form (required, not optional).
Evaluation notes:
1. All parts of the diagram must be present to satisfy the requirements of the project, so please try to get it all done correctly and completely the first time. For this project, elements omitted will lead to a lower grade, not an opportunity to complete the assignment for full credit. Harmonic analysis is worth 30%, the diagram is worth 40% of your grade.
2. The essay will be 30% of the grade: omitting it significantly reduces your score!
3. Each class day the assignment is late, a letter grade will deducted from your score.
Project 2 (sonata): due March 5
Analyze the form and harmony of the first movement of Beethoven Piano Sonata, Op. 31 #1. Analyze and label any small form located in thematic areas. Clearly label the three phases of modulation in the transition. Make a diagram of the form which includes modulations and labels transitions, themes, and small forms. The development section should track all tonicizations, identify source material for motives and themes developed, and divide the large section into subsections and groups.
Turn in a copy of the score you analyzed along with the diagram. Include a brief typed essay (required, 25% of grade) describing items which caused you difficulty along with alternate solutions to the form you considered, and generally explaining your rationale for making the decisions you have made. Another way to approach the essay is to address interesting, troubling, or unusual features of the form. diagram/form 45%, harmony 30%
Each class day the project is late, a letter grade is lost.
Project 3 (fugue): due April 2 Analyze Fugue 11 of the WTC, Book I by J.S. Bach, using colored pencils to distinguish subject entries, episodes, stretto, etc. Make a diagram using the grid supplied (or make one of your own with more space if you prefer). The diagram should indicate any instances of invertible counterpoint, and the function of any episodes encountered (developmental, cadential, modulatory). The diagram should also keep track of keys traversed and whether responses are tonal or real. No essay required this time.
Each class day the project is late, a letter grade is lost.
score and recording: Burkhart Anthology and accompanying CD set
