MUS 688A   topic 5-ANALYTICAL TECHNIQUES                                      Summer 2006

 unique # 79745   daily 10:00-11:30 MRH M3.114

 

Instructor: David Neumeyer

Office: MRH 3.748

Office hours: before and after class or by appointment

Phone: 471-7346 (you can leave voicemail)

Email: neumeyer@mail.utexas.edu

Website: We will be using electronic reserves for course materials (see "Reserves" below). An online copy of the syllabus is available at http://uts.cc.utexas.edu/~neumeyer/688a_syllabus_ss06.htm.

 

Object:

To fortify and enhance skills you already have for analysis of form and harmony/tonality in European and American tonal musics; to learn something new about those musics. For PhD and DMA students: to satisfy an NASM requirement that all doctoral students be able to do "advanced analysis"; to prepare for the theory section of common comps; to build skills that might be applied to your dissertation,  treatise, or lecture-recital document, if appropriate to your topic.

 

Your responsibilities:

1. Class attendance. No textbook can cover everything. Working out problems in class is essential to success.

2. Reading. We will read 13 of the 17 chapters of the textbook.

3. Assignments: Because of the condensed summer schedule, I will not ask you to do graded assignments outside of class; most of your time outside class will be spent in reading the textbook. You are encouraged to read the textbook in detail and bring questions to class. I will occasionally ask you bring to class music that you have played or are learning.

4. Quizzes: Your grade will be based on five quizzes. Each quiz counts 20% toward the final grade. The quiz dates are listed under "Schedule" below.

 

Other information related to grading and my policies:

1. Following UT policy for graduate students, I grade on a letter scale with + and - variations.

2. I make no exceptions for quiz dates other than documented medical emergency. Make your travel and other plans accordingly.

3.  I do not offer extra credit options to raise the final grade or to avert failing the course.

4. I do not give incompletes except for documented medical emergency that prevents you from completing project 3. In particular, I  do not give incompletes as a way of avoiding a failing grade -- because of the steady flow of quizzes through the semester, you should know well before the end of semester if you are in danger of failing.

 

Text:  William Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998).

 

           We will also make use of reference material (tables and examples) on my UT website: http://uts.cc.utexas.edu/~neumeyer/Beethoven_exxs.html

 

 

Schedule:

UNIT 1: Introduction and basic functional units

M July 10: [week 1] classes begin; preliminaries (syllabus, schedule); Caplin, ch. 1

T 11: Caplin, ch. 2: basic harmonic progressions.

W 12: Caplin, ch. 3: sentence

TH 13-F 14: Caplin, chs. 4 & 5: period and themes

 

UNIT 2: Small forms

M July 17: [week 2]  (1) Quiz 1;  (2) Caplin, chs. 6 & 7: small ternary and binary designs

T 18-F 21: continue small ternary and binary designs

 

UNIT 3: "Looser formal regions"

M July 24: [week 3]  (1) Quiz 2; (2) Caplin, ch. 8; subordinate theme; Caplin, ch. 9: transition; Caplin, ch. 10; development

T 25-F 28: continue subordinate theme, transition, development

 

M July 31: [week 4]  Caplin, ch. 11: recapitulation

T August 1: Caplin, ch. 12: coda

W 2: (1) Quiz 3

 

UNIT 4: Nineteenth-century chromatic music (1850 and later)

TH 3-F 4: unit topic TBA

M 7-T 8: [week 5]

 

UNIT 5: Sonata form

W 9: (1) Quiz 4; (2) Caplin, ch. 13: sonata form

TH 10-F11: continue sonata form

M 14: Quiz 5

 

Reserves:

I will be using electronic reserves this semester. The "Documents" page is reproduced in the figure below. I will probably add files as the semester goes on Ð most likely scores but possibly audio files as well.

 

Go to the Library's main page http://www.lib.utexas.edu/ and under "Library Services" select "Reserves," then select "Find" under the Electronic Reserves/Students heading. You will need a password to access the course site; I will give the password at our first class meeting.

 

 

 

 

 

The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641 TTY.

 

 

 

 

 

 

---------------------------------------handout 1: terms from Caplin-------------------------------------

 

1. Oppositions

Some basic oppositions: tight knit/loose knit;  balanced/developmental;  "closed"/open.  The opposition sentence/period is portrayed as the two ends of a continuum in the table on p. 63, with the hybrid theme types positioned between them.

 

tight knit

loose organization

balanced

developmental

"closed"

open

 

2. "Flowchart" for functions and theme types.

 

b.i. (1 mm.)          sentence-like structure of antecedent phrase (p. 51, col.1)

b.i. (2 mm.)          presentation phrase in a sentence

                              antecedent phrase in a period

                              antecedent phrase in hybrid 1 (p. 59)

                              antecedent phrase in hybrid 2 (p. 61)

                              compound basic idea in hybrid 3 (p. 61)

                              compound basic idea in hybrid 4 (p. 61)

                              = repetition of b.i. (exact, sequential, statement-response) in presentation phrase (p. 39)

b.i. (3 mm.)          = expanded basic idea

b.i. (4 mm.)          presentation in compound sentence  (p. 65)

                              presentation in compound period  (p. 67)

c.i. (2 mm.)          second half of antecedent in period

                              second half of antecedent phrase in hybrid 1 (p. 59)

                              second half of antecedent phrase in hybrid 2 (p. 61)

cadential              final element of continuation phrase in sentence, hybrid 1, or hybrid 3

        "continuation-cadential" when this expanded cadential progression is stretched across the continuation phrase

                              cadential phrase (p. 47, top)

fragmentation    first part of continuation phrase in sentence, hybrid 1, or hybrid 3

additional            extension, expansion, or interpolation

measures

 

                          

---------------------------------- handout 2: more terms from Caplin ---------------------------------

 

1. form --> Caplin's functions  -->  Basic opposition:

 

tight knit

loose organization

balanced

developmental

"closed"

open

 

              -->  Basic opposition applied to different elements (Caplin, p. 85):

 

tight knit

loose organization

1. Tonally closed

Tonally open (modulates)

2. Cadence

Lack of cadence

PAC

IAC, HC

3. harmony stable (cadential progressions; tonic prolongation)

Unstable (sequential, modulating, chromatic)

4. Symmetrical grouping

Asymmetrical grouping

5. Efficient (compact and direct)

"inefficient" (repetitions, expansions, ambiguity)

6. Motivic uniformity

Diverse motives

7. Conventional formal types

Non-conventional types (which are ___)

Period

Sentence

 

2. harmony/tonality    --> tonality in relation to Caplin's functions   --> Basic opposition:

 

Background

Foreground

Underlying progression(s)

Complex harmonic "surface"

Pedal point/standing on the dominant

Chords and progressions moving above

Period/section level progressions

Chord-by-chord progression

Cadential

Sequential

 

 

 

 

 

Caplin, ch. 1: TERMS

 

Grouping structure (p.9)

Formal function (9)

Formal processes (9)

Formal types (9)

Sentence (9)

Basic idea (9)

Motives (9)

Presentation (10)

Presentation phrase (10)

Statement = Basic idea Ð tonic version (10)

Response = Basic idea Ð dominant version (10)

Statement-response repetition (10)

Tonic prolongational progression (10)

Continuation phrase (10)

Fragmentation  (10)

Harmonic acceleration (10)

Liquidation (11)

Cadential function (11)

Half cadence  (HC) (11)

Perfect authentic cadence (PAC) (11)

Sequential repetition, or model- sequence technique (11)

Sequential progression (11)

Period (12)

Antecedent Ð consequent (12)

Small ternary (13)

Exposition (13)

Contrasting middle (13)

Recapitulation (13)

Home key (13)

Subordinate key (13)

Standing on the dominant (13, 16)

Loose organization (13)

Tight-knit organization (13)

Framing functions (introduction [or thematic introduction], post-cadential) (15)

Dynamic process (15)

Progressive dynamic (15)

Recessive dynamic (16)

Closing section, codetta (16)

Interthematic/intrathematic functions (17)

Main theme (17)

Subordinate theme (17, 19)

Transition (17)

Extension (20)

Expansion  (20)

Expanded cadential progression  (20)

 

 

Caplin, ch. 2: TERMS

Tonic function (23)

Dominant function (23)

Pre-dominant function (23)

Harmonic progressions (24)

--prologational progression (25)

            pedal point

            neighboring chords

            passing chords

            substitute chords

--cadential progression (27)

            authentic cadential progressions

            half-cadential progression

complex cadential progression

            dominant embellishments

            pre-dominant embellishments

            initial tonic embellishments

            deceptive cadential progressions (29)

--sequential progressions (29)

            descending fifth

            ascending fifth (31)

            descending third

            ascending third

            descending second

            ascending second