MUS227
MUSIC THEORY IV

Spring 2016

________________________________
ANNOUNCEMENTS!
Homework is listed the day it is assigned, to be due the following class period unless otherwise noted.

POST-TONAL COMPOSITION PROJECT (10% of final grade)
Compose a short (1–5 minute) piece using post-tonal compositional techniques for any instrumentation of your choosing. NB: We will be performing these in E205, so please plan accordingly (unless we can all come to a different location not far away). You must use set theory or serial techniques to compose your piece — however, influences of aleatoric music, minimalism, maximalism, new complexity, other non-classical music are also welcome. Label the permutations you use (T8, RI9, whatever is applicable) on your final score. Pieces will be graded on the following criteria: length, compositional craft/form, idiomatic writing, use of 20th/21st century techniques, legibility/score detail, analysis, and artistry. Be prepared to discuss your composition and creative process.
DUE APR 27 — Please submit a printed PDF in class and email me a copy as well. Be prepared to perform your piece when scheduled to do so.
Presentation schedule (PDF)

MAY 2 — Performances + Extra Credit Assignment Due

APR 29 — Performances

APR 27 — Composition Due — Performances —
see Presentation schedule (PDF)

APR 25 — EXAM 4
Exam 4 Study Guide

APR 22 — Sample Analysis / Review

APR 20 — More 20th Century Approaches / Analysis without a Score

APR 18 — More 20th Century Approaches
Read Morgan pg. 319–349 (Britten) — Ben and David—and pg. 386–387 (Crumb)—Taylor, Nick, and Joe

APR 15 — Neoclassicism
Read Morgan pg. 270–300 (Copland) — Jacob and Casey—and pg. 138–173 (Stravinsky Concerto)—Max and Stephanie

APR 13 — Total Serialism and New Complexity
Read Morgan pg. 301–315 (Carter) — Brendon and Joel—and pg. 376–385 (Stockhausen)—Zhali and Ryan

APR 11 — Maximalism and Timbre
Read Morgan pg. 187–219 (Varèse) — Andrew and Chapin—consult appendices (pg. 439) for instrumental transpositions

APR 8 — Minimalism and Texture
Read Morgan pg. 356-375 (Ligeti) — Helen and Scott — bring your instrument to play In C

APR 6 — Minimalism and Process / Sound
Read Morgan pg. 430–437 and look at these John Cage scores — Aria and Living Room Music

APR 4 — Exam 3

APR 1 — Review
Exam 3 Study Guide

MAR 30 — Model Analysis
Homework: Straus pg. 357-358: Analysis 6.3 — Make a copy from the book so you can annotate the score (label and circle rows, colors help differentiate), include any extra paper you use to answer the questions (matrix, labeling trichords), and please type your prose answers.
ANSWERS

MAR 28 — Hexachordal Combinatoriality / Arrays
Homework: Straus pg. 340–342: V.1.b. (*hint on pg. 324) / VI. 1. a / VII. 2. a–d

MAR 18 — Invariants / Mapping
No homework — enjoy spring break

MAR 16 — Serialism
Homework: Straus pg. 338 I. 1–4 | NB: use examples A and B only, not C and D — for 2. answer "no" if that row does not relate to A or B

MAR 14 — Serialism
Homework: Read Straus Chapter 6

MAR 11—Exam 2

MAR 9—Review
Exam 2 Study Guide

MAR 7—Analysis
Homework: Straus pg. 90–91: Guided Analysis 2.4 and 2.5 — please type prose answers to questions and provided annotated score if that helps show your work (circling/identifying set classes, Tn and In relationships, etc.)

MAR 4— Inversion and Prime Form
Homework: Straus pg. 72-74 Exercises III and V (skip **sample questions and IV)

MAR 2— Normal Form and Transposition
Homework: Straus pg. 71-72 Exercises I–II (skip **sample questions)how to find normal form
Remember transposition uses OPCI (so if you want to transpose -3 you have to use T9 to get there — use the clock if confused)

FEB 29 — More Post-Tonal Music Theory (analysis)
Homework: Read Straus Chapter 2

FEB 26 — More Post-Tonal Music Theory (analysis)
Homework: Straus Chapter 1 Guided analyses 1.1 (pg. 32) and 1.8 (pg. 38) — write your answers on staff paper when relevant

FEB 24 — More Post-Tonal Music Theory (opci/upci)
Homework: Straus pg. 21–22 Exercises VI–IX (for each exercise, skip the sample question marked with **x. whose answer appears in the back of the book) + re-read MODEL ANALYSES (pg. 22–30)

FEB 22 — Choral Composition Due — Intro to Post-Tonal Music Theory (opi/upi)
Homework: Straus pg. 18–20 Exercises I–V (for each exercise, skip the sample question **a. whose answer appears in the back of the book)

CHORAL COMPOSITION PROJECT (10% of final grade)
Compose a short choral piece influenced by early 20th century / Impressionist compositional techniques for SATB choir (limit divisi to SSAATTB) using one of the two texts provided below. The piece should be at least 32 measures long with three clear sections demonstrating homophonic, contrapuntal, and mixed textures. Pieces will be graded on the following criteria: text setting, idiomatic writing for voice, use of 20th century techniques, legibility/score detail, and artistry.
DUE FEB 22—Please submit a printed PDF in class and mp3 of MIDI via email.


Storm Ending
by Jean Toomer

Thunder blossoms gorgeously above our heads,
Great, hollow, bell-like flowers,
Rumbling in the wind,
Stretching clappers to strike our ears . . .
Full-lipped flowers
Bitten by the sun
Bleeding rain
Dripping rain like golden honey—
And the sweet earth flying from the thunder.

Darkness
by Lord Byron

I had a dream, which was not all a dream.
The bright sun was extinguish'd, and the stars
Did wander darkling in the eternal space,
Rayless, and pathless, and the icy earth
Swung blind and blackening in the moonless air;
Morn came and went—and came, and brought no day,
And men forgot their passions in the dread
Of this their desolation; and all hearts
Were chill'd into a selfish prayer for light.

FEB 19 — More Choral Writing
Britten — Hymn to St. Cecilia
Lauridsen — Les Chansons des Roses
Homework: Read Straus Chapter 1

FEB 17 — EXAM 1

FEB 15 — Review

FEB 12 — Impressionism + Rhythmic Procedures + Exoticism
Homework: Read Morgan pg. 21-29 (Skryabin's three piano preludes) and review chapter 26

FEB 10 — Impressionism + Rhythmic Procedures + Exoticism
Homework: Workbook pages 291–292 exercises 26-3 A+B and read Morgan pg. 1–8 (Debussy La Soirée dans Grenade)

FEB 8 — SNOW DAY

FEB 5 — NO CLASS


FEB 3 — Impressionism + Homophonic Textures
Homework: Choose your favorite melody from 26–1 J and harmonize it in SATB voicing (with or without divisi) + choose one movement of Ravel's Ma Mère L'Oye to analyze: describe how musical elements help depict the fairy tale at hand (short 1-page write up of your findings) — due FEB 10

FEB 1 — Impressionism + Homophonic Textures
Homework: Workbook pages 281-283 + Analyze La Cathédrale engloutie (short 1-page write up of your findings)

JAN 29 — Impressionism + Vocal Writing / Text Setting Basics
Homework: Workbook pages 273–277 (26–1 H–J5) and review Ken Rumery's Choral Arranging tips

JAN 27 — Introductions
Homework: Read Kostka/Payne chapter 26, do your own analysis of La Fille aux cheveux de lin

________________________________
COURSE RESOURCES

Textbooks: Stefan Kostka/Dorothy Payne/Byron Almén—Tonal Harmony 7th edition + workbook
Robert P. Morgan, ed.—Anthology of Twentieth-Century Music
Joseph N. Straus—Introduction to Post-Tonal Theory 4th Edition (recommended)
Syllabus (PDF)

Toby Rush—Music Theory for Musicians and Normal People (PDF)
Ken Rumery's Choral Arranging tips
_____________________________________
IMPORTANT DATES

• JAN 27 — Spring 2016 classes begin

• FEB 5 — NO CLASS

• FEB 17 — EXAM 1

• FEB 22 — CHORAL PIECE DUE

• MAR 11 — EXAM 2

• MAR 20–26 — SPRING BREAK— NO CLASS

• APR 4 — EXAM 3

• APR 25 — EXAM 4

• APR 27 — COMPOSITION DUE

• APR 27, 29, MAY 2 — COMPOSITION PERFORMANCES

• MAY 2 — EXTRA CREDIT ASSIGNMENT DUE