Dr. Neil Thornock Music 395 Form and Analysis Online Materials

Syllabus Schedule Resources byu.naxosmusiclibrary.com (use on campus or log in through library page off campus) Cadence Voice-leading Patterns One-part Forms Binary Forms Ternary Forms Rondo Form Sonata Form Sonata-Rondo, Concerto, Ostinato Variations Suite Contrapuntal terms/genres Fugue terms Assignments For assignments in which a piece is listed: A. Listen to the piece two or three times. B. bring an analyzed score and a phrase diagram to class. C. Answer any listed questions on the back of your score score or diagram. 1. Study the One-part Forms handout. You should be familiar with the entire handout and should thoroughly understand the sections “One-part Forms” and “Periods with Two Phrases.” If you need further information, search for it online (Wikipedia, Google, etc) or in the library (Grove's). 2. Chopin, Prelude in C Minor, Op. 28 No. 20 Also bring to class: Chopin, Preludes 3 and 18 3. Bach, Menuet in G Major and Menuet in G Minor --In the Menuet in G Major, is there a cadence at m. 20? Why or why not? --In what ways are these two pieces similar? In what ways are they different? Be specific. Also bring to class the Binary Forms handout. 4. Haydn, String Quartet Op. 76 No. 3, Trio --In the B section, some extra material is added to make it longer proportionally than it would be otherwise. Which measures could be removed while keeping the form intact? Also bring to class: Haydn, String Quartet Op. 76 No. 6 5. Scarlatti, Sonata in C Major, K487 --Before analyzing, listen. As you do so, mark possible cadences in the score. --Cadences are difficult to label precisely in the work. What elements of the music obscure the cadences? --Identify one significant link by measure number (there is more than one!). --Where exactly does formal closure occur? For class discussion (after Assignment 5): Bach, Minuet in D Minor Schubert, Moment Musical, Op. 94 No. 3 6. Beethoven, Menuetto from Sonata 1 Note: Measure numbers apply to the previous measure. --Identify the type of ternary. Allegretto --The first phrase is four measures long. What clues can we get from the music that this is so? --A phrase expansion occurs in the third phrase. How did Beethoven expand it? --Identify two similar phrase expansions in this movement. Trio --A Roman numeral analysis for mm. 59-62 can be quite tedious. What is their overall harmonic function in relation to the whole phrase? --Is the cadence at m. 50 a HC or a TPAC? Whay? --The first phrase is four measures long. The second phrase is expanded. Why might beethoven do this? (It may help to compare the first two phrases with the last two phrases.) 7. Chopin, Mazurka in G Minor --Measures 1-16 divide into two phrases. Where exactly does the cadential chord of the first phrase occur? What is the effect of the immediately following measures? --How would you describe the harmony in m. 17? What Roman numeral should it get? --How would you describe what happens harmonically in mm. 21-24? --Is there a cadence at m. 24? Why or why not? 8. Brahms, Intermezzo * Don't worry about a complete harmonic analysis. You should, however, understand the key scheme and phrase structure. --As you listen to the piece, mark off main divisions of the form. --In the A section, the opening melody returns near the end two times. The first time is a "false return" – why? The second time, the melody is modifie. Where exactly does this second return occur? What simple technique did Brahms use to transform his melody? What makes this return the "real" return? --What is the likely form of the first A section? Give evidence. --What is the likely form of the B section? --How does the return of the A section differ from the first A section? Project 1 Mendelssohn, Song without Words --Analyze this work thoroughly. What you will turn in: --Analyzed score. --Phrase diagram. --Briefly address each of the following:     --Binary? Or ternary? Why?     --What is happening in mm. 24-28?     --Sonata principle. Where is it? How does it influence your choice of form?     --Formal closure. Where? Why? *From this point on, don't worry about harmonic analysis and phrase diagrams unless specifically indicated. 9. Haydn, Piano Sonata --What is the form of this movement? --Draw a phrase diagram of the first A section.  What is the specific form of this section? --What is the form of the B section? --Describe/discuss phrase expansion in the B section. Where and how? --What is the form of the C section? --Label the function of mm. 81-93. --Does this movement have a coda? Why or why not? For class discussion, also print and bring: Mozart, Piano Trio K. 564, Allegretto 10. Mozart, Piano Sonata K. 333 This assignment is only for the first movement. Print and bring both movements, however. --Label the exposition, development, and recapitulation. --In the exposition and recapitulation, label PTSK. --Draw a phrase diagram of the development. --How would you describe mm. 81-86? How about 87-93? --Carefully compare the exposition with the recapitulation. Where are sections in the recapitulation expanded or contracted? Why did he do this? 11. Mozart, Symphony No. 40, mvt. 1 --Label Exposition, Development, Recapitulation. --In the exposition and recapitulation, label PTSK. --Locate the beginning of the retransition in the development. Why does it begin where it does? --Where/how does the recapitulation differ from the exposition? Also, bring to class: Mozart, Piano Sonata K. 545 12. Beethoven, Pathetique Sonata, mvt. 1 --Label Exposition, Development, Recapitulation. --In the exposition and recapitulation, label PTSK. --Draw a phrase diagram of mm. 1-50. --Draw a phrase diagram of mm. 137-195. --What do you learn about Beethoven's style from these phrase diagrams? How does this aspect of his style affect his use of form? --In what ways might the use of the introduction material throughout reinforce and/or disintegrate the sonata form of this movement? 13. Beethoven, Waldstein Sonata, Mvt. 1 --Label Exposition, Development, Recapitulation. --In the exposition and recapitulation, label PTSK. --What is unusual about the tonal plan of the exposition? --What happens harmonically in the recapitulation that mirrors the tonal plan of the exposition? How does this relate to sonata form? --Where does the coda begin? How do you know? --Beethoven's codas are often structurally important to the work. What "problem" does this coda solve? Project 2 Beethoven, String quartet Op. 59, No. 2, Mvt. 1 --Analysis of this work should be thorough enough that you know which keys the piece travels through and where cadences are. What you will turn in: --Analyzed score. --Phrase diagram (remember key, Roman numeral harmonic areas, period structures, and thematic labels). --Briefly address each of the following:    --What material gets developed in the development?    --How does the recapitulation differ from the development?    --What becomes of the motive in m. 1? And of m. 3?    --What important problem does the coda address? (Hint: there's something not quite right about the retransition...) 14. Bring to class (no assignment) Mozart, Concerto No. 1 for Horn and Orchestra 15. Bring to class (no assignment) Beethoven, Pathetique Sonata, Mvt. 3 16. Bring to class (no assignment) Bach, Chaconne 17. Bach, Passacaglia This work consists of a passacaglia followed by a fugue. The opening eight measures present a bass line which gets repeated throughout the Passacaglia. For the following, consider only the Passacaglia. --Listen to the work. Try to mark off the repetitions of the bass line (which, by the way, does not stay in the bass) --How many variations (repetitions) do you count? --What interesting textural change occurs at the midpoint (between the middle two variations)? --For the variations on p. 293 to the top of p. 294, circle the pitches that belong to the ostinato line. --How would you describe what is happening in that passage (in one sentence or less)? (Not required, but you might think about it if you have nothing better to do): --How might you chop these variations up into larger groupings? What is the structure of this passacaglia? Also, bring to class: Stravinsky, Three Pieces for String Quartet 18. Beethoven, Diabelli Variations --Listen to this entire work, following the score as you do. 19. Bring to class the suite practice sheets. 20. Bring to class Schumann, Im wunderschonen Monat Mai. 21. Bring to class the canons from Bach, Musical Offering. 22. Bach, Musical Offering (what you printed last time) --Realize canons 3, 4, and 5. 22. Bring to class Bach, Fugue 11 in F Major and the fugue terms handout. 23. Bach, Fugue 21 in B Flat Major --Listen to this piece. --Label all entries of the subject (including answers). --Label all entries of the countersubject(s). --Label the main parts of the form: exposition, middle entries, final entries, and any episodes. --Draw a form diagram as demonstrated in class. --Is the answer tonal or real? For what purpose? Final Project Choose one of the three pieces provided below. For this project, you will analyze the work for any important or interesting formal or structural issues. Harmonic/motivic analysis need not be thorough but should be provided as far as they concern formal issues. **Be sure to review your notes to glean as many analytical techniques as possible and to find all relevant ways of portraying that analysis in your project. The guidelines are intentionally open! This is an opportunity to apply what you have learned about ways of looking at music. The project can be in any format you desire! HOWEVER! - Read carefully my notes on grading below. Bach, “St. Anne” Fugue (classic edition) Another edition of the Bach Fugue (cleaner, w/ measure numbers) Schubert, “Death and the Maiden” Quartet, mvt. 4 Brahms, Clarinet Quintet, mvt. 4 Due Date The final project is due Monday, April 18, in my box in the mailroom (E-538). When I arrive to campus early Tuesday morning, I will collect what is turned in. After that point, I will not accept projects! Plan ahead and get working so you can get this in on time! Grading of the final project Essentially (for a good grade), impress me. *Really* impress me. The pieces provided are intentionally difficult. This gives you a culminating challenge and allows me to guage two things: 1) How creative you are in analyzing a work, and 2) How well I taught you. Here's typically what goes through my head when I grade these: An "A" project is one that goes beyond what would be "expected" of students who have a good grasp of the material in this class – insights into the music that *I* did not (necessarily) prepare you for. An "A-" project is one that is correct and comprehensive in its treatment of the work and that utilizes terminology and methods learned in the course. A "B+" project may be somewhat inaccurate in details but does a good job of representing the primary issues at work in the piece. A "B" project perhaps represents some of the primary issues correctly but misses some of them as well. A "B-" project is either inaccurate or incomplete on a few important levels. A "C"-level project fails to show any adequate understanding of the work. A "D"-level project is one in which I can't see any real effort to make sense of the piece.