T545 Fall 1999

Analysis of Music Literature (3 cr.)

Prof. Robert Hatten

9:05-9:55 a.m. MWF Room M267

Prerequisites

T508 and M541-542 (or exemption by exam)

Enrollment Limit

15

Description

• a repertoire-based analysis course for graduate music students majoring in fields other than music theory,
• Focusing on the analysis and interpretation of standard works from the Baroque, classical, romantic, and early 20th-century repertories,
• appropriate as an entry-level (before T551, 555, or 556) analysis course to help fulfill the requirements for a doctoral minor or a masters cognate in music theory, or to count as an elective for other non-theory graduate degrees.

THEME: How analysis supports, and is conditioned by, performance with special attention to interpretation of expressive meaning. I will choose core works from each period, and we will make further decisions on repertoire based upon your interests and background as soloist, chamber musician, conductor, or composer. Grade will be based on one major analysis paper/presentation (analysis and performance), several analytical assignments and edssays, and in-class analysis of works and discussion of readings.

analytic approaches will be drawn from:

• Basic (harmonic/contrapuntal/hypermetric) reductive analysis (Bach through Brahms) and how it can make a difference in interpretation/performance, drawing on ideas from alexandra Pierce, "Developing Schenkerian Hearing and Performance."
• Relationships bewteen motive and thematized gesture as they affect interpretation in late Beethoven and Schubert (R. Hatten) or early Schoenberg and Stravinsky.
• Topical analysis of Classical music, drawing on the ideas of Leanard Ratner, Wye allanbrook (Mozart opera), and others; the durther development of topics and use of stylistic allusion in romantic, late-Romantic, and early 20th-century styles.
• Formal analysis as it interacts with the concept of genre as a set of formal/expressive conventions, drawing on the work of anthony Newcomb (Schomann), Leffrey Kallberg (Chopin), and others. Exploration of hybrid forms.
• a non-technical introduction to semiotic and hermeneutic approaches to musical meaning, especially as a guide to neglected elements of musical strucutre (R. Hatten).

Graduate Courses in Music Theory

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