INTRODUCTION TO MUSIC THEORY I (103E)

The goal of the course is to introduce students to the concept of a musical system and to engage them in the interpretation of musics that arise from different conceptual systems. After a general introduction to pitch structures, we study medieval liturgi cal chant, addressing analytical questions concerning mode, the play of resemblance (motive), and the conceptual structure of chant lines; students also work on compositional problems that put into play the analytical concepts. The concept of musical line is explored in both linear analysis and composition assignments. The second half of the course begins with tonal music circa 1800. Concepts of elaboration and structure that were developed in the context of chant are reinterpreted to accommodate the mult ilinear and triadic nature of tonal music. Beginning with simple notions of harmonic motion and phrase, students are led by means of analysis and composition toward an understanding of tonal elaboration. The course concludes with a brief consideration of early twentieth-century music, noting in particular the difficulty of applying concepts used earlier in the course and the need for a highly contextual approach to analysis. The course is based on a text developed jointly with Roland Jordan.

INTRODUCTION TO MUSIC THEORY II (104E)

This course continues to explore concepts of structure and elaboration introduced in the first term. A textbook An Introduction to Tonal Thinking (coauthored by myself and Marion A. Guck) develops a more determinate concept of musical line, a simple but robust not ion of harmonic function (progression) as an abstract feature of multilinear configurations, linear elaborations, and their relation to harmonic functions; we also develop several highly general temporal principles for interpreting tonal relations and app ly them to harmonic functions and linear elaborations. After learning basic concepts of progression and elaboration, students spend two to three weeks discovering how those concepts can be put into play analytically. Theoretical exercises are balanced by analytical assignments on movements from Haydn piano sonatas. The heart of the course is a unique approach to the concept of phrase that combines the rhythmic and harmonic concepts; the course includes discussion of sequences and chromaticism (tonicization) and concludes with a multidimensional account of musical form, focusing on interruption forms as found in late 18th-century minuets. The final project consists of analysis and composition of minuets.

MUSIC THEORY III (221)

The first half-semester is devoted to species counterpoint, using rules derived from Peter Westergaard's textbook. The lessons learned about the structure of individual lines, the interaction of pitches in simultaneousy unfolding lines, and the interactio n of linear structures in producing harmonic progression are applied in the second half-semester to the interpretation of Bach chorales and other "free" compositions. The concept of modulation is studied as a linear phenomenon.

MUSIC THEORY IV (222)

The first half-semester is spent studying preludes from Bach's Well-Tempered Clavier, synthesizing lessons learned in previous terms about species counterpoint, harmonic progression, and chromaticism and extending the student's abilities to d eal with motivic development. The second half-semester is devoted to a study of variation technique. The semester closes with analysis of songs by Brahms.

MUSIC ANALYSIS I (423)

Designed for graduate students not majoring in theory, this course covers intensive analysis of small musical works. The initial phase of the class reviews basic notions of line, harmony, phrase, and motive that will be elaborated in later analyses. The course is designed to teach students what the difference is between having a theory and doing analysis. Literature includes piano works by Bach, Haydn and Mozart, string quartets by Haydn, Schumann's Dichterliebe, and piano and vocal works by Brahms.

MUSIC ANALYSIS II (424)

A continuation of Music Analysis I. This course includes intensive analysis of larger or more complex musical works. Literature includes keyboard variations by J. S. Bach and Brahms, chamber works by Haydn, Mozart, Beethoven and Brahms, and symphonic literature by Haydn, Mozart, and Brahms. Secondary literature includes writings by Tovey, Cone, Schenker, Boretz, Koch, Sisman, and Schoenberg.

INTRODUCTION TO SCHENKERIAN ANALYSIS (5061)

Heinrich Schenker's interpretive theory takes as its object the musical mind as manifested in the western European tradition of the 18th and 19th centuries. This introduction to Schenker's approach is based on close reading of Schenker's theoretical and analytical texts as well as contemporary redactions. The course also includes work in the analytical application of Schenker's ideas and systematic study of Schenker's mature theory. Students learn the basic concepts motivating Schenker's analytical methods and gain familiarity with the subjects and modes of thought that Schenker's work stimulated among American theorists. The focus is on understanding Schenkerian discourse and analytical notation and its applications to listening and performance rather than on producing Schenker-like analyses. The primary texts are Schenker's Harmony and Counterpoint, readings in the analytical literature, and my book, Schenker's Interpretive Practice.

SEMINAR IN SCHENKERIAN ANALYSIS (5062)

The course is organized around a chronologically ordered series of Schenker's analyses published in Der Tonwille and Das Meisterwerk in der Musik. Students read Schenker's analysis after having created their own interpretation of the work and discussed their interpretations in class. As a result of this process, students discover the gradual development of Schenker's ideas and learn how to critique and revise interpretations through their own interaction and their interaction wit h Schenker. The course also includes a segment that systematically studies the voice-leading transformations described by Schenker, with special attention to rhythmic aspects of the transformations. Analytical studies are supplemented by readings from Schenker's theoretical writings, principally Free Composition.

INTRODUCTION TO CONTEMPORARY MUSIC THEORY (508)

The course is an intensive reading course designed to introduce theory graduate students to the field of music theory and to sharpen their ability to read difficult texts. Students discover what issues concern theorists currently active in the field. Topics covered include: metatheory and explanation, serialism, tonal theory (other than Schenker), atonal theory, rapprochements with literary theory, and aesthetics. Authors read include: Boretz, Babbitt, Lewin, Randall, Rahn, Dubiel, Meyer, Lerdahl and Jackendoff, Guck, and many others. Students also review recent publications.