Form and Analysis

Form and Analysis.Syllabus.2018


  1. Due January 11,  Complete a draft paper and a draft diagram ( Figure) for a paper on the chant that was discussed in class and emailed out.  Upload paper and diagram to Dropbox/Form and Analysis.  You will be sent an invitation.  Bring the following page to class and have reviewed this assignment prior to entering class.  Have the assignment partially completed.  Bring questions about the assignment.Chant Analysis
  2. Due January 16, Research the following:
    • Machaut
    • Ars Antiqua/Ars Nova
    • Isorhythmic Motet- origin/who called it this?
    • Listen to De son espoir 10X and fully absorb its parts.
  3. Due January 16, submit your finished Chant paper and diagram/figure to Dropbox.  Correctly Identify your file.  Alex’s draft is due by Saturday and is to be read by all for any ideas that may be helpful.
  4. Due January 18,  complete a 1.5 hr.  in score analysis of the Machaut.
    • Mark out the parts of the talea and color with brackets (annotate all 1:2:3 relationships),
    • make a vertical analysis of the harmonic content such as 8/3  5/3 8/5 for the entire work,
    • explain all musica ficta, 
    • analyze the Motetus and Triplum text for number of syllables, note rhythmic features of the upper two voices (how do these relate to the  Franconian Motet-easy to look up!- that used the rhythmic modes so prominently featured in the Ars Antiqua? )
  5. Due January 23,  Joaquin-Complete analysis of the motet in the text. Chord names, chord figures, P, N, Sus analysis, chord root analysis, text analysis, phrase analysis.
  6. Due January 25,  Palestrina:  Imitation, chant analysis in SATB, irregular phrase structure, texture changes, meter, descending 5th cadence, proportional chart, chord analysis; total 75 min.
  7. Due January 30,  Draft out a chart with five columns that compares the Machaut to the Dufay to the Josquin to the Palestrina.  Select/decide your comparison criteria down the left side, then compare each work by your criteria in each category.  Upload to Dropbox/Comparison.  We will review and critique these in class.
  8. Due January 30,  Finish the analysis of figures 5/3  6/3 4-3 sus etc. for the Palestrina.
  9. Due January 30, Listen to Moro Lasso Al Mio Duolo, Carlo Gesualdo.
  10. Due January 30, Submit final Chant Paper.  P
  11. Due February 1, Gesualdo-analyze your 7 measures
  12. Due February 6, Submit final revised chart by class time.
  13. Due February 6,  Gesualdo- relate harmonic analysis to text.  In score analysis of the Monteverdi Lasciatemi Morire
  14. Due February 8, Corelli p. 53, Roman Numeral analysis, note pivot chords to closely related keys.
  15. Due February 11 to Dropbox/Corelli, Corelli p. 53-55 all.  Roman Numeral analysis in score.  Make a chart as was presented in lecture for the entire work.  Connor send me the photos to send out as an example.  [Elizabeth also send previous set of photos to distribute and study the photos forwarded that Connor took.]
  16. Due February 13, Review everyones chart in Dropbox/Corelli, develop questions about the analysis, bring these questions to class, make changes to your analysis as appropriate.
  17. Due February 15,  Prepare  an in-score analysis and a brief chart of the first Corelli work in the anthology.  In class write out and extensive draft of the paper.  Review the paper with the professor as you are writing it.  Share comments on your analysis with the entire class.  Use notes from Tuesday’s lecture on Corelli and functional harmony and how it grew out of the Renaissance theory and practice.  Papers will be due February 20, Tuesday class time to Dropbox/Corelli.
  18. Due February 20. Write and submit a paper on the first Corelli work in the anthology ( Adagio in B minor).  1.5 pages of text plus one score-based graph showing the chord roots, progressions, keys and Roman Numeral analysis.  If you missed class please contact a student that was there to get any assignment notes that you need.  Submit to Dropbox/Corelli.
  19. Due February 20.  Paper extensions require the submission of an email today.
  20. Due February 22.  Analyze Prelude 1 in C Major BWV 846.
  21. Due February 27
    1.  Read in detail the attached material distributed via email.
    2. Make a detailed vocabulary list and understand how to apply the terms in the Benward.
    3. Complete an  in-score analysis of the Bach Fugue No. 1 from the Well Tempered Klavier, Vol. I.  Download from a website. Sometimes this site works.  If not search out another site.
    4. Make a simple set of comparison points between the three fugues:  the one we covered in class, the attached and the newly assigned fugue (point 3 above).
  22. Due March 1:  POST to Dropbox 3 summary sets of notes, one on each of the 3 fugues we have studied.  Compare and contrast.  Determine the focus of each fugue and the process/technique(s) that each fugue exploits.
  23. Due March 13:  In score analysis for Scarlatti, Sonata in D Major, K. 96.  Listen to the work several times.
  24.  50 min Assignment. Research Sonata-Allegro Form, sometimes just referred to as Sonata Form (Mozart, Haydn, Beethoven).  Answer the following questions:
    • How did Sonata form develop out of Binary Form? 5 min search
    • Is Sonata form a two-part form? or a three-part form?  In other words, what characterizes the form more strongly, the harmonic structure as articulated by the double bar repeat sign or the three sections of Expo. Dev. Recap.  Explain. 10 min. search
    • Find three basic diagrams of Sonata Form-take screen shots and save for your notes.  Use scholarly sites! 15 min. search
    • Find  download and highlight key ideas found in one article in JSTOR (XU Library/Database/Music) in music theory journals  that is either about Sonata-Form or is an analysis of a first movement of a sonata from the Classical Era.  20 min or less.
    • Bring all to class for a shared group discussion.
  25. Analyze the basic structural components of the following assignments and present your results in class.  On-line analyses exist, but they may be incorrect!
    1. Alex: Allegro movement of Sonata in B flat major K.333, first movement
    2. Elizabeth: Clementi op.36 No. 2 first movement
    3. Ruthie:  Piano Sonata No. 1 in F minor Op. 2 No. 1 first movement
    4. Austin: Sonata for Violin and Piano Op. 24 first movement
    5. Connor: Beethoven “Pathétique”  first movement
    6. Karisa:  Beethoven  “Waldstein”  first movement
  26. Due March 22.  Elizabeth, Alex and Karissa will present.  Listen to recordings of all of the above works  in 25 above.
  27. Due  March 27:  Sonata Form paper.  About 4 pages long including a detailed diagram.  The conclusion will include some comparisons to two other works reviewed in class while studying sonata form.
  28. Due after Easter break:  Der Doppelgänger and Erlkönig-complete analysis.
  29. Due April 5:  Finish Erlkönig.  Analysis of Chopin Preludes in C Major and B Minor.
  30. Due April 10. Follow these instructions for analysis for The Chopin Preludes in C Major and B minor:
  • Write out the melody for the prelude in the treble stave.
  • Write out the root of each chord on the bass line below the melody
  • Label all NHT.
  • Write in the RN analysis.
  • Write in a contextual analysis (T PD  D etc. )
  • Mark in the phrases and indicate the type ( See chapter on Phrases in the Theory Textbook)
  • Compare the Chopin C Major prelude to Bach’s WTC I in C Major that we studied.  Any similarities?

31.  Due April 10  Prelude in E Minor by Chopin.  Analysis of M. 1, Mm 9-13 and Mm17-end.  Listen to this prelude several times.  What binds together Mm 2-8 and 14-17???

32.  Due April 10  Prelude in E Major-find an analysis on the internet of this Prelude, bring to class.

33. Due April 12:  Make a harmonic reduction similar to the reductions presented in class today for the Chopin Prelude in E minor (functional harmonic chords only) and the Prelude in E major (all chords are functional chords either in tonic key or the key of the modulation-use internet resources as needed to assist, if necessary).  It is important that the student locate phrases and cadences first.  All charts will show these features at a minimum.

34. Due April 17. Sketch a reduction of the Chopin Prelude No.20 in C Minor. Include analytic symbols, Roman numerals only where the music is functional, intervals where the music is a series of linear chord and a good skeleton of the melody and bass. Turn in on Tuesday. Connor you may use Finale and then check with me on how to place beams and stems. Finale can be set to enter stemless quarter notes. Slurs are easy. Papers will be critiqued in class and returned for corrections and final submission on Thursday.

Assemble all notes on Chopin Preludes. Make a list of theoretical findings to review in class on Tuesday.

Look over all of the 20th century works at the end of the anthology. Exclude short works. Propose which works potentially you would have an interest in for your final project.

35.  Due April 19:  Bring to class all information/analyses on the Chopin Preludes to class. Sketch out the fundamental bass line for the Prelude in E Major on staff paper per each measure.  Write the analysis beneath the line.  Develop a paper topic on the Chopin Preludes we have studied.  Write three sentences that could be used to start a paper on Chopin.  You will have 1/2 of the class to work on the Chopin paper.  Paper is due April 24 to Dropbox/Chopin.  Start listening to your final project.  Establish a schedule to complete the paper.

35.  Complete and submit by Tuesday of next week class time your two column list of tonal characteristics with examples that review the 5 Chopin Preludes lectured on and discussed and graphed in class.  Complete all preliminary work on your final paper and be ready to meet with the instructor to discuss your plan for your paper.


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