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ANNOUNCEMENTS!
• Homework is listed the day it is assigned, to be due the following class period unless otherwise noted.
• Click date to access course notes PDF.
• Extra credit concert report due via email May 9.

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APR 26 + 29 — 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 that you arrange). 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 26 — Please submit a printed score in class and email me a PDF as well (C score preferred). Be prepared to perform your piece when scheduled to do so.

Performances:
APR 26 — Sam, Brandi, Kristin, Tali, Lauren, Tim
APR 29 — Elise, Julia, Mikayla, Delaney, Adam, Rob, Emily

APR 24 — Exam 4

APR 22 — Strategies for Analysis (REVIEW)
Exam 4 Study Guide

APR 19 — More Analysis and New Complexity / New Simplicity
Read Morgan pg. 393–412 (Penderecki) — Tim & Sam — and Libby Larsen's Chanting into Paradise — Adam — recording here

APR 17 — More 20th Century Approaches (to Vocal Music)
Read Morgan pg. 319–349 (Britten) — Delaney—and pg. 386–387 (Crumb)—Kristin

APR 15 — Neoclassicism
Read Morgan pg. 270–300 (Copland) — Mikayla —and pg. 138–173 (Stravinsky Concerto)—Lauren

APR 12 — Integral (Total) Serialism
Read Morgan pg. 301–315 (Carter) — Rob—and pg. 376–385 (Stockhausen)—Tali

APR 8 — Maximalism and Timbre
Read Morgan pg. 187–219 (Varèse) — Emily — and this article about Sofia Gubaidulina's String Quartet No. 2 — Julia — consult appendices (pg. 439) for instrumental transpositions

APR 5 — Minimalism and Texture — bring your instrument
Homework: Read Morgan pg. 356-375 (Ligeti) — Elise — and this article about Kaija Saariaho's "The Claw of the Magnolia"— Brandi

APR 3 — Exam review and introduction to Unit 4: ANALYSIS starting with Steve Reich's Music for Pieces of Wood

APR 1 — Exam 3
Homework: Read Morgan pg. 430–437 and look at these John Cage scores: Aria and Living Room Music

MAR 29 — Review
Exam 3 Study Guide
Analysis 6.3 ANSWERS

MAR 25 + 27 — Review and 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—due Mar 29.

MAR 22 — Invariants / Mapping / Hexachordal Combinatoriality / Arrays
Homework: Straus pg. 339–342: II. 1 (using rows A and B only); V.1.b. (*hint on pg. 324) / VI. 1. a / VII. 2. a–d

MAR 20 — Serialism
Homework: Read Straus Chapter 6 and make an attempt at the first assignment: 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
More on 12-tone

MAR 18 — NO CLASS

MAR 11–15 — SPRING BREAK (no class)

MAR 8 — Exam 2

MAR 6 — Review (study guide)

MAR 4 — 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 1 — Inversion and Prime Form
Homework: Straus pg. 72–74 Exercises III and V (skip **sample questions and IV)

FEB 27 — Normal Form and Transposition
Homework: Straus pg. 71–72 Exercises I–II — 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 25 — Post-Tonal Theory Analysis
Homework: Guided Analysis 1.1 (pg. 32) and 1.8 (pg. 38–39) — Type prose answers and provide annotated score if helpful to you. I recommend listening to recordings.

FEB 22 — Post-Tonal Theory
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) + read MODEL ANALYSES (pg. 22–30).

FEB 20 — Post-Tonal Theory
Homework: Straus pg. 18–20 Exercises I–V (for each exercise, skip the sample question **x. whose answer appears in the back of the book)

FEB 18 — SNOW DAY

FEB 15 — Intro to Post-Tonal Music Theory (opi/upi)

CHORAL COMPOSITION PROJECT DUE (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.
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 13 — EXAM 1 —> DUE: Choose one movement of Ravel's Ma Mère L'Oye to analyze: describe how musical elements help depict the fairy tale at hand in addition to pointing out scales, key centers, form, musical aspects (SHMRG) you would expect to find in an analysis paper (short 1-page write up of your findings).
Here's a recording... — this will replace your lowest homework grade thus far

FEB 11 — Review

FEB 8 — More Choral Writing and review
Britten's Hymn to St. Cecilia — score

FEB 6 — More Rhythm / Meter
See previous class for homework due Friday.

FEB 4 — Analysis + Rhythm / Meter
Homework due 2/8: Harmonize this melody in (mostly) homophonic SATB voicing, divisi optional, two different ways (use music notation software if you wish) + workbook pages 291–292.
Debussy La Cathédrale engloutie annotated

FEB 1 — Choral Writing + Homophonic Textures
Review of modal identification and chord structures
Listening with score:
Ligeti's Lux Aeterna
Rachmaninoff's All-Night Vigil (Vespers) #6 + #11
Ravel Trois Chansons #1
Homework: (due 2/4)—>Analyze La Cathédrale engloutie (TYPE a short 1-page write up of your findings) — use Jan LaRue's SHMRG + questions (linked under Course Resources below) as starting point if uncertain where to begin.

JAN 30 — Chord Structures
Homework: Workbook pages 281-283 <—(due 2/1) + (due 2/4)—>Analyze La Cathédrale engloutie (TYPE a short 1-page write up of your findings) — use Jan LaRue's SHMRG + questions (linked under Course Resources below) as starting point if uncertain where to begin.

JAN 28 — More modes + Vocal Writing / Text Setting Basics
Homework: Workbook pages 273–277 (26-1 H–J) and re-read Ken Rumery's Choral Arranging tips

JAN 25 — Impressionism + Modes
Homework: Workbook pages 269–272 (26-1 A–G) and read Ken Rumery's Choral Arranging tips
Debussy — La Fille...analysis

JAN 23 — Introductions
Homework: Read Kostka/Payne chapter 26, do your own analysis of La Fille aux cheveux de lin