 | Note: This is an organic document! It will change. You are responsible for what is on this page, not a copy you made at the beginning of the semester. The dates given in the right column are the due dates, not the day we will work on assignments in class. | | If there is ever a problem with an assignment (technology problem, don't understand it, can't find it, etc.) do not wait until the due date (or time) to explain your problem. This class is offered every OTHER fall semester. You can't afford to fail it, so don't get behind. 
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Assignment Notes: I will not accept assignments done in ink. Please do not use miniscule notes or printing. If something is not clear to you, ASK ME. My schedule is on my door (122) or use the email hyperlink at the bottom of the page.
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Week 1 (beginning August 25) Chapter 1: The Twilight of the Tonal System Chromaticism out of control? The decline of tonality What is the composer thinking? | Eb | Cm | Fm | Db | Gb | D7 | G | | I | vi | ii | bVII | bIII | VII7 | III | | I | vi | ii | V/Gb | Gb | V7/G | G |
Define music 12-tone YouTube Nuages gris (Gray Clouds): Liszt | Assignments Due:  | Thu Aug28 | Put this webpage link on your desktop | | Thu Aug28 | Set email preferences in Blackboard | | | | Blackboard setup Log into Blackboard here Choose "My Settings" at the top Click on the "My Tool Options" tab and check the box that says "Forward all mail messages to the e-mail address in my profile" Click on "My Settings" again Click on the "My Profile" tab, and then "Edit Profile" Fill in the E-mail address that you actually check and save. Click "Done"
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Week 2 (beginning September 1) Note: There are 30 class meetings this semester. Each one counts 3 points in TR (points come off the top, so you get the extra 10). Tardies deduct 1 point each. Chapter 2: Scale Formations in 20th-Century Music Pentatonic improvisation (flash) Interactive keyboard (flash) Poor Wayfaring Stranger (D#) Amazing Grace (C#) Nobody Knows (A#) Others? Octatonic scales Modes (Scorch) Modes Scale use in real music Make your own scale Microtones Pitch Inventory Exercise Part B: Analysis BBC Radio Program "Out of Tune" | Assignments Due:
| Tue Sep2 | Assignment 1 | | | How to find Chromatic Mediants: Find all mediants (M3 and m3 above the root of the original chord and M3 and m3 below the root of the original chord) Build "like" chords (If the original chord is major, the 4 chromatic mediants will be major; if the original chord is minor, the 4 chromatic mediants will be minor)
How to find Doubly Chromatic Mediants: Look at the 4 chords you have above and change the quality (major to minor, or minor to major) Doubly Chromatic Mediants must be the opposite of the original chord (major or minor) Of these chords, only 2 will work because NO notes in the resulting chord can be the same as the original chord.
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Last 2 measures of Assignment 1 part-writing Debussy:String Quartet, Op. 10 Bartok: Music for Strings, Percussion, and Celesta, IV Debussy: Preludes, Book 1, No. 6, "Footprints in the Snow" ("Des pas sur la neige") Debussy: The Joyous Isle (L'isle joyeuse) mm.145 @ 44sec Grieg: "Shepherd Boy," Op. 54, No. 1 Resphighi: The Pines of Rome, "Pines near a Catacomb" mm6-9 of Mvt 2@3:47 Casella: Eleven Children's Pieces, "Siciliana" Debussy: Preludes, Book I, "Sails" (Voiles") mm.38-44@1:52 |
Week 3 (beginning September 8) Chapter 3: Vertical Dimensions Modern Harmonizations of "O Sacred Head" Chapter 4: Horizontal Dimensions wide range large leaps Strauss: Ein Heldenleben (A Hero's Life), Op. 40 chromaticism Bartok: Music for String Instruments, Percussion, and Celesta, I less vocal (angular) melodies Boulez: Le marteau sans maitre (The Hammer without a Master), IX Romantic influence remains Walton: Violin Concerto, I Motives (pitch class cells) Webern example in textbook p. 81 (no soundfile) 12-tone melodies Voice-leading Barber: String Quartet No. 1, Op 11, II (Adagio) | Assignments Due: Debussy: Preludes, Book 11, "Heaths" ("Bruyeres") Prokofiev: Sonata for Flute and Piano, Op. 94, I Debussy: Preludes, Book 1, "The Girl with the Flaxen Hair" ("La fille aux cheveaux de lin"), m. 23-24@1:14 Debussy: Preludes, Book II, "Canope," mm.29-33@2:10 Stravinsky: Suite Italienne, "Introduction" Menotti: The Telephone, mm.41-43@1:20 Debussy: Preludes, Book II, "La Puerta del Vino", m9-15@0:16 Copland: Vitebsk Orff: Carmina Burana, "Veris leta facies" Copland: Piano Fantasy, mm.20-24@0:45 Ives: Piano Sonata No. 22 (Concord), II Stravinsky: Petrushka, Second Tableau @0:38 |
Week 4 (beginning September 15) Chapter 5: Harmonic Progressions and Tonality Planing Debussy: Preludes, Book I, "Dancers of Delphi" m.11@1:04 Debussy: Preludes, Book I, "The Engulfed Cathedral" Pitch-centricity Britten: Serenade for Tenor Solo, Horn, and Strings, Op. 31, "Sonnet" m.33@3:00 Piston: Flute Sonata, I last 6 ms.@ 5:00 Polytonality Debussy: Preludes, Book II, "Fireworks" ("Feux d'artifice") m.91@3:50 Atonality Boulez: Le marteau sans maitre (The Hammer without a Master), IX Pandiatonicism Stravinsky: Serenade in A, I m.52 @ 1:55 | Assignments Due: For the creative spirit, limits are useful.-- Leon Fleisher Ravel Piano Concerto for the Left Hand (Cadenza) |
Week 5 (beginning September 22) Piano Puzzler Debussy #1 Debussy #2 | Assignments Due: |
Week 6 (beginning September 29) Chapter 6: Developments in Rhythm Webern: Variations for Piano, Op. 27, II Chopin: Prelude, Op.28, I Bartok: String Quartet No. 3, II Ives: The Unanswered Question | Assignments Due: | TueSep30 | no assignment due | | | | | | | | |
Added values 
Formula for Tempo Modulation The following formula illustrates how to determine the tempo before or after a metric modulation, or, alternately, how many of the associated note values will be in each measure before or after the modulation: 
Thus if the two half notes in 4/4 time at a tempo of quarter note = 84 are made equivalent with three half notes at a new tempo, that tempo will be: 
Procedure 3 Stage Format - Determine the regular division of the beat
- “Transition” or “pivot” using an irregular division of the beat
- Complete the modulation: the irregular division of the beat becomes the regular division of a new beat (you must maintain the earlier duration, but now it has a new tempo)
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Week 7 (beginning October 6) Review for MidTerm Exam MidTerm Exam Thursday, Oct. 9 | Assignments Due: |
Week 8 (beginning October 13) Chapter 6: Rhythm, cont. | Assignments Due: |
Week 9 (beginning October 20) Chapter 9: Non-serial atonality Set Theory PowerPoint Set Theory PowerPoint II Set Class List 
| Assignments Due: | TueOct21 | None |
Schoenberg: Three Piano Pieces (1909), Op. 11, No. 2 Schoenberg: String Quartet No. 2, Mvt. 4 (Assez rapide) Schoenberg: String Quartet No. 2, Mvt. 1 reminds me of Twilight Zone Webern: Six Bagatelles for String Quartet, Op. 9 (1913), V Crumb: Madrigals, Book 1 (1956), No. 1 Set Theory Overview Interval Vectors Quick Set Theory (straight to the prime form) Line up pitches in ascending order and add the octave Find the largest interval and place those two notes on opposite ends Assign numbers both ways and the best direction wins
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Forte numbers |
Week 10 (beginning October 27) Chapter 9: Non-serial atonality, cont. Arnold Schoenberg (1874-1951) tonal music (1895-1910) atonal music (1910-1920) serial music (1920-1951)
(1933 came to U.S. and taught from 1936-1945) Chapter 10: Classical serialism The Matrix Link for 4 forms of tone row Simple 12-tone example Schoenberg: Suite for Piano (Op. 25), Prelude Dallapiccola: Musical Notebook for Annalibera (1952), "Fregi" 
We will now listen to what music historians feel is the
single most important composition of the 20th Century Igor Stravinsky’s Le Sacre du Printemps The Rite of Spring Premiered in Paris in 1913 | Assignments Due: 
A set containing tonal cells (row from Violin Concerto, Alban Berg, 1935)  |
Week 11 (beginning November 3) NATS: Thursday Schoenberg: Book of the Hanging Gardens, Op. 15 #6 ("Jedem Werke Bin Ich Furder Tot") Arnold Schoenberg's Twelve-Tone Method (YouTube) Schoenberg Piano Puzzler 12-tone Greatest Hits | Assignments Due: | TueNov4 | Assignment 6 Handout (Schoenberg "Tot") | | | | | | ThuNov6 | Work on compositions in lab | | | | |
Schoenberg: Suite for Piano, Op. 25 (Prelude) |
Week 12 (beginning November 10) Chapter 13: Serialism after 1945 | Assignments Due: 
Stravinsky's view of the evolution of music Stravinsky |
Week 13 (beginning November 17) Chapter 11: Timber and Texture: Electronic music | Assignments Due: | TueNov18 | | | ThuNov20 | No class today | | | | |
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Week 14 (beginning November 24) No class on Thurs. or Fri (Thanksgiving holiday) 
| Assignments Due: | TueNov25 | Bring radios to class | | | | | | ThuNov27 | Eat turkey | | | | |
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Week 15 (beginning December 1) Chapter 14, 15: Chance, Choice; Minimalism 
Last class day: Thursday, December 4 Final Exam Study Guide Final: Wednesday, Dec. 10 @ 11:30 | Twentieth Century Terms from Kostka 20th Century Music in 16'54" Who are the Successors? More of Group A Group C Group D Group E Setting the Stage for the 21st Century 
It really is! |
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20thCenturyMusicQuiz |
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Schoenberg Klavierstucke Op. 11, No. 1 (flash file) George Crumb Whale Songs | | |
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Staff Paper Staff Paper/Keyboard |
Seating Chart | | | | | | | | | Kevin Sanders | Samuel Randles | Matt Lovelace | Isaac Ristow | Greg McCormick | Jordan Jobe | Chris Kleven | | Joni Clay | Sarah Zarate | Cody Knott | Clay Nelson | Jordan Grelle | Melissa Johnson | Nick Galanos | Tyler Stoubaugh | Ruben Castanuela | Brett Batchelor | Samuel Teal | Ashley Clawson | Justin Grimes | Kathrine Crowell | Justin Good |
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