david bard-schwarz
  • MUTH 2500-002 Theory IV Fall 2017| MU 250 MW 10:00 to 10:50
  • MUTH 2500-003 Theory IV Fall 2017| MU 2008 MW 11:00 to 11:50
  • Office Hours: Thursdays 2 to 4
  • Instructor: Dr. David Bard-Schwarz
  • Office: MU 104
  • E-mail: david.schwarz@unt.edu

In this course we will study 20th and 21st Century music. We will begin with a discussion of late 19th-Century / early 20th Century pieces that are right on the threshold between chromaticism and atonal musical languages. Then we will move into the course proper, consisting of two sections: 1) atonal (exploring atonal pitch-class set theory); and 2) serial (exploring 12-tone techniques).

Coming to class regularly and punctually is very important. You will be dropped from the course after three unexcused absences; I take roll at the top of the hour; three latenesses = one unexcused absence. You will be excused from class due to natural disasters, transportation problems beyond your control, medical emergencies (concerning you or members of your immediate family), and official UNT musical activities.

A proven case of plagiarism on a paper will result in an F for the course.

Grades will be determined as follows:

  • In-class quizzes (announced or unannounced) = 10%
  • Paper #1: (atonal (analysis)) = 40%
  • Paper #2: (serial (analysis)) = 50%

Quizzes missed because of an excused absence can be made up during office hours during the week you return to classes.

Student Perception of Teaching (SPOT) is a requirement for all organized classes at UNT. This short survey will be made available to you at the end of the semester, providing you a chance to comment on how this class is taught. I am very interested in the feedback I get from students, as I work to continually improve my teaching. I consider the SETE to be an important part of your participation in this class.

  • 08.28.2017

    Why atonality? (some answers): 1) progress forward from the chromaticism of the late 19th century, 2) the discovery of the unconscious (Freud and others), 3) abstraction in the visual arts (Kandinsky and others), 4) the modern city (industrialization), 5) quantum physics (Einstein).

    Pieces on the Threshold between Tonality and Atonality

    Schoenberg, Verklaerte Nacht YOUTUBE | Schoenberg, Verklaerte Nacht: pdf

    Berg, Piano Sonata Opus 1 YOUTUBE | Berg, Piano Sonata Opus 1: pdf

    Webern, Passacaglia Opus 1YOUTUBE | Webern, Passacaglia Opus 1: pdf

    Pieces that have crossed the Threshold between Tonality and Atonality

    Schoenberg, Opus 11 YOUTUBE | Schoenberg, Opus 11: pdf

    Berg, Opus 2 songs YOUTUBE | Berg Opus 2 songs: pdf

    Webern, Opus 6 no. 1 YOUTUBE | Webern Opus 6: pdf

  • 08.30.2017

    Straus, Introduction to Post-Tonal Theory Chapter 1: pdf

    There will be a short quiz on "integer notation" from Straus, Chapter 1

    atonal pitch-class set theory: pitches, pitch-classes (names and numbers)

    Webern, Piece for Orchestra Opus 10, no.1: pdf

    Webern, Piece for Orchestra Opus 10, no.1: mp3

  • 09.06.2017

    atonal pitch-class set theory: ordered pitch intervals, unordered pitch intervals, ordered pitch-class intervals, unordered pitch-class intervals

    The row of Berg's Lyric Suite. How do the four types of intervals help us understand the pitch and pitch-class structures of this row?

    Ordered and Unordered Pitch-class intervals: jpg

    There will be a short quiz on "pitch class intervals (ordered and unordered)" from Straus, Chapter 1

    Working with intervals in the Webern Opus 10, no. 1

  • 09.11.2017

    Straus, Chapter 2. Read the materials on transposition (pp. 38-44). Pay particular attention to Example 2.6 and how the material transposes in pitch-class and pitch space (if it does).

    Do you hear (or see) transposition in Webern, Pieces for String Quartet Opus 5 no. IV: pdf? If so, does it map onto pitch as well as pitch-class space?

    Webern, Opus 5 no. 4: mp3

  • 09.13.2017

    atonal pitch-class set theory: how we hear and process music: phenomenology and segmentation

    Webern, Pieces for Violin and Piano Opus 7: pdf

    Webern, Opus 7, no. 1: mp3

    Webern, Opus 7, no. 2: mp3

    Webern, Opus 7, no. 3: mp3

    Webern, Opus 7, no. 4: mp3

  • 09.18.2017

    Atonal Paper Topic Assigned

    Write your first paper on the atonal pitch-class set theoretical structure of George Rochberg, Caprice no. 42: pdf.See writing guidelines: pdf. Your audience: a fellow student who has taken our class and is learning the Rochberg for his / her senior recital; purpose: to let your audience know what structures you hear on the surface / depth of this work to aid in learning the work and performing it; voice: clear, neither down home nor snooty.

    Write a sample analysis of the Rochberg due at the beginning of the next class. Segment and put into normal form the pitch material of the A section of the Rochberg. The sample analysis should be less than a page, double-spaced, typed with 12 point font and normal margins. Here is a sample analysis: pdf Use the first person pronoun; base your work on what you hear. No late work accepted for this assignment!

    George Rochberg, Caprice no. 42: mp3

    normal form See the material in the pdf to the left and the material in Straus, Chapter 2 (see 01.30.2017).

    Paganini Caprices for Solo Violin: pdf

    YOUTUBE video of Ruggiero Ricci playing Paganini Caprices Opus 1

    YOUTUBE video of Andrew Jennings playing the complete Rochberg, Caprice Variations

  • 09.20.2017

    Sample Analysis Due

    inversion of pc sets; read Straus, Chapter 2, pp. 44-52.

    Work on the trichords in the upper strings at the beginning of Webern, Piece for String Quartet Opus 5, no. 3: pdf.

    Webern, Piece for String Quartet Opus 5, no.3: mp3

  • 09.25.2017

    Sample Analysis Back

    Here's a good one: pdf

    Read about prime form in Straus, Chapter 2, pp. 52-59.

    Prime forms from Straus: pdf

  • 09.27.2017

    atonal pitch-class set theory: subsets and supersets: pdf

    Straus, Chapter 3: pdf (read pp. 96-98 on subsets and supersets)

    Webern, Piece for Violin and Piano Opus 7, no. 3: mp3

  • 10.02.2017

    Paper First Drafts Due

    Your first drafts should read and be (in your mind) your final paper. The better the first drafts are, the better the final paper will be. Tell yourself as you prepare this draft that it's "the paper"--finished, proofread, and perfect.

    Your draft should begin with a one-sentence thesis statement that says what you are going to say and how you are going to say it. For example (not about this piece obviously) "In this paper I explore how I hear the octatonic scale functioning both on the surface and on deeper levels in the work at hand; I will use atonal pitch-class set theory and more pitch-specific techniques to convince you of the same."

    Your paper then works from the beginning to the end of the piece using the rhetorical ternary design of the last assignment (language + musical illustration + comment). The paper must be typed, double spaced with page numbers, printed single side only.

    Again, the paper should be as short as possible but as long as necessary to demonstrate your thesis.

    Papers handed in after class today will result in the final paper grade being lowered 1/3 a letter for each day late. So a B- turns to a C+ for a first-draft handed in after class on Monday; it turns to a C if the first draft is handed in on Wednesday, etc

    Appropriate collaboration involves talking with fellow students about the piece at hand, the assignment, how to appeal to your audience, how to formulate a good thesis, having someone read your draft and make comments out loud on any aspect of your work.

    Plagiarism involves using ideas you receive from a print source without documenting that source, having anyone work inside the text of your paper or cutting and pasting material from another paper.

    Read Straus, Chapter 3, pp. 107-110 on atonal voice-leading. Pay particular attention to the example on page 107.

  • 10.04.2017

    More work on pitch-class and pitch-space T and TnI. Take a look at the trichords: pdf to see if they are related, and if so, how, and whether that mapping obtains in pitch-space as well as pitch-class space.

    Also take a look at the sixteenth note trichords in Webern, Wie bin ich froh: pdf. They are all related by transposition or inversion; determine which T or TnI takes you from one to another and determine whether that Tn or TnI obtains in pitch as well as pitch-class space.

    Webern, Wie bin ich froh: mp3

  • 10.09.2017

    Paper First Drafts Back

    More work with atonal voice-leading + Webern's "Wie bin ich froh"

    Voice-Leading in Pitch-Class and Pitch Space: pdf

  • 10.11.2017

    Practice Tn and TnI voice-leading in pitch class and pitch space: pdf

  • 10.16.2017

    First Papers (final draft) Due

    Papers will loose 1/3 a letter for each day late

    Pitch and Pitch-Class notations: pdf

    Your final drafts will be graded as follows:

    • clear thesis with all elements subordinated to a single principle; all examples are introduced, labeled, with full tags, and precise annotations; all example have excellent critical comments; the thesis unfolds with a clear inner logic from beginning to end; sentence, paragraph, and essay are syntactic and clear; the paper appeals clearly to audience and purpose; the ideas are fresh and unique; analysis makes a clear distinction between pitch and pitch-class structures; clear and thorough use of ordered elements < >, normal form [ ], and prime form ( ); paper is well presented with name + page number on each page; double-spaced, single sided printing with 12 point font; = A
    • clear thesis with all elements subordinated to a single principle; all examples are introduced, labeled, with full tags, and precise annotations; all example have good critical comments; the thesis unfolds with a clear inner logic from beginning to end; sentence, paragraph, and essay are syntactic and clear; the paper appeals clearly to audience and purpose; the ideas while perhaps not unique are competent; analysis makes a distinction between pitch and pitch-class structures; clear and sufficient use of ordered elements < >, normal form [ ], and prime form ( ); paper is well presented with name + page number on each page; double-spaced, single sided printing with 12 point font = B
    • thesis falters in terms of all elements subordinated to a single principle; examples are flawed in terms of minor problems of introduction, labelelling, tags; there may be no annotations; examples that deserve them don't have critical comments; the thesis unfolds with awkward "shopping list" qualities from beginning to end; sentence, paragraph, and essay are flawed; the paper doesn't appeals to audience and purpose; the ideas are competent but not particularly fresh; analysis makes a little distinction between pitch and pitch-class structures; ordered elements < >, normal form [ ], and prime form ( ) barely evident; paper presentation is slightly flawed = C
    • there is no thesis; examples are flawed in terms of major problems of introduction, labelelling, tags; there are no annotations; examples have no critical comments; the thesis doesn't unfold at all; sentence, paragraph, and essay are severely flawed; the paper in terms of style and content is "stale"; analysis makes no distinction between pitch and pitch-class structures; ordered elements < >, normal form [ ], and prime form ( ) are either not present or contain fatal errors; paper presentation is seriously flawed = D

  • 10.18.2017

    Straus, Introduction to Post-Tonal Theory Chapter 5: pdf

    serialism: the matrix

    Webern, Wie bin ich froh: pdf

    Webern, Wie bin ich froh (matrix): pdf

    Webern, Wie bin ich froh: mp3

  • 10.23.2017

    First Papers Back

    serial description of Wie Bin Ich Froh: JPG

  • 10.25.2017

    Webern Opus 27 no. 2: pdf

    Webern Opus 27 no. 2: mp3

    Webern Opus 27, no. 2 (matrix): pdf

    In class quizz on serialism: the row and the four permutations in the Webern Op. 27, no. 2

  • 10.30.2017

    Serialism Paper Assignment

    Write your second paper on the sixth piece entitled "Fregi": mp3 of Luigi Dallapicccola Quaderno Musicale di Annalibera: pdf. Here is a matrix: pdf. Do a thorough 12-tone description of the piece that leads to an analytic thesis. Incorporate into your thesis-driven argument research from The Twentieth-Century Canon: An Analysis of Luigi Dallapiccola's Canonic Works from his Quaderno Musicale di Annalibera by Jacqueline Ravensbergen: pdf. Make sure to include at least one short quote, long quote, and paraphrase. Your audience: Ms. Ravensbergen; your purpose: to show her some aspects of the musical langague of "Fregi" that might complement her own work; your voice: professional, clear, concise.

    Finish the Webern Opus 27, no. 2

  • 11.01.2017

    Webern Opus 21, II: pdf

    Webern Opus 21, II (matrix): pdf

    Theme of the Webern Opus 21, II: JPG

    Webern, Symphony Opus 21, II: mp3

    Webern, Opus 21, II: variation I

  • 11.06.2017

    prepare variation 2 for class today! focus on the horn part; there will be an in-class quiz on the accompaniment. Bring colored pencils to class today!

  • 11.08.2017

    Sample Documentation Assignment Due

    Write one page in which you include a short quote, a long quote, and a paraphrase from the Ravensbergen article. Consider this a draft of the first page of your second paper. You can skip a thesis at this point. But start by saying you are going to analyze the "Fregi" movement applying Ravensbergen's concepts to the serial procedures in the work. Then write a page in which you include all three forms of citation. Consult the "sample documentation" under 04.10.2017 as a guide for how to show all three forms (presence / absence of quotation marks, spacing, documentation). Be precise and 100% accurate.

    prepare variation 3 for class today

  • 11.13.2017

    THEORY PROFICIENCY EXAM

    Sample Documentation Back

    Dallapiccola quaderno musicale di annalibera (complete): pdf

    Work on no. 3 for today

    The matrix is the same one as on the paper assignment!

    Quaderno no. 3: mp3

  • 11.15.2017

    THEORY PROFICIENCY EXAM

    First Draft of Serialism Paper Due

    Dallapiccola's The Twelve-Tone Road: pdf

    Review the assignment posted under 03.27.2017. Begin with a one-sentence thesis in which you say what you think holds the musical language of "Fregi" together, in addition to subordinate elements.

    In addition, your draft must contain a thorough analysis of the row upon which "Fregi" is based; address unordered pitch class intervals from one order number to the next (and comment on the latent potential of such data); address the normal and prime form of trichords, tetrachord, and hexachord (and comment on the latent potential of such data); comment on tonal implications, if any, of the row (and comment on the latent potential of such data). In your discussion of "Fregi," discuss which latent potentials inherent in the row are manifest in the work, at the pitch-class and pitch levels of the actual, sounding work. (Latent means "hidden" "below the surface;" manifest means "out in the open" "on the surface." ) Include in your paper at least one citation from Ravensburgen, and make that citation as closely and intimately related to your thesis as you can. Include a color-coded, clear and thorough 12-tone count of the work as an appendix.

    Prepare Quaderno no. 1: mp3 for today.

    partitioning, cross-partitioning, polarity in 12-tone music (Ravensbergen)

  • 11.20.2017
  • 11.22.2017

    First Draft of Serialism Paper Back

    For the second draft pick one thing that draws you into the piece; subordinate all relevant perceptions to that one thing. Be thorough and meticulous with musical illustrations and sketches. Embed all examples into the body of the paper; you don't need to include a 12-tone count of the whole piece. Locate the voice of the paper in the first-person singular pronoun "I"; use citations from Ravensbergen and / or Dallapiccola at will, or simply argue for what you hear. Do use concepts from the entire semester as appropriate (ordered pitch intervals, unordered pitch intervals, ordered pitch-class intervals, unordered pitch-class intervals, normal forms, prime forms (make sure your "prime forms" are actual prime forms found in Straus), partitions, cross-partitions, polarity, the four permutations and their notations, simple canon, mirror canon, crab canon, combinatoriality, etc. Make sure your thesis has a unary quality and that any sub-headings are clearly subordinated to it (avoiding the shopping list). Make sure that the first paragraph of the paper immediately takes up some aspect of the music related to the thesis. Make sure examples are thorough and as clear as you can make them (graphically and intellectually). Your audience: a DMA student working on a performance of the work; he / she is having trouble understanding (beyond the obvious notes) what the piece is about and how to give his / her performance some coherence.

    Hexachordal Combinatoriality

    Work on Dallapiccola no. 4 (same matrix as no. 3).

    Quaderno no. 4: mp3

  • 11.27.2017

    Dallapiccola no. 5: mp3

    Simple Canon, Mirror Canon, Crab Canon (in-class quiz)

  • 11.29.2017

    Final Draft of Serialism Paper Due

    Paert, Fratres: pdf

    Paert, Fratres: mp3

  • 12.04.2017

    Glass, Violin Concerto, first movement: pdf

  • 12.06.2017

    Final Draft of Serialism Paper Back