Week 6 (Jul 8): Analysis Symposium #2 (Su19)

Last modified on August 4, 2023

Because Week 4 and 5 topics aren’t able to be integrated as easily as Week 1 and 2, some groups will be doing a sonata analysis while others will do a pop analysis.

The process is essentially the same for all groups—just be sure you know which repertoire you should be analyzing. Check your Slack channel, where I have informed you of it and updated the channel topic accordingly.

Sonata repertoire

If you are in a sonata group (check Slack), you will be analyzing either the 1st or the 4th movement of Schubert’s Tragic Symphony. You may prefer to look at the full score rather than the piano transcription. In either case, listen to the Vienna Phil performing this symphony. Movement I is at the beginning of course; Movement IV begins at the timestamp 23:54.

Both of these movements are on a much larger scale than the Beethoven sonata you analyzed in Week 4. Be prepared for a lot more weirdness! But I promise that each movement can still be analyzed through Sonata Theory and hypermetrical analysis.

Some thoughts to inspire you:

  • How does Schubert play with the hypermeter throughout this movement?
  • How does the hypermeter interact with the form of the piece?
  • What Type of sonata do you think this is (Type 1, Type 2, etc.)?
  • Did you have trouble locating the MC/EEC/ESC? If so, why?

Pop repertoire

If you are in a pop group (check Slack), you’ll be analyzing one of these two recent R&B hits that borrow elements from soul and gospel. Both “Same Drugs” by Chance the Rapper and “Broken Clocks” by SZA are very interesting lyrically as well as tonally.

Some thoughts to inspire you:

  • Both music videos have a strong dose of nostalgia.
  • How does that nostalgic tone relate to the narrator/narratee?
  • How does the nostalgic tone relate to the tonality?
  • What is the form of each song—is there anything unusual?

Group Process

Your groups should use Slack to collaborate. I can view your channel but I will not be receiving notifications from it, so ping me (using the @ symbol) if you have a question.

Within each group:

  • Split up the repertoire so at least one person is doing each piece. Make sure you are looking at the correct repertoire. The entire group should be using the same repertoire.
  • Analyze the pieces individually by using the techniques that correspond to that repertoire (Sonata Theory and hypermeter for sonata; lyrics and tonality for pop). Create a one-page outline of important/interesting analytical points that engage each of the analytical techniques that apply to that repertoire (view rubric on Blackboard). Save as a PDF, then upload it to the Slack channel for your group.
  • Prior to our virtual meeting, look through your groupmates’ files to prepare for a fruitful discussion. Consider what is similar and what is different between your pieces and your analyses.
  • Virtually “attend” a meeting between your group and myself, in which we will spend about 45 minutes to an hour discussing your findings.

Individual analysis submission

  • By the time we have our meeting, you should upload your individual analysis bulletpoints to Blackboard.
  • After the meeting, you have the option of revising your analysis.
    • The deadline for revision is end-of-day on Sunday.
    • Upload your revised bulletpoints as a second attempt, in the same place you uploaded your first attempt on Blackboard.
    • Accompany your revision with a paragraph (max 250 words) that reflects on what you changed between analyses and what you got out of the discussion.
  • Your final individual analysis grade will average your original and your revised grades.


You will be assessed individually in two parts:

  • individual analysis
  • participation in virtual meeting

A full rubric for each component can be viewed on Blackboard.