This week, we’ll discuss tonality in pop music. Before you begin, you’ll have to familiarize yourself with form in pop music, if you are not already comfortable with terms like “verse,” “chorus,” “bridge,” etc. You will read about the unique problems that pop music has with tonality, analyze a pop song, and reflect on harmony in pop music vs classical music.
This week we will focus on applying techniques of tonal rhythm and Sonata Theory to the final movement of Schubert’s “Tragic” symphony.
Listen to the Vienna Phil performing this symphony. Movement I is at the beginning of course; Movement IV begins at the timestamp 23:54.[embedyt]https://www.youtube.com/watch?v=eReKPVqX-DQ&t=1434s[/embedyt]
Try listening both with and without the score. You may choose to look at the full score, or if that is too intimidating, you might prefer to look at the piano reduction, which I’ve uploaded in our scores folder, and added measure numbers to.
You probably learned the basics of sonata form in your undergraduate degree, but this week we will learn one of the newer and more nuanced approaches to sonata form: Sonata Theory according to James Hepokoski and Warren Darcy (2006). You’ll also read Seth Monahan’s model analysis of a Mozart string quartet movement before attempting your own Hepokoski/Darcy analysis of a sonata movement.
Continue reading Week 8: Sonata Theory (F18)
For our first analysis symposium, we will focus on a classic piece by Anton Webern, his Variations for Piano, Op. 27.[embedyt] https://www.youtube.com/watch?v=5hZXpDGQ-0M[/embedyt]
Download the score from the readings folder.