This week you will learn about 12-tone serial techniques and the variety of ways this can be implemented. You’ll learn how to identify row forms, do a row count, make a matrix, and interpret serial pieces. You will also do a guided analysis of a piece by Ruth Crawford Seeger, “Prayers of Steel” from *Three Songs*.

# Tag: joseph straus

## Week 3 (Feb 8): Set Theory

This week, you will learn about set theory and segmentation. You’ll analyze music using set theory, apply set theory terminology, and critique the usefulness of set theory.

**Note: set theory ≠ serialism! We are learning serialism next week. Make sure you aren’t confusing these things!**

## Week 2 (Jun 8): Techniques for Atonal Music

This week, you will learn about set theory and segmentation. You’ll analyze music using set theory, apply set theory terminology, and critique the usefulness of set theory.

## Set theory

### Readings and videos

I am part of a team of theorists developing an online textbook. Several short chapters will prepare you to analyze using set theory. The chapters also include videos, made by myself, that help explain these concepts.

- Pitch and pitch class
- Intervals
- Pitch class sets, normal order, and transformations
- Set class and prime form

These pages above should get you fully prepared for the analysis assignment. But if these are not sufficient and you need still more detail, I have a few readings uploaded from the Straus textbook *Introduction to Post-Tonal Theory* (), which is the standard text for these topics.

### Concept check

Complete the Concept Check quiz on Blackboard to see if you are understanding the set theory concepts properly.

## Due Thursday: Reading response

In #reading-responses on Slack, post a message with some type of response about the readings/videos. You might ask clarifying questions, summarize an important bit of it, or just relate to it in some way. You can also respond to someone else’s message (start a thread).

## Due Sunday: Analysis assignment

### Instructions

- Listen to the recording of the excerpt (found in the Readings folder).
- Analyze this excerpt according to the prompts on this worksheet. You will probably want to use a combination of score annotation and verbal response—do whatever you need to get your point across efficiently.
**Please be succinct in your verbal response.**

### Grading

- You will be assessed on the following concepts
- Understanding of interval types (interval classes, pitch intervals)
- Understanding of set classes
- Understanding of transformations (T
_{n}and I_{n}) - Interpretation

- You will be given detailed feedback through the rubric. Click “View rubric” in the gradebook to access this.
- Assignments are always graded pass/fail, with a threshold of 70% to pass.

### Submission

- Submit your assignment on Blackboard.
- Upload your assignment as a .pdf attachment. Please do not use other file types.

## Bibliography

If articles are not available online, you should be able to find them in the Readings folder.

*Introduction to Post-Tonal Theory*. 4th ed. Upper Saddle River, NJ: Prentice Hall.

## Week 4 (Sep 16): Serialism (F19)

This week you will learn about 12-tone serial techniques and the variety of ways this can be implemented. You’ll learn how to identify row forms, do a row count, make a matrix, and interpret serial pieces. You will also do a guided analysis of a piece by Ruth Crawford Seeger, “Prayers of Steel” from *Three Songs*.

## Week 3 (Sep 9): Set Theory (F19)

This week, you will learn about set theory and segmentation. You’ll analyze music using set theory, apply set theory terminology, and critique the usefulness of set theory.

*next *week. Make sure you aren’t confusing these things!

## Week 2 (Jun 10): Techniques for Atonal Music (Su19)

## Set theory

### Introductory reading

The reading makes use of some standard atonal theory terminology. First, pitches and pitch classes will be discussed using integers, where C=0, C#=1, etc. Second, calculating intervals will use what’s called mod-12 arithmetic, which is essentially math on the clock—6+8 = 2, like how if you work for eight hours beginning at 6AM, you get off at 2PM. Third, there are different types of intervals in atonal theory that help us describe different intervallic relationships, the most unfamiliar of which is interval classes. If any of this is unfamiliar to you, follow the links above (all from ) to learn about them. These concepts should not be difficult for you to comprehend after a bit of reading.

Locate the scan of Chapter 2 of . This textbook is the go-to text for atonal music theory. For this reason I’ve placed the whole thing on reserve at the library.

Read pages 43–71 of Chapter 2 to get introduced to set theory.

### Video

As a supplement, you may also wish to watch my tutorial that explains how to use clock faces to calculate normal form and prime form. I have another video that explains transposition and inversion, too. For a sheet of blank clockfaces to download, click here.

Note: This video uses interactive technology. The picture-in-picture can be swapped or even viewed side-by-side. The video also uses a menu so you can quickly navigate to certain portions of the video. For more explanation, see this video from Kaltura.

*download normal/prime form slides – download normal/prime form captions/transcript*

*download transformations slides – download transformations captions/transcript*

### Concept check

Complete the Concept Check quiz on Blackboard to see if you are understanding the set theory concepts properly.

## Due Wednesday: Example analysis reading and response

Listen to the first movement of Bartok’s String Quartet No. 4.

Then, read Straus’s analysis of the opening of this movement, which is in Chapter 2, pages 81–86.

Write a response essay (NB: NOT a summary!) to Straus’s analysis of Bartok, at least 700 words long.

Below are some questions to inspire you, which you may choose to answer (you do not have to answer all, or any, of them!):

- In the last paragraph on page 83, Straus describes neighbor notes in the texture. This is interesting! What is a neighbor note in tonal music? How do you recognize neighbor tones in tonal music? How can we recognize them in post-tonal music?
- What are some differences in our interpretation of neighbor notes in tonal vs. atonal music?
- At the top of page 76, Straus notes why one particular arrival on Bb-C-D-E sounds cadential. Think about cadences more broadly and generally. How do we know what a cadence is in tonal music? How else could something sound cadential in post-tonal music?
- How aurally salient (i.e., hearable) are the structures that Straus creates?

Submit this by posting in your group’s “blog” on Blackboard.

## Due Friday: Peer response

Respond to the members of your peer group by clicking the “comment” button under their blog post and typing your response directly into the text box, rather than uploading an attachment.

## Due Sunday: Analysis assignment

### Instructions

- On page 86 of the Straus Chapter 2 reading, you will find Guided Analysis 2.1: Ruth Crawford Seeger,
*Piano Prelude No. 9*, mm. 19–24. Read through the questions given. - Listen to the recording of the excerpt (found in the Recordings folder).
- Analyze this excerpt according to the prompts. You may wish to use a combination of score annotation and verbal responses—do whatever you need to get your point across efficiently.

### Grading

- You will be assessed on the following concepts
- Understanding of interval types (interval classes, pitch intervals)
- Understanding of set classes
- Understanding of transformations (T
_{n}and T_{n}I) - Interpretation

- You will be given detailed feedback through the rubric. Click “View rubric” in the gradebook to access this.
- Assignments are always graded pass/fail, with a threshold of 70% to pass.

### Submission

- Submit your assignment on Blackboard.
- Upload your assignment as a .pdf attachment. Please do not use other file types.

## Bibliography

If articles are not available online, you should be able to find them in the Readings folder.

*Open Music Theory*. http://openmusictheory.com/.

*Introduction to Post-Tonal Theory*. 4th ed. Upper Saddle River, NJ: Prentice Hall.

## Week 5: Serialism (F18)

This week you will learn about 12-tone serial techniques and the variety of ways this can be implemented. You’ll learn how to identify row forms, do a row count, make a matrix, and interpret serial pieces. You will also do a guided analysis of a piece by Ruth Crawford Seeger, “Prayers of Steel” from *Three Songs*.

Also: make a test comment on this post so that I can approve you as a commenter for next week’s discussion, and so that you can try out the comment function. Continue reading Week 5: Serialism (F18)

## Week 4: Set theory and segmentation (F18)

This week, you will learn about set theory and segmentation. You’ll analyze music using set theory, apply set theory terminology, and critique the usefulness of set theory. Continue reading Week 4: Set theory and segmentation (F18)