Week 8 (Oct 14): Analysis Symposium #2

Last updated on August 12th, 2019 at 02:27 pm GMT.

This week, everyone will analyze part of Franz Schubert’s “Tragic” Symphony, to review our techniques for tonal music.

Group work

I have divided everyone into groups based on your general availability.

Your groups should use Slack to collaborate. You can upload documents there. Each group has its own channel, named based on the date of the meeting.

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.

Individual analysis

Preparation

  • You will be analyzing either the 1st or the 4th movement of Schubert’s “Tragic” Symphony. Split up and choose one movement, as you did with the last symposium.
  • Listen to the music while looking at this piano reduction, or you may prefer to look at the full score. 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.
  • Analyze these sonata-form movements using both hypermeter and sonata theory. Note that 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?

Submission

  • Distill your findings to the most important and interesting points. Create a one page outline that explains your analysis, and share it with your group on Slack. You may also want to send an annotated score.
  • You have to complete your individual work early enough that your group members will have a chance to look at your stuff before the meeting! Arrange a due date for this amongst yourselves.
  • In addition to sharing it with the group, please upload it on Blackboard. This will be your individual grade. View the rubric to see how you will be evaluated.

Meeting

Preparation

  • Read through your peers’ analyses. Make sure you are also familiar with the movement you did not analyze.
  • Prior to the meeting, make sure you are able to use Webex and that your camera and audio are set up.

Discussion

  • On our meeting day, you will receive an email from Webex with a meeting number and code to join.
  • In our discussion, I’ll lead with questions such as these:
    • What did you notice that you had in common?
    • Where did you differ (especially from the other person who analyzed the same movement as you)?
    • What unity is there between these pieces?
  • You should have coherent and thoughtful responses to these questions if you have read your peers’ work.
  • You will be given a grade based on your participation in this meeting.

Optional: Revisions (due Sunday)

If you would like to revise your individual analysis in light of the group discussion, you may do so! I will accept your revision, grade it by the same rubric as before, and your final grade will be an average of both attempts. Upload your revision in the same place you submitted originally.

Week 5 (Jul 1): Techniques for Pop Music

Last updated on July 8th, 2019 at 05:12 pm GMT.

This week, we’ll discuss pop music through two lenses: tonality and lyrics. 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 and reflect on harmony in pop music vs classical music. You will also learn how to analyze the structure and poetry of lyrics. This goes beyond the kinds of meaning-based lyric analyses you see on sites like Genius.com and instead analyzes the poetic structure of the lyrics. We will learn through Lori Burns’s excellent approach. Your analysis assignment will incorporate both of these issues.

Continue reading Week 5 (Jul 1): Techniques for Pop Music

Week 12: “Same Drugs” by Chance the Rapper; “Broken Clocks” by SZA

Last updated on August 7th, 2019 at 08:55 pm GMT.

For our final analysis symposium, we’ll be looking at two recent R&B/hip-hop hits that borrow elements from soul. Both “Same Drugs” and “Broken Clocks” are very interesting lyrically as well as tonally.

[embedyt]https://www.youtube.com/watch?v=be37-T72DNk[/embedyt]

[embedyt]https://www.youtube.com/watch?v=zVc-K1kKkVk[/embedyt]

Continue reading Week 12: “Same Drugs” by Chance the Rapper; “Broken Clocks” by SZA

Week 10: Tonality in Pop Music

Last updated on August 7th, 2019 at 08:46 pm GMT.

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.

Continue reading Week 10: Tonality in Pop Music

Week 9: Franz Schubert, “Tragic” Symphony, Finale

Last updated on August 7th, 2019 at 08:47 pm GMT.

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.

Continue reading Week 9: Franz Schubert, “Tragic” Symphony, Finale