Week 8 (Mar 15): Analysis Symposium #2 (S21)

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

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.

Note for mvt. I: this recording cuts an 8 measure repetition of a phrase at the end of the exposition. I’ve notated it in the piano reduction.

I have divided everyone into groups and put you in Slack channels accordingly. 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.

There are six of you in each group. Split in half, and have one half analyze mvt. I while the other half analyzes mvt. IV.

Process

  • You will begin with individual analyses. Make a video explaining what you discovered in the piece. The video should be at least 5 minutes long, but no more than 10. I would like to see your face in the video, because in an online class, I think that’s helpful for understanding that we’re all humans and not just names on a screen (but if you can’t do this for some reason, just discuss with me).
  • By Friday, submit this video in two places: uploading to your designated Slack channel and uploading on Blackboard (read more on submitting a video on Blackboard). The Slack channel is for discussion with your peers, while Blackboard is for evaluation and grading by me.
  • After submitting their individual analysis, each group member will use Slack to discuss how their findings interact with those of the other members. Approach discussion like a chat conversation rather than a response essay—ask people questions, wait for their replies—just have a conversation! Don’t be too stiff. Your participation in this discussion will earn another grade. I’ll evaluate these discussions on Monday of next week.
  • I will grade both your discussion and your individual analysis as separate grades. Rubrics are always available on Blackboard.
  • If you wish, you may revise your individual analysis in light of what you learned during the group discussion.
    • Submit your revisions in the same place as your original on Blackboard, as a second attempt.
    • Your revised content can be a new video if you like, or you may submit something written if that’s easier.
    • Separate from your analysis, in the “comments” box on Blackboard, you must accompany your analysis with a paragraph explaining how the discussion influenced your revisions.
    • Your revised grade will be averaged with your original grade.
  • 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?

Assessment

You will be assessed individually in two parts.

Your individual analysis should incorporate sonata theory and tonal rhythm.

In your Slack discussion, you should

  • submit your video and your discussion on time so others can engage with it
  • respond lucidly to any questions asked to you
  • comprehend what others have said to you
  • demonstrate familiarity with both pieces
  • make comparisons with other group members’ analyses

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

Week 8 (Oct 11): Analysis Symposium #2

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

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.

Note for mvt. I: this recording cuts an 8 measure repetition of a phrase at the end of the exposition. I’ve notated it in the piano reduction.

I have divided everyone into groups and put you in Slack channels accordingly. 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.

There are six of you in each group. Split in half, and have one half analyze mvt. I while the other half analyzes mvt. IV.

Process

  • You will begin with individual analyses. Make a video explaining what you discovered in the piece. The video should be at least 5 minutes long, but no more than 10. I would like to see your face in the video, because in an online class, I think that’s helpful for understanding that we’re all humans and not just names on a screen (but if you can’t do this for some reason, just discuss with me).
  • By Friday, submit this video in two places: uploading to your designated Slack channel and uploading on Blackboard (read more on submitting a video on Blackboard). The Slack channel is for discussion with your peers, while Blackboard is for evaluation and grading by me.
  • After submitting their individual analysis, each group member will use Slack to discuss how their findings interact with those of the other members. Approach discussion like a chat conversation rather than a response essay—ask people questions, wait for their replies—just have a conversation! Don’t be too stiff. Your participation in this discussion will earn another grade. I’ll evaluate these discussions on Monday of next week.
  • I will grade both your discussion and your individual analysis as separate grades. Rubrics are always available on Blackboard.
  • If you wish, you may revise your individual analysis in light of what you learned during the group discussion.
    • Submit your revisions in the same place as your original on Blackboard, as a second attempt.
    • Your revised content can be a new video if you like, or you may submit something written if that’s easier.
    • Separate from your analysis, in the “comments” box on Blackboard, you must accompany your analysis with a paragraph explaining how the discussion influenced your revisions.
    • Your revised grade will be averaged with your original grade.
  • 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?

Assessment

You will be assessed individually in two parts.

Your individual analysis should incorporate sonata theory and tonal rhythm.

In your Slack discussion, you should

  • submit your video and your discussion on time so others can engage with it
  • respond lucidly to any questions asked to you
  • comprehend what others have said to you
  • demonstrate familiarity with both pieces
  • make comparisons with other group members’ analyses

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

Week 5 (Jun 29): Techniques for Pop Music (Su20)

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 (Jun 29): Techniques for Pop Music (Su20)

Week 8 (Oct 14): Analysis Symposium #2 (F19)

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.