Advanced Music Theory II: Form, Style and Idea in the 19th and 20th Centuries

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Course Information
Program(s): 
Discipline(s): 
Music
Terms offered: 
Spring
Credits: 
3
Language of instruction: 
English
Contact Hours: 
45
Prerequisites: 

Two or four semesters of music theory

Description: 

Discussion on principles, methods and techniques of music analysis which were invented or have their roots in Vienna ((Schenker, Schönberg, Réti, ...). Analysis of pieces of music in connection with the development of compositional techniques in the last decades of the 19th century and the beginning of the 20th century (fin de siecle, Jugendstil, Impressionismus, Expressionismus). Comparison with other arts such as painting and poetry. Influence of Austrian composers in American exile (Schoenberg, Steiner, Korngold, etc.).

Attendance policy: 

See IES Abroad Vienna Handbook.

Learning outcomes: 

By the end of the course, students should have be able to:

  • Do form analysis 19th to 20th century
  • Understand combinations of different arts (music/poetry, music/painting, etc.)
  • Compare form, structure, and idea in compositions by R. Strauss, G. Mahler, A. Schoenberg, E.W. Korngold, A. Berg and others
Method of presentation: 
  • Midterm exam
  • Final exam
  • Written assignment (second half of class)
  • Class participation

 

Required work and form of assessment: 
  • Presentation of the written assignment - 30%
  • Midterm exam - 20%
  • Final exam - 30%
  • Written work - 20%
content: 

Session

Topics

1

Fundamentals of form

2

Form and genres in 19th century music

3

Form and genres in 20th century music

4

Development of tonality in the fin de siècle

5

Examples by R. Strauss and G. Mahler

6

Examples of atonal compositions

7

Principals of dodecaphony

8

Composers in exile

9

Opera in the 20th century

10

Avant-garde compositions

 

Required readings: 
  • Auner, Joseph. A Schoenberg Reader. Documents of a Life. New Haven and London: Yale University Press: New
  • Bruhn, Siglind. Signs in Musical Hermeneutics. The American Journal of Semiotics, Vol. 13, Numbers 1 to 4, Fall 1996
  • Bruhn, Siglind. Musical Ekphrasis Composers Responding to Poetry and Painting. Interplay No. 2, Hillsdale, NY: Pendragon Press 2000
  • Frisch, Walter. Schoenberg and his World. Princeton, New Jersey: Princeton University Press, 1999
  • Meyer, Leonard B. Style and Music. Theory, History, and Ideology. Philadelphia: University of Pennsylvania Press 1989.