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HU Credits:
4
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
musicology
Semester:
Yearly
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Prof. Naphtali Wagner
Coordinator Office Hours:
Wednesday,12:15-13:15
Teaching Staff:
Prof Naphtali Wagner
Course/Module description:
The course engages the analysis of musical pieces of the common-practice tonal repertoire using the analytical method of Heinrich Schenker. The course is arranged according to formal organization – one-part forms, two-part forms, three-part forms, rondo and sonata – in accordance with the organization of part B of the textbook by Cadwallader and Gagné (see bibliography below). Sonata form is also studied from the perspective of thematic rotation, according to Hepokoski and Darcy, and the organization of its shorter units will also use the taxonomy by William Caplin.
Subsidiary elements studied more briefly concern metric reductions after Carl Schachter and hierarchical trees after Lerdahl and Jackendoff. Consequently, attention
will be on the broad theoretical aspects of the method and its aesthetic values.
Course/Module aims:
Developing skills of formal and harmonic-contrapuntal analysis of tonal musical works.
Learning outcomes - On successful completion of this module, students should be able to:
write actively voice-leading graphs of short excerpts, read voice-leading graphs of
larger works of common-practice tonal music, gain sensitivity to voice-leading structure
of tonal pieces, evaluate coordination of apriori features of the tonal system and artistic
devices of specific pieces; understand hypermetric reductions in the manner of Carl
Schachter and structural trees in the manner of Lerdahl and Jackendoff; create formal charts of sonatas according to Hepokoski and Darcy; analyze tight-knit units of music in the manner of William Caplin; understand analytical literature about form and structure and evaluate concurrence and non-concurrence thereof.
Attendance requirements(%):
90
Teaching arrangement and method of instruction:
Frontal lectures in dialogue with the students
Online excercises in writing voice leading graphs
Course/Module Content:
1. Tonal structures in one-part forms.
2. Tonal structures in two-part forms.
3. Rythm and linear analysis
4. Tonal structures in three-part form and rondo
5. Tonal structures in sonata form
6. Thematic aspects of sonata form (after Hepokoski and Darcy, Caplin)
Required Reading:
Cadwallader, Allen and David Gagné. Analysis of Tonal Music: Schenkerian Approach. 2nd ed. New York: Oxford University Press, 2007.
Caplin, William E. Classical Form : a Theory of Formal Funcions for the Instrumental
Music of Haydn, Mozart and Beethoven. Oxford: Oxford University Press, 1998.
Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types and Deformations in the Late-Eighteenth- Century Sonata. New York: Oxford University Press, 2006.
Lerdahl, Fred and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge [MA]: MIT Press, 1983.
Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer, 1989.
Schachter, Carl. “Rhythm and Linear Analysis: Aspects of Meterˮ, The Music Forum 6 (1987), pp. 1–59.
Schenker, Heinrich. Five Graphic Analysis New York: Dover, [1933] 1969).
___, trans. and ed. Ernst Oster. Free Composition. New York: Longman, ([1935] 1979.
Additional Reading Material:
Berge, Pieter (ed.). Musical Form, Forms, Formenlehre—Three Methodological Reflections. Leuven: Leuven University Press, 2010.
Green, Douglas. Form in Tonal Music. Fort Worth: Hole, Rinehart and Winston, 1965.
Ratner, Leonard. Classic Music: Expression, Form and Style. New York: Schirmer, 1980. Chapter 1.
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 10 %
Participation in Tutorials 10 %
Project work 50 %
Assignments 30 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
none
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