Assignments
for Music 37200

Home page
Assignments
Bibliography

	Week 1
	Week 2
	Week 3
	Week 4
	Week 5
	Week 6
	Week 7
	Week 8
	Week 9
	Week 10
	Final Exam

These are the assignments for Music 37200, Larry Zbikowski's course in the history of music theory at the University of Chicago, Winter term 2005. Please be aware that assignments beyond those for the current week are provisional. If you have questions about any assignment (current or future), be sure to contact me.

Materials will either be on reserve, in the class locker (#3430), or on the shelves (in the case of journals). Assume the first of these locations for most materials—items in the latter two locations will be flagged in body of the assignment.

N.B.: The abbreviation CHWMT stands for The Cambridge History of Western Music Theory, Thomas Christensen, ed. Cambridge: Cambridge University Press, 2002. [ML3800 .C165 2002]

January 7
Introduction; Scientific Empiricism and Music Theory

Class notes

Introduction

Leslie Blasius, “Mapping the Terrain,” CHWMT, pp. 27-45.

Nicholas Cook, “Epistemologies of Music Theory,” CHWMT, pp. 78-105

Scientific Empiricism

Primary sources:

Claude V. Palisca, “Three Scientific Essays by Vincenzo Galilei” (chapter 6), in The Florentine Camerata: Documentary Studies and Translations (New Haven: Yale University Press, 1989) [MT5.5 .F630 1989 Mu]: “A Special Discourse Concerning the Diversity of the Ratios of the Diapason” (pp. 181-197); and “A Special Discourse Concerning the Unison” (pp. 199-207). Palisca’s introduction (pp. 152-163) is highly recommended.

Galileo Galilei, Two New Sciences, Including Centers of Gravity & Force of Percussion, translated, with introduction and notes, by Stillman Drake (Madison: University of Wisconsin Press, 1974) [QC123 .G222; in locker], pp. 96 (beginning with the paragraph “Next I come to those other questions . . .”)-108.

René Descartes, Compendium of Music (Musicae compendium) (1650), translated by Walter Robert (American Institute of Musicology, 1961), pp. 11-23 (up to “The Fifth”) [Microfm ML 620]; photocopy in locker.

Secondary sources:

Sigalia Dostrovsky, “Early Vibration Theory: Physics and Music in the Seventeenth Century,” Archive for History of Exact Sciences 14 (1975): 169-183; photocopy in locker. [QA1 .A7 Eck]

Albert Cohen, Music in the French Royal Academy of Sciences: A Study in the Evolution of Musical Thought (Princeton, New Jersey: Princeton University Press, 1981) [ML270.8 .P2A19], 17-40.

Optional reading:

Daniel K. L. Chua, “Vincenzo Galilei, Modernity and the Division of Nature,” in Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, ed. Suzannah Clark and Alexander Rehding (Cambridge: Cambridge University Press, 2001) [ML3800 .M885 2001], 17-29.

H. F. Cohen, Quantifying Music: The Science of Music at the First Stage of the Scientific Revolution, 1580-1650 (Dordrecht: D. Reidel Publishing Company, 1984) [ML3807 .C67 Mu], passim (interlibrary loan; in locker).

Victor Anand Coelho, ed., Music and Science in the Age of Galileo, The University of Western Ontario Series in Philosophy of Science (Dordrecht: Kluwer Academic Publishers, 1992) [ML3800 .M870 1992] ; added reading.

J. V. Field, “Musical Cosmology: Kepler and His Readers,” in Music and Mathematics: From Pythagoras to Fractals, ed. John Fauvel, Raymond Flood, and Robin Wilson (Oxford: Oxford University Press, 2003) [ML3800 .M87 2003], 29-44.

Penelope Gouk, “The Role of Harmonics in the Scientific Revolution,” CHWMT, pp. 223-245.

Paolo Gozza, ed., Number to Sound: The Musical Way to the Scientific Revolution (Boston: Kluwer Academic Publishers, 2000) [ML3800 .N9 1999].

Claude V. Palisca, “Was Galileo’s Father an Experimental Scientist?” in Number to Sound: The Musical Way to the Scientific Revolution, ed. Paolo Gozza, 191-199.

++ Claude V. Palisca, “Scientific Empiricism in Musical Thought,” in Seventeenth Century Science and the Arts, ed. Hedley Howell Rhys (Princeton, New Jersey: Princeton University Press, 1961) [Q171 .R48], pp. 91-137.

Joseph Sauveur, Collected Writings on Musical Acoustics: Paris 1700-1713, edited by Rudolf Rasch (Utrecht: Diapason Press, 1984) [ML3805 .S26 1984 Mu], pp. 8-53 (from the introduction).

++ D. P. (Daniel Pickering) Walker, Studies in Musical Science in the Late Renaissance (London: Warburg Institute, University of London, 1978) [MT6 .W19S91], chapter 2 (“Vincenzo Galilei and Zarlino,” pp. 14-26), chapter 3 (“Galileo Galiei,” pp. 27-33) and passim; in locker.

Research topics:

• Seventeenth-century scientific empiricism as a precursor to Enlightenment thought
• The relationship between tuning theory and studies of acoustics (see esp. Mersenne)
• Connections (or the lack thereof) between the “practical” concerns of musicians (such as dissonance treatment and expressive resources) and the objects of scientific investigation

January 14
Musical Rhetoric

Class notes

Primary sources:

Joachim Burmeister, Musical Poetics (1606), translated by Benito V. Rivera (New Haven: Yale University Press, 1993) [MT6 .B96M87130 1993 Mu], chapter 12, pp. 155-97. (The introduction, pp. xiii-lxii, is highly recommended for context.)

Christoph Bernhard, Tractatus compositionis augmentatus and Ausfürlicher Bericht vom Gebrauch der Con- und Dissonanten (c. 1655-59), translated by Walter Hilse, The Music Forum 3 (1973) [ML55 .M68 v.3 1973]: Hilse’s introduction, pp. 1-12; chapters 16-43, pp. 76-123.

Ernest C. Harriss, Johann Mattheson’s Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, Studies in Musicology, vol. 21 (Ann Arbor: UMI Research Press, 1981) [MT6 .M43]: Part II, Chapter 14 (“On the Disposition, Elaboration, and Ornamentation of a Melody”), 467-484.

Optional readings:

Dietrich Bartel, Musica Poetica: Musical-Rhetorical Figures in German Baroque Music (Lincoln: University of Nebraska Press, 1997) [ML3849 .B289 1987]: 93-99 (on Burmeister); 112-119 (on Bernhard); and passim ; added reading.

Hans Lenneberg, “Johann Mattheson on Affect and Rhetoric in Music,” Journal of Music Theory 2/1 (1958): 47-84 and 2/2 (1958): 193-236 [a commentary and translation; note that in the second installment Lenneberg observes and corrects a number of notational errors in the Marcello aria].

Nicolas Listenius, Music (Musica) (1549), translated by Albert Seay (Colorado Springs: Colorado College Music Press, 1975) [MT5.5 .L771], chapter 1, p. 3.

Johann Mattheson, Der vollkommene Capellmeister, ed. Margarete Reimann, reprint, 1739, Dokumenta Musicologica, 1 Reihe, Druckschriften-Faksimiles, vol. 5 (Kassel: Bärenreiter, 1954) [ML96.4 .D63 v.5]: Part II, Chapter 14, 235-244

++Patrick McCreless, “Music and Rhetoric,” CHWMT, 847-879.

John Neubauer, The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics (New Haven: Yale University Press, 1986) [ ML3849 .N47], 22-41.

++Claude Palisca, “Ut Oratoria Musica: The Rhetorical Basis of Musical Mannerism,” in in Studies in the History of Italian Music and Music Theory (Oxford: Clarendon Press, 1994) [ML290.1 .P350 1994],  282-311 [this essay deals chiefly with Burmeister, and goes through one of his Lassus analyses in detail]. This essay first appeared in The Meaning of Mannerism, ed. F. W. Robinson and S. G. Nichols, Jr. (Hanover, New Hampshire: University Press of New England, 1972) [Nx450.6 M3M48], 37-65.

Claude V. Palisca, “Marco Scacchi’s Defence of Modern Music (1649),” in Studies in the History of Italian Music and Music Theory (Oxford: Clarendon Press, 1994) [ML290.1 .P350 1994], 88-145 (which includes a lengthy appendix). Scacchi was Bernhard’s teacher, and most likely first formulated the division of music into three styles that can be seen in Bernhard.

Lawrence M. Zbikowski, Conceptualizing Music: Cognitive Structure, Theory, and Analysis (New York: Oxford University Press, 2002) [ML3838 .Z25 2002], 291-299 [the main focus here is on eighteenth-century work; a broader perspective on the approach I take is provided by the first half of the chapter: pp. 287-306].

Research topics:

• Cross-domain mappings between the structure of classical rhetorical figures and the figures of Burmeister’s (and Bernhard’s) musical poetics
• The relationship between ideas about musical rhetoric and the development of polystylism in seventeenth-century music
• The transference of thought about musical rhetoric from vocal music to instrumental music (Mattheson is particularly interesting here)

January 21
The Transition from Modal to Tonal Thinking

Class notes

Primary sources:

Johannes Lippius, Synopsis of New Music (1612), translated by Benito V. Rivera (Colorado Springs: Colorado College Music Press, 1977) [MT6 .L75S99 Mu], pp. 32-56 (from “Concerning the Composite Part of a Harmonic Piece”).

Charles Masson, Nouveau Traité Des Regles Pour la Composition de la Musique, introd. by Imogene Horsley, reprint, 1694 (New York: Da Capo Press, 1967) [MT40 .M42], pp. v-xi; 9-12; and 49-55.

Secondary sources:

Gregory Barnett, “Tonal organization in seventeenth-century music theory,” CHWMT, pp. 407-455.

Joel Lester, Between Modes and Keys: Germany Theory, 1592-1802 (Stuyvesant, NY: Pendragon Press, 1989) [ML430 .L470 1989 Mu], pp. 37-95 (pp. 21-35 passim).

Analysis assignment:

Giovanni Antonio Pandolfi Mealli, Sonate à Violino Solo, Op. III: Innsbruck 1660, ed. Walter Salmen, Musik Am Hofe zu Innsbruck (Innsbruck: Edition Helbling, 1986) [M219.P18S69], Sonata Terza “La Melana,” pp. 20-25. Both the score and a recording will be placed in the locker; the recording is Pandolfi, Complete Violin Sonatas, Andrew Manze and Richard Egarr [AudCD HarmoMu 266].

Rather than develop a full-fledged analysis of this piece, I would like you to consider the means Pandolfi uses to organize the sonata as well as how these means contribute, more or less, to the tonal strategies that continued to develop through the beginning of the next century. If you are not familiar with the règle de l’octave you may wish to consult Christensen’s essay below.

Optional readings:

Thomas Christensen, “The Règle de l’octave in Thorough-Bass Theory and Practice,” Acta Musicologica 64/2: (1992): 91-117.

++Thomas Christensen, “The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory, Journal of Music Theory 36/1 (Spring 1992): 1-42.

Carl Dahlhaus, Studies on the Origins of Harmonic Tonality, trans. Robert O. Gjerdingen (Princeton: Princeton University Press, 1990) [ML3811 .D39130 1990 Mu]: from chapter 3 (“Mode and System”), the section “Between Modality and Major-Minor Tonality,” pp. 234-247.

Susan McClary, Conventional Wisdom: The Content of Musical Form (Berkeley: University of California Press, 2000) [ML3795 .M35 2000], chapter 3 (“What was Tonality?”), pp. 63-108.

Susan McClary, Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley: University of California Press, 2004) [ML2633.2 .M33 2004], chapter 9 (“I modi”), pp. 194-220.

Susan McClary, “The Transition from Modal to Tonal Organization in the Works of Monteverdi” (Cambridge, Massachusetts: Harvard University, 1976) [ML410 .M8M16]: chapter 1 (“Modality and Tonality: An Introduction”), pp. 1-17; chapter 2 (“A Theory of Modal Practice in Monteverdi”), pp. 18-77.

++Harold Powers, “From Psalmody to Tonality,” in Tonal Structures in Early Music, ed. Cristle Collin Judd, Criticism and Analysis of Early Music (New York: Garland Publishers, 1998) [ML3811.T66 1998], 275-340.

Benito V. Rivera, German Music Theory in the Early 17th Century: The Treatises of Johannes Lippius (Ann Arbor, Michigan: UMI Research Press, 1980) [ML423.L63R62], chapter 6 (“Music and Its Mediated Composite Material Element: Triads”), pp. 113-165.

Benito Rivera, “The Seventeenth-Century Theory of Triadic Generation and Invertibility and Its Application in Contemporaneous Rules of Composition,” Music Theory Spectrum 6 (1984): 63-78.

Research topics:

• The relationship between the emergence of tonality and social and cultural developments over the course of the seventeenth century (a big topic; choosing a smaller, more focused portion of this topic will be essential to success).
• The connection between “popular” musics and the development of tonality (cf. also the relationship between tonality and the galant style)

January 28
Harmony

Class notes

Primary sources:

Jean-Philippe Rameau, Treatise on Harmony (1722), translated by Philip Gossett (New York: Dover, 1971) [MT50 .R205 Mu]: pp. v-xxiv; pp. xxxiii-xxxvii; Book 1, chapter 3, pp. 5-20; Book 2, chapters 1-16, pp. 59-123.

Johann Philipp Kirnberger, The Art of Strict Musical Composition, trans. David Beach and Jurgen Thym (New Haven: Yale University Press, 1982) [MT40 .K604 Mu]: chapter 4 (“Observations concerning the nature and use of chords and some of their intervals”), pp. 54-98.

Secondary sources

Joel Lester, Compositional Theory in the Eighteenth Century (Cambridge, MA: Harvard University Press, 1992) [ML430 .L460 1992 Mu], chapter 3 (“Thoroughbass Methods”), pp. 48-89.

Thomas Christensen, Rameau and Musical Thought in the Enlightenment (Cambridge: Cambridge University Press, 1993) [ML410 .R2C55 1993 Mu]: chapter 2, pp. 21-42; from chapter 4, pp. 90-102; chapter 5, pp. 103-132.

Optional reading

David W. Beach, “The Origins of Harmonic Analysis,” The Journal of Music Theory 18, no. 2 (Fall 1974): 274-306; ; added reading.

Jonathan Bernard, “The Marpurg-Sorge Controversy,” Music Theory Spectrum 11/2 (1989): 164-186.

Carl Dahlhaus, Studies on the Origins of Harmonic Tonality, trans. Robert O. Gjerdingen (Princeton: Princeton University Press, 1990) [ML3811 .D39130 1990 Mu; on reserve], pp. 7-65; also passim.

Floyd K. Grave and Margaret G. Grave, In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler (Lincoln: University of Nebraska Press, 1988) [ML410 .V886 G77 1988 Mu]: chapter 1 (“The science of harmony: foundations of an enlightened system”), 13-49.

Joel Lester, Compositional Theory in the Eighteenth Century; chapter 4 (“Rameau’s Early Works”), pp. 90-126; chapter 5 (“Rameau’s Later Works and Controversies), pp. 127-157.

Joel Lester, “Rameau and Eighteenth-Century Harmonic Theory,” CHWMT, pp. 753-777.

++David Lewin, “Two Interesting Passages in Rameau’s Traité de l’harmonie,” In Theory Only 4/3 (July 1978): pp. 3-11. (You will find this in the stacks—the call is ML1 .I38.)

Freiderich Erhardt Niedt, The Musical Guide, trans. Pamela L. Poulin and Irmgard C. Taylor, reprint, 1700–17 (Oxford: Clarendon Press, 1989) [MT40 .N49130 1989], 7-25.

Research topics:

• Connections and tensions between contrapuntal thought and harmonic thought
• The relationship between (oftentimes implicit) harmonic paradigms and the teaching of composition

February 4
Modulation and Tonality

Class notes

Modulation

Primary sources:

Jean-Jacques Rousseau, A Complete Dictionary of Music, trans. William Waring, 2nd. ed. [Reprint of the 1779 ed. printed for J. Murray, London] (New York: AMS Press, 1975) [ML108 .R824 1779a]:

• s.v. “Enharmonic” (pp. 151-156)
• s.v. “Modulation” (pp. 249-253)

Heinrich Christoph Koch, Musikalisches Lexicon (Heidelberg: Mohr und Winter, 1816) [ML108 .K76], s.v. “Ausweichung” (cols. 196-209); photocopy in locker.

Gottfried Weber, Theory of Musical Composition, Treated with a View to a Naturally Consecutive Arrangement of Topics, ed. John Bishop, trans. James F. Warner (London: Messrs. Robert Cocks and Co., 1851) [MT40 .W365 v. 1 & 2]: vol. 1, chap. 4, pp. 325-345 (not including §204). This is also available electronically at:

http://pi.lib.uchicago.edu/1001/dig/pres/2005-026-1

Viewing the electronic files requires the DJVu plugin, which works best with Internet Explorer (results with Mozilla/Firefox are variable).

Optional readings:

Eva Linfield, “Modulatory Techniques in Seventeenth-Century Music: Schütz, a Case in Point,” Music AnalysisÿA 12, no.ÿA 2 (July 1993):ÿA 197-214; added reading.

William J. Mitchell, “Modulation in C.P.E. Bach’s Versuch,” in Studies in Eighteenth-Century Music. A Tribute to Karl Geiringer on His Seventieth Birthday, ed. H. C. Robbins Landon and Roger E. Chapman (New York: Oxford University Press, 1963) [ML55 .G24S8 1970b], 333-342.

Janna K. Saslaw, “Gottfried Weber and the Concept of Mehrdeutigkeit” (Ph.D. diss, Columbia University, 1992), chapter 4 (“Harmonic Progression and Key Orientation”) [ML410 .W479S37 2002], pp. 165-218.

E. Cynthia Verba, “The Development of Rameau’s Thoughts on Modulation and Chromatics,” Journal of the American Musicological Society 26, no. 1 (Spring 1973): 69-91.

Tonality

Primary sources:

Jérôme-Joseph de Momigny, Cours complét d’harmonie et de composition, d’après une théorie neuve et générale de la musique (Paris: Chez L’auteur, 1806) [MT50 .M78 v. 1-3, special collections], v. 1: 47-50; photocopy in locker.

Françoise Joseph Fétis, Esquisse de l’histoire de l’harmonie: an English-language translation of the Françoise Joseph Fétis history of harmony, trans. Mary Arlin (Stuyvesant, NY: Pendragon Press, 1994) [ML444 .F48130 1994], p. 154 (from “Now this long analysis. . .” to p. 159 (up to [but not including] “The fourth degree of the scale. . .”). You may also wish to take a look at the discussion of “the four phases of tonality” in Arlin’s introduction, pp. xxxii-xxxviii.

Secondary source:

Brian Hyer, “Tonality,” CHWMT, pp. 726-752.

Optional reading:

Michael Beiche, “Tonalität,” in Handwörterbuch der musikalischen Terminologie, ed. Hans Heinrich Eggebrecht (Wiesbaden: Franz Steiner, 1992) [ML108 .H23 (Regenstein, Reading Room, Floor 3)].

Ian Bent, “Momigny’s Type de la Musique and a Treatise in the Making,” in Music Theory and the Exploration of the Past, ed. Christopher Hatch and David W. Bernstein (Chicago: University of Chicago Press, 1993) [MT6 .M962050 1993], 309-340.

Thomas Christensen, “Fétis and Emerging Tonal Consciousness,” in Ian Bent, ed. Music Theory in the Age of Romanticism (Cambridge: Cambridge University Press, 1996) [MT6 .M91 1996 c.1 Gen] 37-56.

Renate Groth, Die Französische Kompositionlehre des 19. Jahrhunderts (Wiesbaden: Franz Steiner, 1983) [ML55 .A67 v.22 Mu], pp. 58-68; photocopy in locker.

David Lewin, “Concerning the Inspired Revelation of F.-J. Fétis,” Theoria 2 (1987): pp. 1-12.

Robert S. Nichols, “Fétis’ Theories of Tonalité and the Aesthetics of Music,” Revue Belge de Musicologie/Belgische Tijdschrift voor Muziekwetenschap, 27-27 (1972-1973): 116-129; added reading.

Rosalie Schellhous, “Fétis’s Tonality as a Metaphysical Principle: Hypothesis for a New Science,” Music Theory Spectrum 13, no. 2 (1991): 219-240.

Research topics:

• The relationship between theories of modulation and theories of tonality (for instance, is one necessary for the other?)
• The use of fully-diminished seventh chords in modulations, and the impact this might have on theories of key structure

February 11
Theories of Form

Class notes

Primary sources:

Augustus Frederic Christopher Kollmann, An Essay on Practical Musical Composition (New York: Da Capo Press, 1973) [MT40 .K81]: chapters 2 and 3, pp. 2-20.

Bathia Churgin, “Francesco Galeazzi's Description (1796) of Sonata Form,” JAMS 21/2 (1968): 181-199.

Adolph Bernhard Marx, Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, ed. and trans. Scott G. Burnham (Cambridge: Cambridge University Press, 1997) [MT6 .M313 1997]: pp. 55-90.
optional: Burnham’s introdution (pp. 1-14), and pp. 91-101.

Optional reading:

Nancy Kovaleff Baker, “An Ars Poetica for Music: Reicha’s System of Syntax and Structure,” in Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, ed. Nancy Kovaleff Baker and Barbara Russano Hanning (Styvesant, New York: Pendragon Press, 1992) [ML55 .P286M90 1992], 419-449.

Nancy Kovaleff Baker, “Heinrich Koch’s Description of the Symphony,” Studi Musicali 9, no. 2 (1980): 303-316.

Ian Bent, “The ‘Compositional Process’ in Music Theory, 1713-1850,” Music Analysis 3 (1984): 29-55.

Ian Bent, General introduction to Fugue, Form and Style, vol. 1 of Music Analysis in the Nineteenth Century, Cambridge Readings in the Literature of Music (Cambridge: Cambridge University Press, 1994) [MT90 .M880 1994], 1-17.

Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of Oration, (Cambridge, Massachusetts: Harvard University Press, 1991) [ML3845 .B60 1991]: chapter 1, pp. 13-52.

Scott Burnham, “A. B. Marx and the Gendering of Sonata Form,” in Music Theory in the Age of Romanticism, ed. Ian Bent (Cambridge: Cambridge University Press, 1996) [MT6 .M91 1996]: 163-186.

++Scott Burnham, “Form,” in CHWMT, pp. 880-906.

Scott Burnham, “The Second Nature of Sonata Form,” in Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, ed. Suzannah Clark and Alexander Rehding (Cambridge: Cambridge University Press, 2001) [ML3800 .M885 2001]: pp. 111-141.

Carl Czerny, School of practical composition: complete treatise on the composition of all kinds of music, both instrumental and vocal together with a treatise on instrumentation, in three volumes ; opus 600, trans. John Bishop [repr. London: R. Cocks, 1848] (New York : Da Capo Press, 1979) [MT58 .C99 v. 1-3]: vol. 1, pp. 33-52.

++Peter Hoyt, “The Concept of Développement in the Early Nineteenth Century,” in Music Theory in the Age of Romanticism, ed. Ian Bent (Cambridge: Cambridge University Press, 1996) [MT6 .M91 1996]: 141-162.

Johann Christian Lobe, “First-Movement Form in the String Quartet [:Beethoven: Op. 18 no. 2 in G: Allegro],” in Fugue, Form and Style, vol. 1 of Music Analysis in the Nineteenth Century ed. Ian Bent (Cambridge: Cambridge University Press, 1994) [MT90 .M880 1994 v.1, on reserve]: pp. 197-220

++Leonard Ratner, “Harmonic Aspects of Classic Form,” JAMS 2/3 (1949): 159-168 (photocopy in locker).

Leonard G. Ratner, “Eighteenth-Century Theories of Musical Period Structure,” The Musical Quarterly 42/4 (October 1956): 439-454.

Joseph Riepel, Sämtliche Schriften zur Musiktheorie, ed. Thomas Emmerig (Wien: Böhlau, 1996) [fMT40 .R62 1996 v.1], pp. 138-162 (this volume is in the locker).

Jane R. Stevens, “Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form,” JAMS 27/1 (spring 1974): 25-60.

Elaine R. Sisman, “Small and Expanded Forms: Koch’s Model and Haydn’s Music,” The Musical Quarterly 68/4 (October 1982): 444-475.

Zbikowski, Conceptualizing Music, the first portion of chap. 7 [ML3838 .Z25 2002], pp. 287-306.

Research topics:

• A history of changing relationships between small forms and large forms within compositional theories of the 18th through 19th centuries
• A survey of how contrapuntal genres are treated by form theorists
• An exploration of how theories of form shape vocal music (the form of which is usually thought to be shaped by the text)

February 18
Rhythmic Theory

Class notes

Primary sources:

Christopher Hasty, Meter as Rhythm (New York: Oxford University Press, 1997) [ML3850 .H37 1997], pp. 84-95, 103-120 (photocopy in locker).

Moritz Hauptmann, The Nature of Harmony and Metre, trans. W. E. Heathcote, reprint, 1893 (New York: Da Capo Press, 1991) [ML3815 .H36130 1990 Mu], part II, §§1-49.

Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music (Cambridge, Massachusetts: MIT Press, 1983) [MT6 .L61], pp. 13-36 (photocopy in locker).

Gottfried Weber, Theory of Musical Composition, Treated with a View to a Naturally Consecutive Arrangement of Topics, ed. John Bishop, trans. James F. Warner (London: Messrs. Robert Cocks and Co., 1851) [MT40 .W365 v. 1]: vol. 1, pp. 61-87. (Feel free to skim the more mechanical sections, but take time with the definitions Weber sets out.) This is also available electronically at:

http://pi.lib.uchicago.edu/1001/dig/pres/2005-026-1

Secondary sources:

William F. Caplin, “Theories of musical rhythm in the eighteenth and nineteenth centuries,” in CHWMT, pp. 657-694.

Optional readings:

Jacques Barzun, “Berlioz on the Future of Rhythm,” in Berlioz and the Romantic Century (New York, Columbia University Press) [ML410 .B6B302] 2: 336-339 (photocopy in locker).

William E. Benjamin, “A Theory of Musical Meter,” Music Perception 1, no. 4 (Spring 1984): 355-413.

++Grosvenor Cooper and Leonard B. Meyer, The Rhythmic Structure of Music (Chicago, 1960) [MT42 .C78], pp. 1-37.

++Christopher Hasty, “Just in Time for More Dichotomies—A Hasty Response,” Music Theory Spectrum 21/2 (Fall, 1999) 275-293

Moritz Hauptmann, Die Natur der Harmonik und der Metrik: Zur Theorie der Musik (Hildesheim: G. Olms, 2002) [ML3815 .H34 2002], part II (“Metrik”), §§1-49 (pp. 223-252).

Gudrun Henneberg, Theorien zur Rhythmik und Metrik (Tutzing: Hans Schneider, 1974) [ML437.H51]: 13-60.

George Houle, Meter in Music, 1600–1800: Performance, Perception, and Notation (Bloomington, Indiana: Indiana University Press, 1987) [MT75 .H70 1987], chapter 1 (“The Origins of the Measure in the Seventeenth Century”) pp. 1-34.

Johann Philipp Kirnberger, The Art of Strict Musical Composition (trans. David Beach and Jurgen Thym; Yale, 1982) [MT40 .K604 Mu]: vol. II, chapter 4 (“Tempo, Meter, and Rhythm”), pp. 375-417.

++Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (New York: Oxford University Press, 1999) [ML410.S34K92 1999], chapter 1, pp. 3-21.

Joel Lester, Compositional Theory in the Eighteenth Century (Harvard, 1992) [ML430 .L460 1992]: chapters 10 (on Riepel) and 11 (on Koch), pp. 258-299.

++Justin London, “Hasty’s Dichotomy,” Music Theory Spectrum 21, no. 2 (Fall, 1999): 260-274.

Justin London, Hearing in Time: Psychological Aspects of Musical Meter. New York: Oxford University Press, 2004) [ML3832 .L65 2004], chapter 1 (“Meter as a kind of attentional behavior”).

Mathis Lussy, Musical Expression, Accents, Nuances, and Tempo, in Vocal and Instrumental Music, trans. M. E. von Glehn from the 4th French edition (London: Novello, 1892) [MT75 .L922]: chapter 3, pp. 13-16; chapter 4, pp. 17-27; chapter 5, pp. 44-52 and pp. 62-66 (photocopy in locker).

Robert P. Morgan, “Musical Time/Musical Space,” Critical Inquiry 6, no. 4 (Spring 1980): 527-538.

Robert P. Morgan, “The Theory and Analysis of Tonal Rhythm,” The Musical Quarterly 64/4 (October 1978): 436-440.

Hugo Riemann, System der musikalischen Rhythmik und Metrik (Leipzig: Breitkopf & Härtel) [MT42 .R55], chapters 5 (“Erweiterungen der Sätze durch Anhänge und Einschaltungen”) pp. 241-270 and 6 (“Verkürzung der Sätze durch Verschränkungen”) pp. 270-304, passim.

++John Roeder, Review of Christopher Hasty's Meter as Rhythm, Music Theory Online 4/4 (July 1998).

Howard Elbert Smither, “Theories of Rhythm in the Nineteenth and Twentieth Centuries with a Contribution to the Theory of Rhythm for the Study of Twentieth-Century Music” (Ph. D. diss., Cornell University, 1960) [microfm ML 593].

Ivan Waldbauer, “Riemann’s Periodization Revisited and Revised,” The Journal of Music Theory 33/2 (Fall 1989): 333-392.

Questions to ponder:

What circumstances have surrounded changes in conceptions of musical rhythm and meter? Were these changes musical, or did they reflect different ways to conceptualize temporal relationships?

What is an accent? What is its role in characterizations of musical rhythm?

What factors influence how we measure musical time? Which of these factors are reflected in theories of musical rhythm and meter, and which are left out?

Music is often characterized as the temporal art form par excellence. How important is a temporal framework to the apprehension of other cultural products/art forms?

What is the relationship between “musical time” and “musical space”?

February 25
Nineteenth-Century Theories of Harmony

Class notes

Primary sources:

Gottfried Weber, “A Particularly Remarkable Passage in a String Quartet in C by Mozart [K465 (‘Dissonance’)] (1832),” in Fugue, Form and Style, vol. 1 of Music Analysis in the Nineteenth Century, ed. Ian Bent, Cambridge Readings in the Literature of Music (Cambridge: Cambridge University Press, 1994) [MT90 .M880 1994 v.1], pp. 157-183.

Moritz Hauptmann, The Nature of Harmony and Metre, translated by W. A. Heathcote (1893) (New York: Da Capo Press, 1991) [ML3815 .H36130 1990 Mu], pp. 3-27. [Pages xxxv-xlviii (“Author’s Introduction”) and 28-64 are optional, but highly recommended.]

Robert W. Wason and Elizabeth West Marvin, eds. and trans., “Riemann’s ‘Ideen zu einer “Lehre von Den Tonvorstellungen”’: An Annotated Translation,” Journal of Music Theory 36, no. 1 (Spring 1992): 69-117. (This volume is available through JStore.)

Secondary sources:

Alexander Rehding, Hugo Riemann and the Birth of Modern Musicology (Cambridge: Cambridge University Press, 2003) [ML423 .R45R44 2003], chapter 2 (“The responsibilities of nineteenth-century music theory”), pp. 36-66.

Robert W. Wason, Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor, MI: UMI Research Press, 1985) [ML444 .W260 1985 Mu], pp. 37-64.

Optional readings:

++David W. Bernstein, “Nineteenth-century harmonic theory: the Austro-German legacy,” CHWMT, pp. 778-811.

Moritz Hauptmann, Die Natur der Harmonik und der Metrik: Zur Theorie der Musik (Hildesheim: G. Olms, 2002) [ML3815 .H34 2002], §§1-53 (pp. 19-46). [§§54-124, pp. 46-86 correspond to the optional reading.]

++Daniel Harrison, Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents (Chicago: University of Chicago Press, 1994) [ML444 .H3760], pp. 215-234 (up to but not including §5.3). [Pages 234-292 are highly recommended.]

++Henry Klumpenhouwer, “Dualist tonal space and transformation in nineteenth-century musical thought,” CHWMT, pp. 456-476.

Ernst Kurth, Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme (Bern: Akademische Buchhandlungen von Max Dreschel, 1913), chapter 16 (“Prinzipe des Akkordbaus”) [MT 50 .K92], pp. 5-46.

Ernst Kurth, Ernst Kurth, Selected Writings, trans. Lee A. Rothfarb (Cambridge: Cambridge University Press, 1991) [MT6. K995 E7150 1991]: chapter 4 (“Details of Romantic harmony”), pp. 99-129.

Hugo Riemann, Handbuch der Harmonielehre, 2nd. ed. (Leipzig: Breitkopf & Härtel) [Microfrm MT 37] pp. 1-17; 111-136 (photocopy in locker).

Heinrich Schenker, Harmony, ed. and annotator Oswald Jonas, trans. Elisabeth Mann Borgese (Chicago: University of Chicago Press, 1954) [MT50 .S32], chapter 1 (“The natural tonal system [major]”), 3-44.

Heinrich Schenker, Harmonielehre, Neue Musikalische Theorien und Phantasien, vol. 1 (Stuttgart and Berlin: J. G. Cotta’sche, 1906) [MT50 .S32 1978], chapter 1 (“Das natürliche System”), pp. 3-59.

Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Berkeley: University of California Press, 1978) [MT50 .S365 1978], 23-31.

Arnold Schoenberg, Structural functions of harmony, rev. ed. (New York: W. W. Norton & Company, Inc. 1969) [MT50 .S37 1969]: pp. 1-29.

Questions to ponder:

What issues faced harmonic theory during the long nineteenth century? How did theorists address these issues?

How did theorists interact (or not interact) with the music of their time? With musical examples in general?

What were the chief topics of debate among nineteenth-century theorists?

What part did philosophy, aesthetics, “natural” philosophy (i.e., the sciences), or thinking drawn from other artistic disciplines play in the formulation of theories of music during the nineteenth century?

March 4
Hermeneutic and Semiotic Approaches

Class notes

Primary sources:

Theodor Helm, “[Beethoven:] String Quartet in A minor, Op. 132,” in Hermeneutic Approaches, vol. 2 of Music Analysis in the Nineteenth Century, Ian Bent, ed., Cambridge Readings in the Literature of Music (Cambridge: Cambridge University Press, 1994) [MT90 .M880 1994, v. 2], pp. 238-266. Bent’s introduction to this section of the volume (pp. 121-126) is highly recommended.
N. B.: I have placed a recording and pocket score for the quartet in the locker.

Robert S. Hatten, “Metaphor In Music,” in Musical Signification: Essays in the Semiotic Theory and Analysis of Music, ed. Eero Tarasti, Approaches to Semiotics, vol. 121 (Berlin: Mouton de Gruyter, 1995) [ML3845 .M9760 1995], pp. 373-391.

Secondary sources:

Ian Bent, ed., Hermeneutic Approaches, vol. 2 of Music Analysis in the Nineteenth Century, Cambridge Readings in the Literature of Music (Cambridge: Cambridge University Press, 1994), General introduction: pp. 1-27.

Eero Tarasti, Signs of Music: A Guide to Musical Semiotics (Hawthorne, New York: Mouton de Gruyter, 2002) [ML3845 .T348 2002], chapter 1 (“Is music sign?”), pp. 3-27; chapter 2 (“Signs in music history, history of music semiotics”), §§2.3-2.4, pp. 51-64; photocopy in locker.

Victor Kofi Agawu, “The Challenge of Semiotics,” in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999) [ML3797.1 .R48 1999], pp. 138-160.

Optional readings:

Victor Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classical Music (Princeton: Princeton University Press, 1991) [ML3838 .A3170 1991], chapter 1 (“Introduction”), pp. 3-25; chapter 6 (“A Semiotic Interpretation of the First Movement of Beethoven’s String Quartet in A minor, Op. 132”), pp. 110-126; chapter 7 (“Toward a Semiotic Theory for the Interpretation of Classical Music”), pp. 127-134.

++Scott Burnham, Beethoven Hero (Princeton, New Jersey: Princeton University Press, 1995) [ML410 .B4B96], chapter 1 (“Beethoven’s Hero”), pp. 3-28; photocopy in locker.

++Robert Hatten, “Review of Agawu, Playing with Signs, and Nattiez, Music and Discourse,” Music Theory Spectrum 14, no. 1 (1992): 88-98.

Robert Hatten, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert (Bloomington, Indiana: Indiana University Press, 2004) [ML3845 .H35 2004]: Introduction, pp. 1-18; chapter 1 (“Semiotic Grounding in Markedness and Style: Interpreting a Style Type in the Opening of Beethoven’s Ghost Trio, Op. 70, no. 1”), pp. 21-34.

José Luiz Martinez, “Musical Semiosis and the Rasa Theory,” in Musical Semiotics in Growth, ed. Eero Tarasti, Paul Forsell, and Richard Littlefield, Acta Semiotica Fennica 4 (Bloomington: University of Indiana Press, 1996) [ML3845 .M9550 1996], pp. 99-125.

Raymond Monelle, The Sense of Music: Semiotic Essays (Princeton, New Jersey: Princeton University Press, 2000) [ML3838 .M692 2000], chapter 1 (“The Wordless Song”), pp. 3-13; chapter 2 (“The Search for Topics”), pp. 14-40.

Jean-Jacques Nattiez, Music and Discourse: Toward a Semiology of Music, trans. Carolyn Abbate (Princeton, New Jersey: Princeton University Press, 1990) [ML3797 .N37130 1990], chapter 1 (“A Theory of Semiology”), pp. 3-37; chapter 2 (“The Concept of Music”), pp. 41-68.

Harold Powers, “Language Models and Musical Analysis,” Ethnomusicology 24, no. 1 (1980): 1-60.

Questions to ponder:

What was the attraction of hermeneutic approaches to music during the nineteenth century?

How do you think language and music relate to one another? Are they separate domains? Manifestations of common communicative processes? Completely incommensurate media?

Nicholas Cook (in Analysing Musical Multimedia) has argued that, to the extent it always involves language, musical analysis is a form of multimedia. Is analysis really multimedia, or is it a new medium?

Are musical signs (either in a strict Peircean sense or more broadly) possible? What are the features of musical signs? Is there a continuum of signs, or fairly clear divisions between types (based on their attributes)?

Additional bibliography items:

Arjan van Baest and Hans van Driel, The Semiotics of C.S. Peirce Applied to Music: A Matter of Belief (Tilburg, The Netherlands: Tilburg University Press, 1995) [B945.P44B347 1995]; in locker.

Robert Hatten, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Bloomington, Indiana: Indiana University Press, 1994) [ML410. B4H436 1994].

José Luiz Martinez, Semiosis in Hindustani Music, Acta Semiotica Fennica (Helsinki: Hakapaino Oy, 1997) [ML3838.M378 1997]; in locker.

Raymond Monelle, Linguistics and Semiotics in Music, Contemporary Music Studies (Chur, Switzerland: Harwood Academic, 1992) [ML3838 .M690 1992].

Eero Tarasti, A Theory of Musical Semiotics, Advances in Semiotics (Bloomington: University of Indiana Press, 1994) [ML3845 .T350 1994]. http://humanities.uchicago.edu/faculty/zbikowski/

Research topics:

• The changing audience for musical analysis from c. 1830 to c. 1930
• Manifestations of theories of musical meaning in theoretical approaches that are not explicitly semiotic
• A brief history of the emergence of semiotic approaches to music in the post-WWII period

March 11
Student Presentations

Class notes