Music 744: Graduate Theory Seminar, Spring 2005
University of Wisconsin-Milwaukee
Mondays 4:30 - 7:10 pm
Music 230

Christopher Burns
office hours: Monday, 2-4 pm, or by appointment; Music 367

Course description:
Seminar in music analysis, emphasizing a variety of different musics, analytic techniques, and critical objectives.

Prerequisites:
Open to graduate students; other students by consent of the instructor.

Grading policies:
Semester grades will be determined in accordance with the following priorities:
Participation 20%
Analytic challenges 40%
Final paper and presentation 40%

Course materials:
Listening and reading assignments for the course will be on reserve in Golda Meir Library; non-circulating periodicals will be shelved as normal in the Music Library.

Course outline:
January 24: introduction
reading:
Ian Bent and Anthony Pople, "Analysis," New Grove 2.

January 31: early music I
reading:
Craig Wright, "Dufay's Nuper Rosarum Flores, King Solomon's Temple, and the Veneration of the Virgin," JAMS, xlvii (1994), 395-441.
Susan McClary, "Radical Inwardness: Willaert's Musica Nova," and "The Prisonhouse of Mode: Cipriano de Rore," in Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley: University of California Press), 2004.

February 7: early music II
reading:
Laurence Dreyfus, "What Is An Invention?" "The Status of a Genre," and "Matters of Kind," Bach and the Patterns of Invention (Cambridge, MA: Harvard University Press), 1996.

February 14: classic music I
reading:
Richard Taruskin, "Resisting the Ninth," 19th-Century Music, vol 12., no. 3 (Spring 1989), 241-256.
Fred Maus, "Music as Drama," Music Theory Spectrum, vol. 10 (1988), 56-73.

February 21: classic music II
reading:
Kofi Agawu, "Introduction," "Extroversive semiosis: topics as signs," "Introversive semiosis: the beginning-middle-end paradigm," "A semiotic analysis of the first movement of Mozart's String Quintet in C Major, K. 515," and "A semiotic analysis of the first movement of Haydn's String Quartet in D Minor, op. 76, no. 2," Playing with Signs: a Semiotic Interpretation of Classic Music (Princeton: Princeton University Press), 1991, 3-109.

February 28: Bill Heinrichs, guest lecturer

March 7: nineteenth-century music I
reading:
Rose Rosengard Subotnik, "How Could Chopin's A-Major Prelude Be Deconstructed?" Deconstructive Variations: Music and Reason in Western Society (Minneapolis: University of Minnesota Press), 1996, 39-147.

March 14: nineteenth-century music II
reading:
Heinrich Schenker, Five Graphic Analyses (Dover: New York), 1969.

March 21: spring break (no class meeting)

March 28: twentieth-century music I
reading:
Allen Forte, "New Approaches to the Linear Analysis of Music," JAMS XLI/2 (1988), 315-48.
Philip Rupprecht, "Tonal Stratification and Uncertainty in Britten's Music", Journal of Music Theory, vol. 40, no. 2 (Fall 1996), 311-346.

April 4: twentieth-century music II
reading:
Allen Forte, "Sets and nonsets in Schoenberg's Atonal Music," Perspectives of New Music vol. 11, no. 1 (Fall-Winter 1972), 43-64.
George Perle, "Pitch-Class Set Analysis: an Evaluation," Journal of Musicology, vol. 8, no. 2 (Spring 1990), 151-72.
Kathleen Bailey, "Symmetry as nemesis: Webern and the first movement of the concerto op. 24," Journal of Music Theory, vol. 40, no. 2 (Fall 1996), 245-310.

April 11: twentieth-century music III
reading:
Pieter van den Toorn, "The Serial Period I," "The Serial Period II," The Music of Igor Stravinsky (New Haven: Yale University Press), 1993, 372-456.
Louis Karchin, "Charles Wuorinen's Reliquary for Igor Stravinsky," Contemporary Music Review, vol. 20, part 4 (2001), 9-27.

April 18: twentieth-century music IV
reading:
Stephane Roy, "Form and referential citation in a work by Francis Dhomont," Organised Sound, vol. 1, no. 1 (1996), 29-41.

April 25: popular music
reading:
David Brackett, "James Brown's 'Superbad' and the Double-Voiced Utterance," in Interpreting Popular Music (Cambridge: Cambridge University Press), 1995, 108-156.
Susan McClary, "This Is Not A Story My People Tell: Musical Time and Space According to Laurie Anderson," Feminine Endings (Minneapolis: University of Minnesota Press), 1991, 132-147.

May 2: nonwestern music
reading:
Michael Tenzer, "Encountering Kebyar" and "Form and Composition," Gamelan Gong Kebyar (Chicago: University of Chicago Press), 2000, 3-18 and 305-384.
Wayne Vitale, "Balinese music breaks the five-tone barrier: new composition for seven-tone gamelan," Perspectives of New Music, vol 40, no. 1 (Winter 2002), 5-69.

May 9: conclusions
reading:
Joseph Kerman, "How we Got into Analysis, and How to Get Out," in Write All These Down: Essays on Music (Berkeley: University of California Press), 1994, 12-32.