Analytical Techniques for Post-Tonal Music - Detailseite

This course will explore a large variety of repertoire from the 20th and 21st centuries. The course will focus on theoretical foundations and practical applications of a variety of well established analytical tools (e.g., motivic analysis, set theory, twelve-tone theory, transformational theory) as well as more recent techniques (e.g., visualization of recorded sound, spectromorphology, information theory).

Pre-requisites: Knowledge of tonal harmony (diatonic and chromatic), 18^th-century counterpoint, and classical form

The course will cover portions of the pieces listed under ‘Literatur’ plus the following:

Cage: Music of Changes (1951), I

Dallapiccola: Quaderno Musicale di Annalibera (1952), I

Debussy: La Mer (1903-1905), I

Messiaen: Mode de valeurs et d’intensités (1950)

Pärt: Cantus in memory of Benjamin Britten (1977)

Riley: In C (1964)

Schoenberg: Phantasy for violin with piano accompaniment, Op. 47 (1949)

Stravinsky: The Rite of Spring (1913), Part I

* Course website: links to recordings, short scores, journal articles, small portions of scores/books, including:

1. Bartók, B. (1920). The problem of the new music. In Bela Bartok essays (pp. 45-49). London: Faber and Faber.
2. Bossis, B. (2006). The analysis of electroacoustic music: From sources to invariants. Organised Sound, 11(02), 101-112.
3. Griffiths, P. (2011). Holy minimalisms. In Modern music and after (pp. 257-264). New York: Oxford University Press.
4. Lewin, D. (2007): Selected fragments: pp. 88-99 (on Webern Op. 7, No. 3). In Generalized musical intervals and transformations (pp. 88-120). New York: Oxford University Press.
5. McAdams, S. (2004). Analyzing musical sound. In E. Clarke & Cook, N. (Eds.) Empirical Musicology (pp. 157-196). Oxford: Oxford University Press.
6. Schoenberg, A. (1975). Composition with twelve tones. In Leonard Stein (Ed.) & Leo Black (Trans.), Style and idea: Selected writings of Arnold Schoenberg (pp. 214-245). New York: St. Martin’s Press.
7. Smalley, D. (1997). Spectromorphology: explaining sound-shapes. Organised sound, 2(02), 107-126.

* On the library shelf (“Handapparat”):

1. Benjamin, G. (2004). Shadowlines: Six canonic preludes for piano.
2. Boulez, P. (1997). Anthèmes 2 pour violon et dispositif électronique.
3. Carter, E. (1984). Esprit Rude, Esprit Doux for flute and clarinet.
4. Grisey, G. (1994-96). Vortex Temporum.
5. Harvey, J. (1994). Advaya for cello and electronics. Farber Music.
6. Ligeti, G. (1969).
7. Ligeti, G. (1951-53). Musica ricercata.
8. Messiaen, O. (1932). Thème et variations.
9. Stockhausen, K. (1953). Klavierstück XI.
10. Schonberg, A. (1908-09). Book of the Hanging Gardens 15.

Hausarbeit