Syllabus

 MUS 4902/5902 Special Topic in Post-Tonal Analysis
OU School of Music
Spring 2023

Professor and General Course Information

Professor:                       Dr. Ciro G. Scotto
Office:  591B
email:  scotto@ohio.edu

Office Hours:                 By appointment-in Teams

Course Info:               MUS 4902/5902

Class Number 12018 Section 100
Class Number 12019 Section 100
Credits: 3
Meeting Time: MWF 11:50-12:45
Location: RM 472

Prerequisites :                Graduate Standing-MUS 5001 Post-Tonal Review
Undergraduate-Junior Level-MUS 2020

Course Objectives and Course Structure:

Advanced Pitch-Class Set Theory and Analysis (Building and Analyzing Post-Tonal Compositional Systems).

Special Topics In Post-Tonal Analysis is a course designed to pursue the in depth study of a specialized topic in post-tonal theory/analysis. This semester we will explore building post-tonal compositional systems and both compositions rely on these systems and compositions that might be composed in a system. We will also explore a meta level where we examine the systems themselves and the structures and mechanisms that produce or form the basis for systemic relationships. We will review basic pitch-class set theory with the goal of examining the system that creates these relationships. We will evaluate their influence on composition practice. Following the basic review of pitch-class set theory and its machinery, we will explore specific specialized techniques and compositions that exemplify those techniques. By understanding the mechanisms that produce pitch-class set relationships, you will have a better idea of how to apply, develop, and create compositional systems. Following the exposition of each concept, we will explore compositional examples of each technique. Students will find analytical examples and create original compositional examples. We will also compare different theorists approaches to modeling various concepts.   

Required Course Materials

Readings and Scores:   Assigned weekly from Bibliography
www.frogpeak.org
Class Notes for Atonal Music Theory by Robert D. Morris, Frogpeak Press ($20).
Optional: Class Notes for Advanced Atonal Music Theory by Robert Morris, Frogpeak Press ($20)

Additional Resources : Classical Music Library http://clmu.alexanderstreet.com.proxy.usf.edu/

Notation Program:      We will use the notation programs Sibelius or Finale for all of our work. If you do not own a copy of Sibelius, the music lab computers may all have the programs installed. You can also use an online notation program, such as Noteflight: https://www.noteflight.com/login

Additional Materials : Manuscript paper or music staff paper, pencils, erasers (most important), and pencil sharpeners. If you prefer printing your own music paper, use a good music notation program, such as Sibelius or a web site, such as www.blanksheetmusic.net for free manuscript paper. I will give you extra credit for appropriate assignments completed using a notation program.

Interactive Study Guides:   

E-mail :                           You must have an e-mail account.  This will be our primary means of communication outside the classroom and office hours.  If you have a question about course material or any other course related matter, you can always reach me by e-mail.  I will also use e-mail to send important announcements to the entire class.  If you use an e-mail address that is different than your OU address, send me a message at scotto@ohio.edu with your preferred email address. You should check your email regularly for information pertaining to the class.

Blackboard :                 I will post all class notes and homework assignments on Blackboard. The Blackboard site for the class will contain additional required and supplementary materials. Students are responsible for knowing this material whether it is covered in class or not. I will also be posting grades on Blackboard.

Course Guidelines, Policies, and Grading

Attendance: It is essential that you attend each lecture .

1)         An attendance sign-up sheet will be at the entrance to the class. You must sign this sheet as you enter the class. If you are late, you will not be able to sign the sheet. Therefore, being late is equivalent to being absent.

2)         You must attend lectures to develop a command of the material because each lecture builds on the material presented in previous lectures. Missing a lecture can create a gap in your understanding of the material.

3)         I understand the pressures of balancing academic and performing commitments. If you miss class, you are responsible for all material covered during lectures.

4)         If you must miss class, contact me by email or leave a message in my voice mail before the class meeting (740) 566-6437.           

5)         Furthermore, office hours with me will ONLY cover material from the current week. If you do not understand the lecture material, because you have not been attending lectures, you will have to hire a tutor to help you catch up.

6)         Excused absences must be documented by either a physician or OU Student Services. Illness, religious observance, and family emergencies are all valid excuses for absence if they are documented.

7)         Students who anticipate the necessity of being absent from class due to the observation of a major religious holiday must provide notice of the date(s) to the instructor, in writing, by the second class meeting. A poor attendance record (missing four or more lectures) is ground for failure.

Lectures:                       The lectures demonstrate how to apply the concepts we learn to music .

1)         You must pay attention during class. Do not talk or text during class. Shut off or silence your cell phones before the start of class.

2)         Students must read the assigned material for a lecture before attending the lecture. Come to class prepared with questions about the material.

3)         Students are responsible for the content of the text whether the lecture addresses the material or not.

4)         You are responsible for all the material presented in the lectures.

5)         Have all handouts and musical examples with you at every lecture. Even though the course moves in a linear progression, material from previous lectures may be relevant to the current lecture.

6)         Please number the measures of any scores given out in class. Pickup measures do not count in the numbering. First and second endings receive the same measure number. Add the letter A to first endings and B to second endings.

7)         Come to class ready to participate. I like active classrooms. Although I enjoy hearing myself talk, I would enjoy interacting with you even more.

8)         If you have any questions that were not covered during the lecture, or if you do not understand the material, make sure you come to an office hour. If you cannot make the office hour, send me an email to arrange a meeting.

Special Needs or Disabilities :  Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Student Accessibility Services at 740-593-2620 or visit the office in 348 Baker University Center. https://www.ohio.edu/uc/sas/index.cfm or http://www.ohio.edu/uc/sas/

Taping Lectures:          I give my permission to tape my lectures and to sell notes or tapes of lectures.

Academic Integrity:      Intellectual honesty is obligatory in this course. This means that you must never pass off the ideas or work of someone else as your own. A student found guilty of such an offense will automatically fail the course. The restrictions against plagiarism apply not only to exams and term papers, but also to daily assignments.

Grading Components:

Assignments               40% Midterm Project          15% Final Project                 20% Quizzes                        15% Attendance                   10%

Important Dates (from Ohio University Official Academic Calendar 2022-23)

         Jan. 27 -              Last day to add a fall class without instructor's approval                

Jan. 28 -             Last day to drop a class

March. 13-17     Spring Break – No Class

Mar. 31 -            Last day to drop a class with WP/WF

April. 28 -          Last day of classes

May 3-               10:10 a.m. – FINAL-final class meeting

         May. 4-                  Spring Semester Grades Available

Diversity Statement

Ohio University is committed to supporting inclusion of diverse people and populations within and beyond our campus community. It is crucial that we commit to learning from one another in our classroom and provide an environment where if something is occurring that prevents us from being able to succeed, we talk about and address it. Discrimination has a negative impact on one’s learning, and my hope is that we can create a classroom environment in which all are able to learn and succeed.

Grading Scale :             

Grading Policy :        

Incompletes:                No incomplete course grades will be given unless extraordinary circumstances keep you from finishing the course.

Attendance:                 Each unexcused absence will result in a .5 deduction from your final grade. For example, if your final tally of homework, quizzes and exams yields 91 points, three absences will result in a 1.5-point deduction. Your grade will change from an A- to a B+.

Homework :                 

1. Incomplete assignments: if assignments are handed in partially complete, they will be graded as follows:
   Top grade for an assignment 3/4 complete: B
   Top grade for an assignment 1/2 complete: D- (1/2 to 3/4 complete: scaled accordingly.)
2. I will not accept late homework unless you were absent from class with a documented excuse.
3. Hand in all homework as you enter class. After you sign the attendance sheet, place your assignment in the homework pile.
4. Students cannot make-up a homework assignment.
5. No extra credit work substituting for assignments will be given.
6. If you believe an error occurred in the grading of your assignment, contact me by email to arrange a meeting.

Semester Progress:       I will post weekly progress reports on Blackboard. Your weekly progress consists of your attendance deductions (if any) plus your homework and exam grades. In other words, it will show you what your final grade would be if the semester ended in the current week. You will also receive a midterm grade progress report.

1. 3. Schedule:

Week	Composers:	Readings:	Concepts
Week 1 1/18-1/20	Class Notes, Chap. 1 Rahn (1980) Chaps. 1-5 Straus (2016) Chaps. 1-4	Some Definitions in Pitch-Class Set Music Theory
Week 2 1/23-1/27	Varese	Cont. Class Notes, Chap. 2	Cont. Characteristics of P-Space
Week 3 1/30-2/3	Bartok, Stravinsky, and others	Class Notes, Chap. 3	Pitch and Pc Operations
Week 4 2/6-2/10	Rahn-Farben Analysis	Class Notes, Chap. 4	Interval-Class Content and Transposition
Week 5 2/13-2/17	Bartok, Schoenberg	Class Notes, Chap. 5	Inversion with Transposition in Pc-Space
Week 6 2/20-2/24	Boulez: Incise	Class Notes, Chap. 6	Set and Set-classes in Pc-Space
Week 7 2/27-3/3	Class Notes, Chap. 7	Normal-Form Representatives
Week 8 3/6-3/10	Babbitt and Boulez, Crumb	Class Notes, Chap. 8	Segments in P- and Pc-Space
Week 9 3/13-3/17	Spring Break
Week 10 3/20-3/24	Class Notes, Chap. 10	M and MI Operations
Week 11 3/27-3/31	Class Notes, Chap. 11	Operator Cycles
Week 12 4/3-4/7	Boulez: sur incise	Cohn, Scotto	Transpositional Combination
Week 13 4/10-4/14	Babbitt: Groupwise	Lewin, Straus	Voice Leading
Week 14 4/17-4/21	Babbitt: Paraphrases	Lewin, Morris, Scotto	Transformation Theory (K-nets)
Week 15 4/24-4/28	Cont.

Week	Compositions:	Readings:	Concepts
Week 1 1/18-1/20	Babbitt: Three Compositions for Piano	Straus (2016) Chaps. 1-4 Roig-Francoli (2008) Chap. 6 Rahn (1980) Chaps. 1-5	Review of pcset theory concepts
Week 2 1/23-1/25	Babbitt: Three Composition for Piano	Straus (2016) Chap. 6 Roig-Francoli (2008) Chap. 7-9 Mead (1994) pp. 1-20.	Review 12-tone concepts and hexachordal combinatoriality
Week 3 1/30-2/3	Babbitt: Du	Rahn (1976) Mead (1994) Chap. 2 Lewin (1986)	Trichordal combinatoriality
Week 4 1/30-2/3	Boulez: Le marteau sans maître	Koblyakov (online) Heinemann (1993) Scotto (2014)	Transpositional combination New approaches to serialism
Week 5 2/13-2/17	Boulez: Structures II	Losada (2008, 2014) Goldman (2011) Introduction, Part 1.2 and 1.3
Week 6 2/20-2/24	Boulez: Piano Sonatas 1 & 2	Black (1982) Green (1974)
Week 7 2/27-3/3	Babbitt: Arie Da Capo	Scotto (1988) Mead (1994) Chap. 3	All-Partition arrays-weighted arrays Time point system
Week 8 3/6-3/10	Babbitt: Playing for Time, Melismata	Westergaard (1965)	All-partition arrays-same abstract array
Week 9 3/13-3/17	Babbitt: My Ends are My Beginning, String Quartet IV	Cont.
Week 10 3/20-3/24	Boulez: Messagesquisse	Goldman (2011) Part II	More transpositional combination-aleatoric techniques-SACHER hexachord
Week 11 3/27-3/31	Boulez: incise	Goldman (2011) Part II, 10	Cont.
Week 12 4/3-4/7	Boulez: sur incise	Cont.
Week 13 4/10-4/14	Babbitt: Groupwise	Scotto (2011) Mead (1994) Chap. 4	Super arrays
Week 14 4/17-4/21	Babbitt: Paraphrases	Scotto (2002)	Cont.
Week 15 4/24-4/28

Bibliography

Babbitt, Milton. 1962. “Twelve-Tone Rhythmic structure and the Electronic Medium.” Perspectives of New Music , Vol. 1, No. 1: 49-79.

Black, Robert. 1982. “Boulez’s Third Piano sonata: Surface and Sensibility.” Perspectives of New Music , Vol. 20, No. 1/2 (Autumn-Summer): 182-198.

Boulez, Pierre. Boulez on Music Today , trans. Susan Bradshaw and Richard Rodney Bennet. Cambridge: Harvard University Press, 1971: 35–143.

Campbell, Edward. 2010. Boulez, Music and Philosophy . New York: Cambridge University Press.

Dembski, Stephen and Straus, Joseph, ed. 1987. Milton Babbitt Words about Music . Madison: The University of Wisconsin Press.

Deyoung, Lynden. 1978. “Pitch Order and Duration Order in Boulez’ Structure Ia.” Perspectives of New Music , Vol. 16, No. 2 (Spring-Summer): 27-34.

Dubiel, Joseph. 1990. “Three Essays on Milton Babbitt.” Perspectives of New Music , Vol. 28, No. 2 (Summer): 216-261.

Green, George. 1974. “Reviews of Pierre Boulez: Piano Sonata No. 1 Piano Sonata No. 2.” The Musical Quarterly , Vol. 60, No. 2: 319-321.

Goldman, Jonathan. 2011. The Musical Language of Pierre Boulez . New York: Cambridge University Press.

Harbinson, William. 1989. “Performer Indeterminacy and Boulez’s Third Sonata.” Tempo : 16-20.

Heinemann, Stephen. 1993. “Pitch-Class Set Multiplication in Theory and Practice.” Music Theory Spectrum 20: 72-96.

Koblyakov, Lev. 1990. Pierre Boulez: a World of Harmony . New York: Harwood Academic Publishers.

Lerdahl, Fred. 1988. “Cognitive Constraints on Compositional Systems.” Generative Processes in Music.” The Psychology of Performance, Improvisation, and Composition . Ed. John Sloboda, 231-59. Oxford: Oxford University Press.

Lewin, David. 1986. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception: An Interdisciplinary Journal , Vol. 3, No. 4 (Summer): 327-392.

Losada, Catherine. 2014. “Complex Multiplication, Structure, and Process: Harmony and Form in Boulz’s Structures II.” Music Theory Spectrum 36/1: 86-120.

___________________. 2008. “Isography and Structure in the Music of Pierre Boulez.” Journal of Mathematics and Music 2/3: 135-55.

Mead, Andrew. 1994. An Introduction to the Music of Milton Babbitt . Princeton: Princeton University Press.

Morris, Robert. 1995. “Compositional Spaces and Other Territories.” Perspectives of New Music, Vol. 33, No. 1/2 (Winter-Summer): 328-358.

Roig-Francoli, Miguel. 2008. Understanding Post-Tonal Music . New York: McGraw-Hill Higher Education.

Rahn, John. 1976. “How Do You Du (by Milton Babbitt)?” Perspectives of New Music 14, No. 2/15, No. 1: 61-80.

______________. 1980. Basic Atonal Theory . New York: Longman Inc.

Scotto, Ciro. 2014. “PC-Set Multiplication, Complex Multiplication, and Transpositional Combination to Determine Their Formal and Functional Equivalence. Perspectives of New Music , Vol. 52, No. 1 (Winter): 134-216.

_______________.  1988. “Preparing a Performance of Babbitt’s Arie da Capo . Perspectives of New Music , Vol. 26, No. 2 (Summer): 6-24.

_______________. 2011. “What Do I Hear Now, Groupwise ?” Music Theory Online , Vol. 17, No 2 ( http://www.mtosmt.org/issues/mto.11.17.2/mto.11.17.2.scotto.html )

_______________. 2002. “The Conflict Between Particularism and Gernalism in Andrew Mead’s Introduction to the Music of Milton Babbitt .” Journal of Music Theory, Vol. 46, No. 1/2 (Spring-Autumn): 285-345.

Stacey, Peter. 1987. Boulez and the Modern Concept. Lincoln: University of Nebraska Press.

Straus, Joseph. 2016. Introduction to Post-Tonal Theory , 4 ^th Edition. New York: W. W. Norton & Company.

_______________. 1986. “Listening to Babbitt.” Perspectives of New Music , Vol. 24, No. 2: 10-24.

Westergaard, Peter. 1965. “Some Problems Raised by the Rhythmic Procedures in Milton Babbitt’s Composition for Twelve Instruments.” Perspectives of New Music , Vol., 4, No. 1: 109-18.

Babbitt Festschrift Issues of Perspectives

Vol. 14, no. 1 and Vol 15, no. 1, Sring-Summer/Fall-Winter, 1976

Vol 25, nos. 1 & 2, Winter/Summer 1987

Vol. 35, no. 2, Summer 1997

Compositions

Babbitt:

Composition for four instruments-

Du -soprano and piano-M1621.4.B322 D8

Three Compositions for piano -M25.B2 C6

Composition for viola and piano -M226.B322 C66 1972x

My ends are my beginnings -Clarinet in Bb (bass clarinet) solo-M72 .B22 M9

Composition for guitar -M127.B33 C6 1996x

Arie da Capo

String Quartet IV

Groupwise

Paraphrases

Boulez:

Le marteau sans maître -for voice and six instruments: M1613.3.B77 M3 2009x/

Sur incises -for three pianos, three harps, and three percussionists-M947 .B69 S9 2008

Eclat -for piano, celesta, harp, glockenspiel, vibraphone, mandolin, guitar, cimbalom, tubular bells, flute, English horn, trumpet, trombone, viola, and violoncello-M985 .B69 E3x

Piano Sonata No. 3 -M23 .B787 no. 3 V.2-3

Structures -Two pianos, four hands-M214 .B75 S8 V.1

Structures II

Piano Sonatas 1 & 2

Messagesquisse

Incise

sur incise