Melbourne Music Analysis Summer School

30 November–4 December 2015

HANDBOOK

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Welcome

If you are reading this, then you are attending the first everMelbourneMusicAnalysis

SummerSchool.NotonlyisMMASSthefirstAustralianmusicanalysissummerschool,but

itmaybe the firsteversuchevent touseacrowdfundingplatform.Yoursupportmade

thisuniqueeventpossibleandIthankyouforyourcourageandvision.Iwouldalsoliketo

thanktheMusicologicalSocietyofAustraliafortheirgeneroussupportformusicresearch

andtraininginAustralia.Theirdonationwillhelpensuretheviabilityoffutureeditionsof

theschool.ThankyoualsototheSydneyConservatorium,whohavegenerouslyfundeda

number of students to attend.Ourwarm thanks also go toMMASS patronDrMichael

Hannan,whocastanexceptionalvoteofconfidenceduringourcrowdfundingcampaign.

Finally, thanks to Effie Maniatis and Phillippa Connelly from Medley Hall for their

seemingly endless in-kind support. Itmakes all thedifference in theworld for us to be

abletoexplorethesetopicsinsuchacommodiousandfocussedenvironment.

OverthenextweekwewillhearfromsomeofthefinestmusicanalystsfromAustraliaand

aroundtheworld.Wewillcoverseveralyears’worthofmaterialinoneweek,sodon’tbe

dissuaded if you sometimes find yourself thrown in the deep end. MMASS is a rare

opportunity to learn not only the rudiments of analysis, but also to see how these

rudiments build into dynamic, fully-fledged studies. I hope you refer to your handbook

andnotesformanyyearstocome.Mostimportantly,Ihopeyouwillbeinspired!

Yourssincerely,

MatthewLorenzonMMASSDirector

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Contents MelbourneMusicAnalysisSummerSchool i

Welcome ii

Contents iii

MedleyHall v

GettingtoMedleyHall v

Fromtheairport vi

Registration vi

Can’tgetin? vi

FoodandAmenities vii

RichardCohn:Meter 1

Preparationinstructions 1

Bibliography 2

DavidLarkin:SonataDeformation 5

PreparationInstructions 5

Bibliography 6

MartinGreet:SchenkerianAnalysis 9

SuggestedReading 9

AlistairNoble:Post-TonalAnalysis 10

Bibliography 10

AlanDavison:Schubert/Liszt 13

ElliottGyger:AnalysisandComposition 14

Suggestedreading 14

MichaelHooper:PerformanceAnalysis 15

Acknowledgements 1

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Prog

ram

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Medley Hall AlleventswilltakeplaceatMedleyHall inthesprawlingnineteenth-centurymcmansionnamed Benvenuta. MMASS joins an esteemed list of organisations who have calledBenvenuta home including a small arms dealer, the Commonwealth Arbitration CourtOffices,ashadyvigneron,andanItalianclubwithaboxingring.

The Music Room can be found on the ground floor directly to the right of the mainentrance.

TheSirDavidDurhamroomisfoundtoyourleftatthetopofthemainstaircase.

MedleyHall48DrummondStCarltonVIC3053

Getting to Medley Hall Melbourne’spublictransportjourneyplannercanbefoundat:http://ptv.vic.gov.au/

MedleyHallisclosetoSwanstonSt,thecentralstreetoftheinnercity.Catchanyofthemany trams going to “Melbourne University” and alight at stop 4 on the corner ofQueensberry St and Swanston St. Walk east down Queensberry St and turn right atDrummondSt.

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From the airport The20-minuteSkybusisthecheapestandmostfrequentformoftransportationintothecityfromTullamarineAirportatastinging$18.TheSkybusdepositsyouatSouthernCrossStationfromwhereyoucantakeanytramupBourkeStorCollinsSttoSwanstonSt.

Registration Come and say hi in the hallway of Benvenuta from 8:30am onMonday 30 November.We’llgiveyouabadge,whichmustbekeptwithyoutogainentryintothebuilding.

Inordertokeepclasssizesequal,youwillalsobegivenatokenforstreamAorBwhenyou register. Both streams receive the same lectures at different times and rotatebetween the two lecture rooms from day to day. This way everyone should have acomparableexperience.Ifyouhaveapreferenceforaparticularstream,feelfreetoswap.

Can’t get in? The front doors will be locked from 10am and unlocked shortly before classesrecommence after lunch. If you find the doors are locked, first try knocking. If nobodyhearsyou,callMatthewon

0403249417

Thereisanintercomtothecentralofficewhichmaybeusedasalastresort.

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Food and Amenities OnthenextpageyouwillfindamapofthequartersurroundingMedleyHallwithsomeconvenientstoresandrestaurantsmarkedout.Thismapcanbeaccessedonlineat:

https://www.google.com/maps/d/edit?mid=zooqWjlRDUe0.kfatU62RBj5g&usp=sharing

Coffee

Assembly: 60/62 Pelham St, Carlton. Filter coffee not enough? Good espresso is justaroundthecorneratAssembly.

MarketLane:176FaradaySt,Carlton.Abitmoreofa trek,buteasily thebestcoffee inMelbourne.

Lunch

TryanyplaceonLygonSt,butwecansuggest:

ILoveIstanbul:95LygonSt,CarltonVIC.Notbadforaquickborek.

Sonido: 69 Gertrude St, Fitzroy VIC. The restaurant of choice for Medley tutor Alex.DeliciousColombianarepasplusyougettowalkthroughtheExhibitionGardens.

TankFishandChips:149-151LygonSt,Carlton.Fishandchipstakenmoreseriouslythanisappropriate.

YingThai2:110LygonSt,Carlton.Thestudentsensation.

AfterSchool

HeartAttackandVine:329LygonSt,Carlton.RelaxafterclasswithanaperitivoandsomeItaliancicchetti(fingerfood).

Dinner

Kaprica: 19 Lincoln Square S, Carlton. The scene for our summer school dinner onThursdaynight.Ifyouhaven’tregistereditisstillworthgettingsomefellowmusicanalyststogetherandpayingavisit!

Supermarkets

IGAX-Press:103/107LygonSt,Carlton.

Woolworths:LygonCourt,368-380LygonStreet,Carlton.

Chemist

Demarte’sAmcalChemist:LygonCourt,368-380LygonStreet,Carlton.

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1

Richard Cohn: Meter Preparation instructions

MelbourneMusicAnalysisSummerSchool3-DayShortCourseonMeter30November-2December

RichardCohn,

BattellProfessorMusicTheory,YaleUniversityProfessorofMusicology,SydneyConservatoriumofMusic

Theremainderofthisdocumentcontainsa32-pageintroductiontothe theory of meter. If your time is limited, I recommendgiving priority to section 2 (DefiningMeter, pages 7 - 14) andsection 5 (Classifying and RepresentingMeter, pages 21 - 26).Followingthepresentation,IappendsomematerialfromabookbyLerdahl& Jackendoff,which elaborates oneof thepoints insection2.

Ifyouhavetimetoexaminesomescoreexcerptsbeforeourfirstmeeting on 30 November, here is a list of ones that we willcertainlystudytogether,inroughlytheorderthattheyaremostlikely to be presented across the three days. All of these areeasilyavailableonlinethroughIMSLP.

1. Dvorak Slavonic Dance, C major, Op. 46 no, 1 (Orchestraversionbest),first83bars.

2.Fauré,PianoQuartetno.1,Opus15,secondmovement,pages25-27 of the IMSLP- mounted "piano score," ending at the Ebmajorcadence.

3. Smetana, "Die Moldau," up through the first entry of thefamiliarmelody.4. Schumann, Symphonyno.3, 1stmovement,first twentybars.5.Brahms Intermezzo,Op.76no. 6,Amajor,firsteightbars.

6.Schumann,FantasieforPiano,Op.17,bars42through61.

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Bibliography Some Writings on Musical Meter

Compiled by Richard Cohn, Nov. 2015 Music Analysis Summer School, Melbourne

General Writings on Meter

Hasty, Christopher. Meter as rhythm. Oxford University Press, 1997. Lerdahl, Fred, and Ray Jackendoff. A generative theory of tonal music.

MIT press, 1985. London, Justin. Hearing in time: Psychological aspects of musical

meter. Oxford University Press, 2012. Schachter, Carl. "Aspects of Meter." In Schachter, Carl. Unfoldings.

Oxford University Press, 1998. Yeston, Maury. "The stratification of musical rhythm." Yale University

Press (1976).

Bach through Beethoven

Cohn, Richard."Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven's Ninth Symphony." 19th-Century Music 15.3 (1992).

Grant, Roger Mathew. Beating Time and Measuring Music in the Early

Modern Era. Oxford University Press, 2014.

Imbrie, Andrew. "'Extra'Measures and Metrical Ambiguity in Beethoven." Beethoven Studies 1 (1973): 45-66.

Mirka, Danuta. Metric manipulations in Haydn and Mozart: Chamber

music for strings, 1787-1791. Oxford University Press Rothstein, William. National metrical types in music of the eighteenth and

early nineteenth centuries. In: Danuta Mirka and Kofi Agawu, Communication in 18th-Century Music, Cambridge University Press.

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Temperley, David. "Hypermetrical Transitions." Music Theory Spectrum 30.2 (2008): 305-325.

Willner, Channan. Metrical Displacement and Metrically Dissonant

Hemiolas. Journal of Music Theory 57 (2013).

Schubert through Brahms

Cohn, Richard. “Complex Hemiolas, Ski-Hill Graphs, and Metric Spaces,”

Music Analysis 20.3 (October 2001), pp. 295-326 Krebs, Harald. Fantasy pieces: Metrical dissonance in the music of

Robert Schumann. Oxford University Press, 1999. Kurth, Richard. "On the Subject of Schubert's" Unfinished"

Symphony:" Was bedeutet die Bewegung?"." Nineteenth-Century Music (1999): 3-32.

Lewin, David. "On Harmony and Meter in Brahms's op. 76, no. 8."

Nineteenth-Century Music (1981): 261-265. Malin, Yonatan. Songs in Motion: Rhythm and Meter in the German

Lied. Oxford University Press, 2010. Murphy, Scott. "On Metre in the Rondo of Brahms’s Op. 25." Music

Analysis 26.3 (2007): 323-353. Murphy, Scott. "Metric Cubes in Some Music of Brahms." Journal of

Music Theory 53.1 (2009): 1-56.

Schoenberg through Reich

Cohn, Richard. "Pitch-Time Analogies and Transformations in Bartók’s

Sonata for Two Pianos and Percussion." Music Theory and Mathematics: Chords, Collections, and Transformations (2008): 49-71.

Roeder, John. "Interacting Pulse Streams in Schoenberg's Atonal

Polyphony." Music Theory Spectrum 16.2 (1994): 231-249.

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Roeder, John. "Beat-class modulation in Steve Reich's music." Music Theory Spectrum 25.2 (2003): 275-304.

Van den Toorn, Pieter C. "Stravinsky Re-Barred." Music Analysis (1988):

165-195.

Popular Music, Jazz, World Music Butler, Mark Jonathan. Unlocking the groove: Rhythm, meter, and

musical design in electronic dance music. Indiana University Press, 2006.

Clayton, Martin. Time in Indian Music: Rhythm, Metre, and Form in

North Indian Rag Performance. Oxford University Press, 2001. Danielsen, Anne. Presence and pleasure: The funk grooves of James

Brown and Parliament. Wesleyan University Press, 2006. Folio, Cynthia. "An analysis of polyrhythm in selected improvised jazz

solos." Concert music, rock, and jazz since (1945): 103-134. Pressing, Jeff. "Cognitive isomorphisms between pitch and rhythm in

world musics: West Africa, the Balkans and Western tonality." Studies in Music 17 (1983): 38-61.

Rahn, Jay. "Turning the analysis around: Africa-derived rhythms and Europe-

derived music theory." Black Music Research Journal (1996): 71-89.

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David Larkin: Sonata Deformation Preparation Instructions Introduction

In the last few decades, there has been a revival of serious analytical engagement with structural archetypes such as sonata form. Sonata Theory, the work of James Hepokoski and Warren Darcy, has been at the forefront of what has been called the ‘new Formenlehre’ movement. As they conceive sonata form, it is a set of norms and more-or-less frequently encountered default procedures derived from a body of influential late eighteenth-century works; individual compositions are seen to be engaged in dialogue with this past repertory (and eventually, with theoretical models of the form).

One of the more stimulating, and at the same time, more controversial ideas associated with Sonata Theory is sonata deformation. Both the name and the associated concept have been subjected to critique, but it has quickly gained popularity as a way of studying works which engage with some aspects of sonata form but which in other respects diverge markedly from normative procedures.

Over the course of the two lectures on this topic I will present an outline of Sonata Theory before turning to the issue of sonata deformation, which will be explored as a theoretical concept and as a practical tool for helping the analyst to engage meaningfully with a range of nineteenth-century works. The work of Hepokoski and Darcy will be contextualised by considering the responses to and applications of their ideas by theorists/analysts such as Julian Horton, Paul Wingfield, Steven Vande Moortele and Seth Monahan.

Preparation

Read:

Hepokoski, James & Warren Darcy. Elements of Sonata Theory: Norms, Types and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford UP, 2006 Chapter 2: ‘Sonata Form as a Whole: Foundational Considerations’: 14-22

Hepokoski, James. Sibelius: Symphony no. 5. Cambridge Music Handbooks. Cambridge: Cambridge UP, 1993 Introduction: 1-9

Works to be explored

Wagner, Overture to Tannhäuser (1845 ‘Dresden’ version)

Schumann, Fantasy in C, Op. 17, first movement (1839)

Strauss, Don Juan (1889)

The two short assigned readings are designed to give participants the opportunity to familiarise themselves with the terminology used by Hepokoski and Darcy to analyse the so-called ‘Type 3’ sonata, and to learn about some of the major types of structural deformation. The works chosen are all substantial in length, so to get the most from these classes it would be advisable to have listened to these a number of times, and to have given consideration to how they might (and might not) fit with different aspects of sonata form.

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Bibliography Sonata Deformation

David Larkin (University of Sydney)

Adorno, Theodor W. ‘On the Problem of Musical Analysis’, trans. Max Paddison. Music Analysis Vol. 1/2 (July 1982): 169-187

Bonds, Mark Evan. Wordless Rhetoric: Musical form and the metaphor of the oration. Cambridge MA: Harvard UP, 1991

______. ‘The Spatial Representation of Musical Form’. The Journal of Musicology Vol. 27/3 (2010): 265-303

Buhler, James. ‘ “Breakthrough” as Critique of Form: The Finale of Mahler’s First Symphony’. 19th-Century Music Vol. 20/2 (Autumn 1996): 125-143

Burnham, Scott. Aesthetics, theory and history in the works of Adolf Bernhard Marx. PhD diss.: Brandeis University, 1988

______. ‘The Role of Sonata Form in A. B. Marx’s Theory of Form’. Journal of Music Theory Vol. 33 (1989): 247–71

______. ‘Form’. In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 880-906. Cambridge: Cambridge UP, 2002

Caplin, William. Classical Form: A Theory of Formal Functions in the Instrumental Music of Haydn, Mozart and Beethoven. Oxford: Oxford UP, 1998

Caplin, William E., James Hepokoski & James Webster. Musical Form, Forms and Formenlehre: Three Methodological Reflections, ed. Pieter Bergé. Leuven: Leuven UP, 2009

Darcy, Warren. ‘Bruckner’s sonata deformations’. In Bruckner Studies, ed. Timothy L. Jackson & Paul Hawkshaw, 256-277. Cambridge: Cambridge UP, 1997

______. ‘Rotational form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler’s Sixth Symphony.’ 19th-Century Music Vol. 25/1 (Summer 2001): 49-74

Harper-Scott, J. P. E. ‘Elgar’s Invention of the Human: Falstaff, Op. 68. 19th-Century Music Vol. 28/3 (2005): 230-253

Hepokoski, James. ‘Fiery-pulsed libertine or domestic hero? Strauss’s Don Juan reinvestigated.’ In Richard Strauss: New Perspectives on the Composer and His Music, ed. Bryan Gilliam, 135-176. Durham: Duke UP, 1992

______. Sibelius: Symphony no. 5. Cambridge Music Handbooks. Cambridge: Cambridge UP, 1993

______. ‘Back and forth from Egmont: Beethoven, Mozart and the Nonresolving Recapitulation’. 19th-Century Music Vol. 24/2-3 (Fall/Spring 2001-02): 127-154

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______. ‘Beyond the Sonata Principle’. Journal of the American Musicological Society Vol. 55/1 (Spring 2002): 91-154

______. ‘Framing Till Eulenspiegel.’ 19th-Century Music Vol. 30/1 (2006): 4-43

Hepokoski, James & Warren Darcy. ‘The Medial caesura and Its Role in the Eighteenth-Century Sonata Exposition’. Music Theory Spectrum Vol. 19 (1997): 115-54

______. Elements of Sonata Theory: Norms, Types and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford UP, 2006

Horton, Julian. Bruckner’s Symphonies: analysis, reception and cultural politics. Cambridge: Cambridge UP, 2004

______. ‘Bruckner’s Symphonies and Sonata Deformation Theory’. Journal of the Society of Musicology in Ireland Vol. 1(2005): 5-17

______. ‘John Field and the alternative history of concerto first-movement form’. Music and Letters Vol. 92/1 (2011): 43-83

Horton, Julian & Wingfield, Paul. ‘Between Tradition and Innovation: Norm and Deformation in Mendelssohn’s Sonata Forms’. In Mendelssohn Perspectives, ed. Nicole Grimes & Angela Mace, 83-112. Farnham: Ashgate, 2012

Kaplan, Richard. ‘Sonata Form in the Orchestral Works of Franz Liszt: The Revolutionary Reconsidered’. 19th-Century Music Vol. 8/2 (Autumn 1984): 142-152

Marston, Nicholas. Schumann: Fantasie, Op. 17. Cambridge Music Handbooks. Cambridge: Cambridge UP, 1992

Marx, Adolf Bernhard. Musical Form in the Age of Beethoven: Selected Writings on Theory and Method ed. & trans. Scott Burnham. Cambridge: Cambridge UP, 1997

Monahan, Seth. ‘Success and Failure in Mahler’s Sonata Forms.’ Music Theory Spectrum Vol. 33/1 (Spring 2011): 37-58

______. ‘ “Inescapable” Coherence and the Failure of the Novel-Symphony in the Finale of Mahler’s Sixth.’ 19th-Century Music Vol. 31/1 (Summer 2007): 53-95

______. Mahler’s Symphonic Sonatas. Oxford: Oxford UP, 2015

Ratner, Leonard. Classic music: expression, form, and style. New York: Schirmer, 1980

______. ‘Harmonic Aspects of Classic Form’. Journal of the American Musicological Society Vol. 2/3 (Autumn1949): 159-168

Riley, Matthew. ‘Sonata Principles’. Music and Letters Vol. 89/4 (2008): 590-598

Rosen, Charles. Sonata Forms. Rev ed. New York: Norton, 1988

Schmalfeldt, Janet. In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford: Oxford UP, 2011

Taruskin, Richard. ‘Review: Speed Bumps’. 19th-Century Music Vol. 29/2 (2005): 185-207

Vande Moortele, Steven. ‘Form, Program, and Deformation in Liszt’s Hamlet. Dutch Journal of Music Theory Vol. 11 (2006): 71-82

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______. ‘Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form’. Current Musicology No. 86 (Fall 2008): 41-62

______. Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental works by Liszt, Strauss, Schoenberg, and Zemlinsky. Leuven: Leuven University Press, 2009

______. ‘Form, Narrative and Intertextuality in Wagner’s Overture to Der fliegende Holländer.’ Music Analysis Vol. 32/1 (2013): 46-79

______. ‘In Search of Romantic Form’. Music Analysis Vol. 32/3 (2013): 404-431

Wingfield, Paul. ‘Beyond “Norms and Deformations”: Towards a Theory of Sonata Form as Reception History’. Music Analysis Vol. 27/1 (2008): 137-177

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Martin Greet: Schenkerian Analysis Suggested Reading Allen Forte and Steven Gilbert. Introduction to Schenkerian Analysis. Chapters 7–13. New York: Norton,

1982.

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Alistair Noble: Post-Tonal Analysis Bibliography Babbitt, Milton. Words about Music. Ed. Stephen Dembski and Joseph N Strauss (Madison,

Wisconsin: University of Wisconsin Press, 1987).

____________The Collected Essays of Milton Babbitt. (Princeton University Press: 2003).

____________(1955). "Some Aspects of Twelve-Tone Composition". The Score and I.M.A. Magazine 12:53–61.

____________(1958). "Who Cares if You Listen?". High Fidelity (February).

____________(1960). "Twelve-Tone Invariants as Compositional Determinants," Musical Quarterly 46/2.

____________(1961). "Set Structure as Compositional Determinant," Journal of Music Theory 5/1.

Bailey, Kathryn. 1991. The Twelve-Note Music of Anton Webern. Cambridge: Cambridge University Press.

Bourdieu, Pierre. ‘The Field of Cultural Production, or: The Economic World Reversed’ [1983] in The Field Of Cultural Production: Essays on Art and Literature Ed. Randal Johnson (Columbia University Press: 1993).

Cage, John. Silence: Lectures and Writings by John Cage (Wesleyan University Press, 1961).

________. A Year From Monday (Middletown, Conn.: Wesleyan University Press: 1969).

Cage, John and Morton Feldman. Radio Happenings: Conversations—Gespräche Tr. Gisela Gronemeyer (Köln: MusikTexte, 1993).

Cook, Nicholas and Mark Everist (eds.), Rethinking Music (Oxford University Press, 1999)

Feldman, Morton. Give My Regards to Eighth Street: Collected Writings of Morton Feldman. Ed. by B.H. Friedman (Exact Change, 2000).

______________Morton Feldman Says: Selected Interviews and Lectures 1964-1987. Ed Chris Villars (London: Hyphen Press, 2006).

Forte, Allen. 1973.The Structure of Atonal Music. New Haven: Yale University Press.

Guck, Marion. ‘Analytical Fictions’ in Music Theory Spectrum, 16/2 (Autumn 1994) 217–230.

Hanninen, Dora. ‘Feldman, Analysis, Experience’ in Twentieth-Century Music 1/2 (2004) 225–251.

Hasty, Christopher. ‘Segmentation and Process in Post-Tonal music’ Music Theory Spectrum 3 (Spring 1981) 54–73.

Howat, Roy. Debussy in Proportion: A Musical Analysis (Cambridge University Press, 1983).

Johnson, Steven. ‘Jasper Johns and Morton Feldman: What Patterns?’ in The New York Schools of Music and the Visual Arts. Ed. Steven Johnson (New York, London: Routledge, 2002).

Messiaen, Olivier. 1944. Technique de mon langage musical. Paris: Leduc.

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Morris, Robert. 1987. Composition with Pitch Classes. New Haven: Yale University Press.

___________. 2001. Class Notes for Atonal Theory. Lebanon, NH: Frog Peak.

Perle, George. 1962/1991. Serial Composition and Atonality, 6th ed. rev. Berkeley: University of California Press.

Schuijer, Michiel. 2008. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. Rochester: University of Rochester Press.

Straus, Joseph N. 2005. Introduction to Post-Tonal Theory, 3rd ed. Englewood Cliffs, NJ: Pearson-Prentice Hall.

____________. 2001.Stravinsky's Late Music. New York: Cambridge University Press.

_____________. 2009.Twelve-Tone Music in America. New York: Cambridge University Press.

____________. 1991. ‘A primer for atonal set theory’ in College music symposium (Vol. XXXI) 1-26.

____________. 1982. ‘Stravinsky’s Tonal Axis’ in Journal of Music Theory (26/2) 261–90.

Schechner, Richard. Performance Theory, (Routledge, 2005). Originally published as Essays on Performance Theory (Ralph Pine, 1977).

Tomlinson, Gary. ‘The Web of Culture: A Context for Musicology’ Nineteenth Century Music 7/3 (April 1984) 350–62.

Varèse, Edgard. ‘The Liberation of Sound’ in Contemporary Composers On Contemporary Music. Ed. Elliott Schwartz & Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967).

___________‘New Instruments and New Music’ in Contemporary Composers on Contemporary Music. Ed. Elliott Schwartz and Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967).

___________‘Rhythm, Form, Content’ [1959] in Contemporary Composers on Contemporary Music. Ed. Elliott Schwartz and Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967).

Wolpe, Stefan. ‘Thinking Twice’ in Contemporary Composers On Contemporary Music. Ed. Elliott Schwartz & Barney Childs (New York, Chicago & San Francisco: Holt, Rinehart and Winston, 1967).

___________‘Thoughts on Pitch and Some Considerations Connected with It’ Ed. Austin Clarkson, Perspectives of New Music, 17/2, (1979) 28–57. [Text of a talk given at Black Mountain College, August 1952.]

___________‘On New (and not-so-new) Music in America’ [Darmstadt, 1956] Tr. Austin Clarkson in Journal of Music Theory 28/1 (1984) 1–45.

___________‘On Proportions’ [1960] Tr. Matthew Greenbaum in Perspectives of New Music 34/2 (Summer 1996) 132–184. [Lecture given at Darmstadt, July 1960].

Some Music

Witold Lutoslawski, Symphony No.3

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Moya Henderson, Prelude No.1

Rohan Phillips, Transit 1-6

Morton Feldman, Intermissions 5 & 6

_____________, Intersection 3

_____________, Piano Piece 1952

Igor Stravinsky, late serial works

And a few pieces by:

Lin Chi-wei

Wang Fujui

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Alan Davison: Schubert/Liszt Essential Listening

Liszt, Sonata in B minor (S.178)

IMSLP: First edition, Leipzig: Breitkopf und Härtel, 1854

Schubert, Fantasie in C major (D. 760)

IMSLP: Leipzig: Breitkopf & Härtel, 1888

Highly Recommended Reading: Cohn, Richard L. "As Wonderful as Star Clusters: Instruments for Gazing at Tonality in

Schubert." Nineteenth-Century Music (1999): 213-232. Dunsby, Jonathan. "Adorno's Image of Schubert's Wanderer Fantasy Multiplied by

Ten." 19th-Century Music 29, no. 1 (2005): 042-048. Wingfield, Paul. "Beyond ‘Norms and Deformations’: Towards a Theory of Sonata Form

as Reception History." Music Analysis 27, no. 1 (2008): 137-177. Moortele, Steven Vande. Two-Dimensional Sonata Form: Form and cycle in single-

movement instrumental works by Liszt, Strauss, Schoenberg, and Zemlinsky. Leuven University Press, 2009. [ch 1 & 2]

Suggested Reading: Moortele, Steven Vande. "Beyond Sonata Deformation: Liszt's Symphonic Poem Tasso

and the Concept of Two-Dimensional Sonata Form." Current Musicology 86 (2008): 41-62.

Hamilton, Kenneth. Liszt: Sonata in B minor. Cambridge University Press, 1996.

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Elliott Gyger: Analysis and Composition Suggested reading Frisk, H. & Östersjö, S. (2006). Negotiating the Musical Work: An Empirical Study.

Conference paper, International Computer Music Conference. http://www.henrikfrisk.com/documents/articles/NegotiateEMS/html/ NegotiateEMS.html

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Michael Hooper: Performance Analysis Analysing Performance

This lecture will analyse performance from several directions. Each has an extensive literature, and so the following texts are a good place to start.

Sonic Visualizer resources:

• http://www.sonicvisualiser.org • http://www.charm.rhul.ac.uk/analysing/p9_1.html • http://charm.cchcdn.net/redist/pdf/analysing_recordings.pdf

There are many studies of an empirical nature, of which the following two are a good place to start:

• Dorottya Fabian and Alistair Sung (2011), ‘Variety in Performance: A comparative Analysis of Recorded Performances of Bach’s Sixth Suite for Solo Cello from 1961 to 1998’, Empirical Musicology Review, 6/1, 20-42.

• Dorottya Fabian and Eitan Ornoy (2009) “Identity in Violin Playing on Records: Interpretation Profiles in Recordings of Solo Bach by Early Twentieth-Century Violinists,” Performance Practice Review: Vol. 14: No. 1, Article 3.

Some challenges to performance that go to the heart of some of the problems of analysing performance:

• Marc Battier (2015). ‘Describe, Transcribe, Notate: Prospects and problems facing electroacoustic music’, Organised Sound, 20, 60-67.

• Jason Stayek (2014), ‘Forum on Transcription’, Twentieth-Century Music, 11/1, March, pp. 101-161.

• Hollis Taylor (2008), “Decoding the Song of the Pied Butcherbird: An Initial Survey.” Transcultural Music Review 12, 1-30. [Taylor’s recent writings on birdsong are also worth reading, but this is a good place to start.]

The challenges of analyzing performance that we will cover can be usefully theorized through the following:

• Dora Hanninen (2012) A Theory of Music Analysis: on segmentation and associative organization (University of Rochester Press).

• Dora Hanninen (2001), ‘Orientations, Criteria, Segments: A General Theory of Segmentation for Music Analysis’, Journal of Music Theory, Vol. 45, No. 2, pp. 345-433. [This is a shorter introduction, replaced by the book, but worth reading.]

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•

Acknowledgements MMASSpatron

DrMichaelHannan

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The Melbourne Music Analysis Summer School Acknowledges the generous support of the Musicological Society of Australia, Medley Hall, and the Sydney Conservatorium of Music.