PITCH STRUCTURES 1 (FALL 2017)

MONDAYS AND WEDNESDAYS | 12:00–1:30 | BAIRD 327 Syllabus

BRIAN MOSELEY, PH.D.

OFFICE HOURS: IN BAIRD 418 ON M/W, 2:00–3:00, ON SLACK T/R, 3:00–4:00

“Pitch Structures 1” explores the analysis of “post-tonal music” written in the twentieth- and twenty-first
centuries. This music’s diversity is as profoundly challenging as it is satisfying, and as a response to its
distinctiveness, the course adopts a two-pronged approach.
First, it investigates general properties and potentialities of composition in an twelve-tone equal-tempered
universe. For the most part, these generalizations exist outside of a particular approach to composition
(serialism, minimalism, and so on) and thus allow us a way to describe a large body of unique music.
Second, the course develops students’s ability to creatively respond to this music in prose and presentation.
While the concepts we explore have general analytical applicability, they are not a “theory” of the music
and do not represent an analytical system, per se. In the course of the semester, significant attention is paid
to the application of these concepts as needed to forge an interpretation of the music at hand.

REQUIRED MATERIALS

Joseph N. Straus, Introduction to Post-Tonal Theory, 4th ed. (New York: Norton, 2016). Available online.
A free Slack account. Students will receive an email invitation sent to their UB email on the first day of
class.

COURSE REQUIREMENTS

1. Active participation in class activities and discussions—including asking and answering questions, and
constructively responding to other students.
2. Weekly readings and exercises, mostly from Joseph Straus’s Introduction to Post-tonal Theory.
3. Three polished analytical essay assignments, a maximum of three pages in length.
4. A midterm exam.
5. A final paper with musical examples, 10–20 pages in length (not including musical examples). A topic
is due by November 8. A draft is due by December 4 and will be read and returned with comments by
December 8. Final submissions are required by December 15.
ASSESSMENT AND GRADING

I will provide feedback on each assignment, essay, and presentation. In a written reflection at midterm and
the course’s end, students will suggest a grade for the course based on their performance on the
requirement’s listed above. For the most part, students receive the grade they ask for, barring excessive
absence, poor preparation, incomplete work, or unsatisfactory assignments. Students must complete the
final paper, three analytical essays, and midterm exam to pass the course.
To provide a context for those grades, my expectations are as follows:
A represents the highest level of engagement on all readings, assignments, essays, and presentations;
outstanding participation in discussion; and evidence of deep learning.
B represents a high level of engagement on all readings, assignments, essays, and presentations; above-
average level of participation in discussions; and moderate evidence of deep learning.
C represents a moderate level of engagement on all readings, assignments, essays, and presentations;
average participation in discussions; and some evidence of deep learning.
D represents a satisfactory completion of readings, assignments, essays, and presentations.

POLICIES

For university policies relevant to this course, please see this page: http://grad.buffalo.edu/Academics/
Policies-Procedures.html

ABOUT THIS SYLLABUS

This syllabus is a course summary and a reminder of some relevant university policies, not a contract. All
information (except for the general description at the top of this page) is subject to change, with sufficient
advanced notice provided by the instructor.
COURSE SCHEDULE

Assigned readings (excepting those from Straus) are available online in Slack. The readings,
exercises, and analyses are due on the day indicated.

READINGS (FROM STRAUS’ INTRODUCTION

TOPICS AND DATES ANALYSIS EXERCISES, FROM STRAUS' INTRODUCTION
UNLESS OTHERWISE NOTED)

Pitch and Interval

Chapter 1
August 28
Crawford Seeger, Diaphonic 1.1(all) and 2(b); II(all); III(all); IV.1(all) and
August 30 Suite No. 1 1.1–1.10 (inclusive) 2(all)

September 4 Labor Day - No Class

V.I(all) and 2(a,b); VI.1(a-b) and 2(all); VII.

September 6 Saariaho, NoaNoa 1.11–1.13 and Model Analysis 1.1 and 1.2 1(a-b) and 2; VIII(all); XI(all)

Pitch-Class Sets Chapter 2

September 11 Carter, Riconoscenza 2.1–2.3 I(all); II(all)

Webern, Concerto for Nine

September 13 Instruments 2.4–2.5 III(all); IV(all)

Babbitt, Semi-Simple
September 18 Variations 2.6–2.9 and Model Analysis 2.1 and 2.2 V(all); VI (all)

September 20 Stravinsky, Three Pieces Lewin (1977)

 READINGS (FROM STRAUS’ INTRODUCTION
TOPICS AND DATES ANALYSIS EXERCISES, FROM STRAUS' INTRODUCTION
UNLESS OTHERWISE NOTED)

Additional Properties
and Relationships Chapter 3

September 25 3.1–3.5 I(all); II(all); III(all)

Stravinsky, Agon, “Bransle

September 27 Gay” 3.6–3.8 and Model Analysis 3.1 and 3.2 IV(all); V(all); VI.1(a,c) and 2(a, b, or c)

October 2 Crumb, Vox Balaenae 3.9 and Cohn (1988) VIII(all); IX.1(a), 2(all), 3(all)

Motive, Voice
Leading, Harmony

October 4 Ligeti, Étude 11 4.1–4.2 and Alegant and McLean (2001) VII.1(a,b) and 2(a,c)

October 9 Adès, The Tempest 4.3–4.4 and Straus (1997) Chapter 4

October 11 Bartók, String Quartet No. 3 Straus (2003) I(all); II(all)

October 16 Midterm

October 18 Carter, Scrivo in Vento 4.5–4.6 and Lewin (1982) III(all); IV(all)
October 23 Lutosławski, Funeral Music Model Analysis 4.1 and 4.2

Centricity and
Referential Pitch
Collections Chapter 5
 READINGS (FROM STRAUS’ INTRODUCTION
TOPICS AND DATES ANALYSIS EXERCISES, FROM STRAUS' INTRODUCTION
UNLESS OTHERWISE NOTED)

October 25 Schnittke, Hymnus II 5.1–5.3 I(all), II(not due, but start working on it)

October 30 Bartók, Mikrokosmos, no. 109 5.4–5.7 II.1(all)

November 1 Society for Music Theory Meeting in Arlington, VA - No Class

Maxwell Davies, Eight Songs

November 6 for a Mad King Tymoczko and Tymoczko 2011 II.2, 3, and 4

November 8 Tower, “Vast Antique Cubes” Model Analysis 5.1 and 5.2 Final Paper Topic Due

November 13
Basic Concepts of
Twelve-Tone Music Chapter 6

November 13 6.1–6.2 I(all, but use series form (b) for 1 and 3)

November 15 Schoenberg, Suite for Piano 6.3–6.4 II.1(all, but use only series form (b) for 1)

November 20 Beach 1976; Morris, Class Notes

November 22 Fall Break - No Class

November 27 Schoenberg, Suite for Piano 6.5.1 and III(all)

 READINGS (FROM STRAUS’ INTRODUCTION
TOPICS AND DATES ANALYSIS EXERCISES, FROM STRAUS' INTRODUCTION
UNLESS OTHERWISE NOTED)

November 29 Webern, Quartet, Op. 22 6.5.2 and IV(all); V(all)

December 4 Dallapiccola, Goethe Lieder 6.5.5 and Final Paper Draft Due

December 6 Babbitt, Du 6.5.3 and VI(all); VII(all)

December 11 Final Paper Due