Music 395—Worksheet
1
Name:
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Due Date: Wednesday, February 11, 2004
Readings—
- Green, Form in Tonal Music
- Chapter 1: Introduction: Form, Shape, and Genre, pp. 1-5
- Chapter 2: Harmonic Structure of the Phrase, pp. 6-28
- Chapter 3: Melodic Structure of the Phrase, pp. 29-40
- Chapter 4: Development of the Phrase, pp. 41-49
- Chapter 5: Phrases in Combination, pp. 50-72
- Chapter 6: The Analytical Method: Small Forms, pp.. 73-97
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Score Analysis
Schubert, Erlkönig
(Burkhart Anthology)
A. Observing structural phenomena
Follow these steps as you begin your analysis .
- Listen to the music: first to become familiar with
it, and second to use your ear as an aid in analysis.
- Find each of the sections listed below.
- mm. 1-36
- mm. 36-57
- mm. 58-72
- mm. 73-86
- mm. 87-96
- mm. 97-116
- mm. 117-131
- mm. 131-end
- Compare these sections with each other. Which sections are most
similar to each other. Which differ the most? On which structural
phenomena (elements of music) do you base these decisions? (See partial
list below.) Explain.
- Which sections are tonally most stable? least stable? Explain.
- Which sections end conclusively? Which do not?
- Determine the structural function of each major section:
expository,
transitional,
developmental, or terminative.
- Make brief overall observations about the musical organization.
- Do the sections listed above make sense as important structural divisions, or are there places you would divide things up differently?
tonality
|
tempo
|
meter
|
rhythm
|
dynamics
|
|
density
|
timbre
|
register
|
texture
|
motive
|
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B. Describing phase relationships within structural units
Go into more detail with two of the sections you described above: mm.
58-72 and mm. 87-96.
- Describe the internal structure of these two major sections. For
each one, comment on the following items:
- Phrases—how many phrases?
- Cadences—what kind of cadence ends each phrase? Indicate the
end-point
of each cadence on the time-line below with a bracket that straddles
the line (—]—). Identify
cadence types with these abbreviations: authentic (AC), half (HC),
deceptive
(DC), or plagal (PC).
- Phrase structure—how many phrases? is it a period, phrase
group, or
double
period? explain!
- Modulation—what key does each section begin in? end in? are
there modulations in any phrases?
- Symmetry—are the phrases symmetrical or not? are there examples
of extension?
- Content—are phrase relationships parallel? contrasting? use
letters (a, b, a', etc.) to show phrase relationships on the time-line
below
mm. 58-72:
mm. 87-96:
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Time-Line
Structural Divisions (mm. 58-72)
Cadences:
|_58_|____|_60_|____|____|____|____|_65_|____|____|____|____|_70_|____|_72_|
Measure number:
Key:
Structural Divisions (mm. 87-96)
Cadences:
|_87_|____|____|_90_|____|____|____|____|_95_|_96_|
Measure number:
Key:
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Suggested Recordings—
Buehler Library
- CD recordings to accompany Stolba, Development of Western Music
Anthology, Vol. 2, CD3, track 4 (on RESERVE for Music 344)
Created 2/03/04 by Mark Harbold—last updated 2/04/04