Music 395—Worksheet 12
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Due Date: Thursday, December 6, 2001
Readings—
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Spencer & Temko, The Study of Form in Music
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Chapter 10, "Atypical Formal Organization," pp. 194-210
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The Music Forum, Vol. I
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Wm. Mitchell, “The Tristan Prelude,” pp. 162-163, 167-178, 202-203
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Beethoven, Symphony No. 5 in C minor (Norton Critical Score)
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Schenkerian Analysis
Bach, St. Matthew Passion, “Ich bin’s, ich sollte büssen” (Burkhart,
pp. 571-572—listed as "O Welt, ich muss dich lassen," version b)
Provide reduction analysis of both the Soprano and Bass lines of this Bach
chorale. Do your reduction in two stages. First, write out all the pitches
on a grand staff (Soprano in treble clef; Bass in bass clef) without stems
or rhythmic values. Use brackets to show different patterns that prolong
the structural pitches (SP, N, S, and so on). Second, once you have decided
which are the structural pitches in each phrase, write only the structural
pitches on another grand staff (Soprano in treble clef; Bass in bass clef).
Listen to a recording of this chorale (see Suggested Recordings below)
to double-check your work—if the notes you selected in your reduction don't
fit with the music, you probably need to rethink your analysis.
I. Working reduction
II. Structural Notes Only
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Score Analysis I
Beethoven, Symphony No. 5, mvmt. 2 (Norton Critical Edition score)
Using the score and a good recording (see Suggested Recordings below),
create an arch map that shows each major section in the second movement
of Beethoven’s Symphony No. 5 (don't worry about subdividing—focus only
on the largest sections). This movement is a bit tricky—it uses what is
sometimes called a “double” theme and variations form. There are two main
themes. Normally, both themes would be varied (separately) in this form,
but in this movement Beethoven varies one of the themes each time it appears,
yet the other theme returns more or less unchanged. To add to the confusion,
a few sections of this movement are neither theme nor variation! Add measure
numbers to show where each section begins and ends. Label each section
to show whether it is related to Theme 1, Theme 2, or neither (a contrasting
section).
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Score Analysis II
Wagner, Tristan und Isolde, Prelude (Burkhart, pp. 348-355)
1) In his article (see reading list above),
Mitchell divides the Prelude into seven sections. Your first task is to
look carefully at these sections in Burkhart, listen to the music (see
Suggested Recordings below), and list structural phenomena that distinguish
these sections from each other,
1st section, mm. 1-17
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2nd section, mm. 17-24
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3rd section, mm. 24-45
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4th section, mm. 45-63
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5th section, mm. 63-74
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6th section, mm. 74-84
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7th section, mm. 84-94
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2) Mitchell labels eight leitmotives that
can be found in the Prelude:
A1 first appears
in m. 1-3; A2 in m. 2-3; B in m. 17-18;
C
in m. 25-26; D in m. 28-29;
E in m. 28-30 (RH);
F
in m. 36-37; and G in m. 63. Your next task is to comb through each
section of the prelude and list the leitmotives you find in each one. Look
carefully, and listen often—you may hear leitmotives that
are difficult to see. If you wish, make clips of the leitmotives themselves
to practice hearing them before you do this exercise. To provide some guidance,
I have indicated the number of motives that are clearly stated in each
section.
1st section, mm. 1-17 (2 motives)
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2nd section, mm. 17-24 (1 motive)
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3rd section, mm. 24-45 (5 motives)
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4th section, mm. 45-63 (4 motives)
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5th section, mm. 63-74 (2 motives)
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6th section, mm. 74-84 (3 motives)
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7th section, mm. 84-94 (4 motives)
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3) Use a letter of the alphabet to represent
each section of the Prelude on the time-line below. If two sections use
mostly the same leitmotives, both should be labeled with the same letter.
If two sections use mostly different motives, each should be labeled with
a different letter. Only
A, B, C, and D (with
or without primes!) will be needed to represent the structure in this way.
|___1-17___|___17-24___|___24-45___|___45-63___|___63-74___|___74-84___|___84-94___|
4) Look carefully at the structure you just
diagramed. Does this Prelude resemble any forms we have studied? If it
does, which one, and what principles of that form are at work in this piece?
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Suggested Recordings—
IH202
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CD2/29—Bach, St. Matthew Passion (look for "Ich bin's, ich sollte
büssen"—CD booklet is on Music History Reserve shelf; it's too fat
to fit in ring binder pouch!)
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CD1/37-42—Beethoven, Complete Symphonies (Gardiner)
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CD1/45—Wagner, Tristan und Isolde (track 1)
Created 11/26/01 by Mark Harbold—last updated 11/26/01.