Mu 8101 Graduate Music Theory
Dr. Justin Rubin
Class Sessions: Wednesday, 4:30-6:10 PM
Office: Bohannon 25A
Office Phone: 726-8218       E-mail: jrubin1@d.umn.edu

Scores:

Schubert, Franz. Complete Sonatas for Pianoforte
Dover Publications; ISBN: 0-486-22647-6

Debussy, Claude. The Great Orchestral Works in Full Score
Dover Publications; ISBN: 0486244415

Webern, Anton. 6 Bagatellen für Strichquartett
Universal Edition, Vienna: Philharmonia No.420

Course Objectives:

                    As a result of this course, students will gain:

        1.Knowledge of a sampling works of music by significant composers; ability to discuss and describe how they were constructed.

        2.An understanding of the diverse tools composers have used to facilitate their creativity.

        3.The ability to discern what established theoretical perspectives and methods

are most appropriate for the study and evaluation of certain types of music.

        4.The ability to discuss/respond to music theory topics in a lucid manner appropriate to a masters level student.

 

Attendance:

It is mandatory for each student to attend every class.   Failure to do so will result in a lowered grade.

 

Office Hours:

I will be in my office for any questions concerning the class, assignments, etc., as posted on my door (subject to change without notice).

Grading:

Two exams and one paper/analysis (each calculated equally at 1/3 of the final grade).

Topics:

Analytical studies of representative musical compositions.   Students will consider some of the ways that compositions can be constructed through a sampling of different approaches to the handling of musical materials and their development.

I Tonal Theory Approaches to the Common Practice :

•  Rameau: the vertical perspective of harmonic organization.

•  Schenker: the structural function of harmony and the hierarchy of sonorities.

II Harmonic Development beyond the Common Practice of Structural Functions :

•  Non-functional tonal harmony.

•  New forms that arose from Post-Romantic concepts.

III Fundamentals of Post-Tonal Theory