Author: Keith Kothman
-
(musTh 212) Lecture Notes: Serialism after 1945 (in brief)
Some worthwhile things to remember from the discussion on Webern’s Op. 21 Symphonie, and some clues to helping you figure out Babbitt’s Semi-Simple Variations (useful for doing the homework). Webern serves as a model for many post-WWII composers, because his use of 12-tone serial composition points the way to using serialism as an organizing feature…
-
(musth 212) Assignment: Serialism after 1945, Babbitt
Due Wednesday, 4/2 (No late assignments accepted, as we’ll talk about this in class on Wednesday) Babbitt, Semi-Simple Variations, pp. 516- 519 (handout and recording in iLocker). You will need to read the explanation starting on p. 516, and continuing on p. 517 to answer some of the questions. It is especially necessary to understand…
-
(maxmsp) Assignment/Project: Pluggo
To formalize the next step… Due Friday, April 4: Turn your audio processing patch into a Pluggo™ plugin to be used inside of Digital Performer. You will turn in the following: the original Max/MSP version of your pluggo patcher. (not the original audio processor, but the modified version for pluggo, with the plugconfig and pp…
-
(musTh 212) Lecture Notes: Classical Serialism, 1
Classical serialism typically refers to the 12-tone composition technique developed by Schoenberg and his followers. The basic premise of the 12-tone system is the row, which is an ordered arrangement, or set, of pitch classes. Each pitch class occurs once, and only once. The row has four basic forms: Prime (P): the original ordered set…
-
(musTh 212) Assignment: Serialism, Ch. 10 (MODIFIED)
Due Monday, 3/31/08. Kostka, p. 215: Part A, #4 and #5. (Construct each matrix with P-0 as your top row.) Part B, #1(a,b) and #2(a,b). DO NOT DO 2B! “Analyze the row forms” means to label or tell me what row forms and transpositions have been used in the examples. The Webern distributes the row…
-
(musTh 212) Lecture Notes: Pitch-Class Sets Part 2, Prime Form and Set Classes
To follow up on pitch-class sets, previously talked about in Part 1: First, a clarification that may help you to better understand inversions of pitch-class sets in general. The easiest way to visualize the inversion of a pitch-class set is to start with the top pitch-class member (right-most) of the pitch-class set, and working your…
-
(musTh 212) Lecture Notes: Additional Clarification on Interval terms
I started posting this as a comment to Basic Concepts for Atonal Theory, but decided it needed its own life. Important additional comments/clarifications regarding interval terminology: Unordered and ordered pitch intervals are the same except that ordered pitch intervals include a + or – sign. Pitch-class intervals can never be larger than 11, since a…
-
(musTh 212) Listening/Reading Assignment: Classical Serialism
For class on Wednesday, 3/26/08: Read ch. 10 of the Kostka (“Classical Serialism”) Listen/Look at Webern’s “Wie bin ich froh”, pp. 482 – 484 of the Anthology. An mp3 recording (Wie bin ich froh.mp3) can be found in iLocker. Listen/Look at Schoenberg’s Op. 33a Piano Piece, starting on p. 430. This recording is available through…
-
(musTh 212) Assignment: Pitch-Class Set Analysis
Due Wednesday, 3/26/08 Complete the Pitch-Class guided analysis assignment (PitchClassAnalysis.pdf), found in my iLocker space. A recording of the piece (Webern5Movts-IV-Sehr langsam.mp3) is also there.