Author: Keith Kothman
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(musicTheory2) Assignment: Ch. 25, Analysis Project 1
Note: Ch. 25, Project 2 will be an in-class assignment for 4/23 and 4/25. You need to bring your workbook and be in class BOTH DAYS to receive credit. Due Wednesday: Wkbk: Ch. 25, 1 (pp. 233 – 235) Listen Important instructions (from the Workbook): Make a voice-leading reduction Provide a Roman numeral analysis Comment…
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(musicTheory2) Analysis of Rondo Form, Listening Link
OK, my bad… Listen to Beethoven, Piano Sonata No. 8 in C Minor, Op. 13, III (this really is a link) I also fixed it in the original assignment post. Now I’ve fixed here, Now I’ve fixed it there, Now I’ve fixed it everywhere. I wonder if Dr. Seuss Enterprises will get litigious all over…
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(musicTheory2) Assignment: Ch. 24, Analysis of Rondo Form
Wkbk: pp. 222 – 232 Beethoven: Piano Sonata No. 8 in C Minor (“Pathetique”), Op. 13, III (Listen) Your analysis should include the following: A Roman numeral harmonic analysis of mm. 1 – 17. (you need the practice) A voice-leading reduction of mm. 1 – 17. (ditto) An analysis of the movement’s sectional and overall…
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(compMus1) Quiz 3 Review
Thursday’s review was based entirely on past posts (and assigned readings). Here are the links again. Ignore them at your own peril. Listening List 3 Analog Synthesis Readings Intro to Analog Synthesis More Analog Synthesis, LFO’s and Filters Modulation Synthesis
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(musicTheory2) Assignment: Ch. 24, Analysis of Two-Reprise Form
Due Monday, 4/16: Wkbk pp. 208 – 209, Beethoven, Piano Sonata in D Major, Op. 28, III, up to, but not including the Trio. Listen to the sonata. Keep in mind a few things: Although there are not repeat signs around the first 32 measures, compare mm. 1 – 16 and 17 – 32 and…
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(musicTheory2) Lecture Notes: Ch. 24, Analysis
A musical analysis of a piece should provide insight into how a particular piece of music works. Gauldin talks about the interaction of Formal Design and Tonal Structure as being essential to analysis. Another way to understand analysis is to find interactions between between different musical and structural elements, the small-scale event and the large-scale…
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(compMus1) Grades and Project Evaluations
All of your grades are available online at <my.bsu.edu>. (You have to login, and you can only view your own grades.) Also at <my.bsu.edu> are evaluations for your second creative project. Look for your evaluation in your Digital Dropbox, in the Tools section of the site. Remember that Tuesday we’ll have a quiz over analog…
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(musicTheory2) Lecture Notes: Ch. 24, One-Part and Binary Form
Terms and concepts covered from Chapter 24, so far: content and form formal design and tonal structure one-part form binary forms (two-reprise forms) Content refers to the specific compositional elements present in a composition. Form is the organization of content. Formal Design refers to sectional divisions, the relationship of themes and motives to each other,…
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(musicTheory2) Assignment: Ch. 24, Analysis of One-Part Form
Wkbk, Ch. 24, number 1 (205 – 207), Bach Prelude in F Major from Clavierbuchlein Audio Example Due Wednesday (4/11): Roman numeral analysis and reduction (two or three voices, depending on need). You will show me your work in class on Wednesday for credit. In class we will discuss how to produce a written comment,…
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(compMus1) Analog Synthesis/Reason Assignment
Due 4/17: Overview: Your third (and final project) is being divided into two parts. The first part, this assignment, deals with creating interesting synthesis patches. The second part will be to use your patches to create an interesting final composition, three minutes in length. For the composition, you will be able to use previously learned…