Northern Arizona University
School of Music
Mus 603: Analytical Techniques
Summer Session II, 2004
Meets daily at 0730 for 3 credit hours

PROFESSOR: Kenneth R. Rumery
course site: (links to composer’s tools and this course)

COURSE PREREQUISITES: Graduate standing in music.

TEXTBOOK (Required): Charles Burkhart, Anthology for Musical Analysis, 5th ed. Other resources distributed in class or available on WWW. Sound recordings are available at Klein Library.

COURSE DESCRIPTION: Analysis is not a concise methodology but rather a collection of analytical techniques selected on a case by case basis to develop understandings about a particular work or body of works. Some techniques presented in this class focus on isolated aspects of a work while others strive for a perception of the whole. This course will present a variety of analytical techniques, discuss the formation of analytical goals and make suitable applications in a broad range of history period styles and genres.

The course integrates instructor lectures, class and group discussions and activities, text assignments, public presentations, written quizzes and a term project.

: The objectives of this course are to identify significant components in compositions and observe how these interact in time to produce musical structure and effect. Works will be approached on an ad hoc basic using appropriate concepts and tools. To accomplish this end, the class will
1. review traditional formal genres and processes
2. discuss parameters of music structure
3. present reductive techniques including those introduced by Schenker
4. present twelve-tone terminology and techniques
5. apply analytical techniques to a broad historical spectrum of literature
6. through analysis understand a composer’s thinking and intentions
7. use analysis as a tool in repertoire studies, interpretation of music, rehearsal planning, scholarship and research.

APPROACH: Course objectives will be met through analysis of examples and scores, criticism and listening to selected recordings, exams and semester projects. Each student will develop a semester project based on the analysis of a composition of his/her choice. The project is an application of analytical techniques in repertoire study, investigation of composition technique, analysis of a student’s own composition to demonstrate processes and effects, or the comparative/descriptive study of two or more compositions. Performance related analysis demonstrations are always appropriate. Semester projects will include a research paper and a 20 minute class presentation.

All students are expected to access web-based resources either in a computer lab or on personal equipment. This course is supported by a web site with links to resources used in this course. Some of these resources are available at Others can be found using search engines such as Google.

All students are expected to listen to recordings of scores under study and to use recordings in their presentations. Project teams will be used for mutual assistance,
shared work load and certain projects (to be announced). Roles of team members will be clarified as the term unfolds.


The semester project has two integrated components, a research paper and a presentation. Work will be based on an audio CD and a score chosen in consultation with the instructor. Duplication of compositions will be avoided.

: To show student's ability to analyze a composition and communicate his/her findings in a formal document and public presentation. You will be graded on your ability to organize, express and illustrate your thoughts. Start with a well conceived thesis statement. The body of your paper should support this thesis. End with a conclusion or summary that is consistent with the thesis and body of the paper.

Submitted Work Format: Submit a well organized machine produced paper (typewriter or computer) with well-integrated supporting material like scores, musical excerpts, diagrams, and charts. MLA style is required. The paper is due in class on the day you give your presentation.

Subject: An analysis must have specific objectives. A description of a work and its interrelated components is a good start. This can be used to develop an interpretation of a composition and to plan rehearsals. An analysis can also be used to closely examine and reveal interesting composing techniques. Ask yourself why you are analyzing a composition then convert your answer to a thesis statement. This could be used as an opportunity for a critical repertoire study of literature in your area of performance (solo, chamber, or large ensemble literature).

Presentation Length: twenty minutes.

Presentation Guidelines: Strive for a coherent and perceptive presentation of a composition. Use handouts or projections.

Rehearse the presentation to ensure that you will handle the equipment and resources efficiently and smoothly during the presentation. Use this rehearsal to pace your presentation so that it stays within limits. Warning: do not prompt responses from your audience until your presentation is complete.

Evaluation Form: about 25% of the semester grade, 100 points distributed as follows:

Presentation (45 pts):
[ ] efficiency, smoothness
[ ] quality of resources
[ ] content
Document (45 pts):
[ ] technical writing quality
[ ] organization [ ] quality of typing, graphics

[ ] Composite effect (10 pts)


The grade is based on tests quizzes , a semester projects and assignments. Letter grades are assigned as follows; A = 90-100%, B = 80-89%, C = 70-79%, D = 60 - 69%, F = less than 60%.

ATTENDANCE: Students are expected to attend class. A daily record of attendance will be maintained. Each student is allowed two unexcused absences. These can be used for emergencies. Additional unexcused absences will lower the semester grade. Two tardies are counted as one unexcused absence.

Students will not be allowed to make up tests and assignments missed because of unexcused absence. Work will be completed in advance of officially approved absences. Approved absence must be supported by institutional or other official documentation.

Daily Schedule

[This schedule subject to change depending on needs and pace of class. Schedule changes will be posted at the link "Assignments, Notes and Updates" on the Analysis TOC page (musan_toc.html).]

July 6, Tue: Orientation. Review harmonic analysis techniques. Focus (micro, middle ground, macro). Harmonic function (tonic, dominant, pre-dominant, other). Harmonic tactics (tonic focus, series of fifths, substitution, secondary focus, tonal migration). Harmonic implications in line. Melodic vs. harmonic function. Applications B555-577.

July 7, Wed: Key plots. Chromatic practice (NCT, secondary dominant, mode mix, altered dominants and augmented sixth chords, diatonic vs chromatic modulation). Harmonic strategy (tonal focus vs tonal ambiguity, certain vs uncertainty, stability vs migration). Modern common practice: lead sheet notation, jazz labels. Application B544-552 (use both jazz and functional labels, determine harmonic tactics and strategies)

July 8, Thur: Other elements: Melody (motives-figure and ground, segmentation and melody, phrase and multi-phrase patterns, extension and truncation). Reduction (see handout). Overview of Shenker’s approach (see handouts).

Short-span structures (period, phrase-groups, simple binary and ternary). A|B, A|BA, A|B|A. Symmetrical, asymmetrical, rounded, open, closed--do simple ternaries really exist? Application (see lists on B582, B588, and B589). See handouts on short-span structures. Henceforth note motive usage.

July 9, Fri: Texture (see handout on texture genres and characteristics). Application B8-14, B18-36. Analyze harmony. Analyze texture and harmony of Gesualdo, B36 and Dowland, B39.
July 12, Mon: Harmony, melody, texture, form and process in selected Baroque compositions B51-99. Binary, suite, ground bass, chaconne, passacaglia.

July 13, Tue: Harmony, melody, texture, form and process in selected Baroque compositions B100-142. Canon, invention, fugue, choral prelude, trio sonata

July 14, Wed: Harmony, melody, texture and form in selected Classical compositions B143-176. Sonata, rondo. Toward style comparison: henceforth note differences in harmony, melody, texture, form and processes. Structural function: connecting passages and add-ons, tonal and melodic stability vs instability. Skeletonization of texture. Textural maps.

July 15, Thur: continued. Mozart. B177-236.

July 16, Fri: continued. Beethoven piano works. B238-284.

July 19, Mon: Romantic vocal and keyboard works. B295-333

July 20, Tue: Chopin mazurkas B327-347. Team project: Prelude from Tristan und Isolde, Wagner, B348.

July 21, Wed: Brahms B365-386.

July 22, Thur Late Romantics B387-404.

July 23, Fri: The beginnings of twentieth century diversification: Debussy B408-425. Group project: Prélude à "L'Après-midi d'un faune" B408.

July 26, Mon: Bartok B454-460. Group project: Music for String Instruments, Percussion and Celeste B459.

July 27, Tue Hindemith B491-500. Compare Sonata to classical models.

July 28, Wed: Ives B441-449.

July 29, Thur: Schumann B517, Britten B520, Stravinsky B465-480

July 30, Fri: Stravinsky B481, Babbitt B524, Dallapiccola B512, Crawford (Seeger) B507

August 2, Mon: presentations/papers (6)

August 3, Tue: presentations/papers. (6)

August 4, Wed: presentations/papers (6)

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