Here is the syllabus. If you are registered for the course, it is available for download on blackboard. If you are following from afar, you probably most care about the schedule, at the end.
MUS 199 Functional Analysis
T/R 9-9:50 Room 211
Krista Abrahamson Office 202
Office Hours: Monday 12:30-1:30 or by appointment
In this course we will explore tonal analysis from a functional perspective. By the end of the quarter, you should be able to analyze any music just as confidently with functional labels as with Roman numerals. This will lead to a more thorough understanding of music and thereby more enriching and enjoyable performances. Additionally, this course will provide me with feedback on how well the system works, so please let me know if you have suggestions.
Some specific skills we hope to improve include fluency with functional symbols, talking and writing clearly about music, and middleground scanning.
Due to the small class size and differing backgrounds, homework may be adjusted to individual needs and interests. Please let me know if you would like a different, more appropriate challenge. If you are not sure what my expectations for a given assignment are, ask me, not another student.
Scores and handouts will be provided in class and available on blackboard. There is also a wordpress blog at https://functionalanalysis.wordpress.com/ for continuing the discussion outside the class and after the quarter’s end. I will invite each of you to this private site.
All assignments will be pass/no pass. They are designed to help you become comfortable with the new system and give you practice writing and analyzing in ways required of you on the midterm exam and final project. Each assignment will be assigned on a Thursday and due on a Tuesday. There are 8 assignments, which will be graded according to completion and a good faith effort. A “pass” quality assignment is completed, shows care, thought, and effort, and also shows understanding of the concepts, if not mastery. A “no pass” assignment has evidence of being done in haste, carelessness, and lack of understanding of the concept. I will allow redos for up to 3 assignments.
There will be a brief exam during week 5. This is to ensure mastery of fundamental topics before getting deeper into analyses.
You will analyze a piece/movement of your choosing – we will discuss topics in week 6 and you will tell me by week 8 what you’re planning on doing. You will use functional labels in your analysis, but if other tools may also be of use. You will give a 10 minute presentation on your project in week 10, and turn in a minimum 5 page write-up (not including annotated scores) by Wednesday of finals week.
Assignments (8) – 40%
Midterm – 10%
Final Project – 30%
Class Participation – 20%
• Attendance. Attendance is mandatory. There are only twenty class periods. If you have more than three unexcused absences, it will impact your grade negatively.
• Assignments. Assignments are due at the beginning of the class period. You must email me
BEFORE the class period in which an assignment is due for me to CONSIDER
accepting it late.
• Academic Honesty. All work submitted in this course must be your own and produced exclusively for this course.
• Blackboard & Email. Assignments will be posted on Blackboard (as well as announced in class and on WordPress). You are responsible for all information posted there. You are also responsible for all information sent to your university email accounts, which you should check once per day.
• All dates, assignments, and grades are subject to change
If you have a documented disability and anticipate needing accommodations in this course, please make arrangements to meet with me as soon as possible. Please request that the Counselor for Students with Disabilities send a letter verifying your disability.
Students should be aware that the School of Music and Dance desires to discourage any sort of action that makes an individual feel uncomfortable or unwelcome. Students with concerns related to discrimination, bias, or sexual harassment are encouraged to contact the following office or offices should you wish to report such an incident and get help in resolving the incident.
-The Bias Response Team, 164 Oregon Hall, (541) 346-1139
-Affirmative Action and Equal Opportunity Office, 474 Oregon Hall, (541) 346-3123
-Conflict Resolution Services, 164 Oregon Hall, (541) 346-0617
-Counseling Center, 210 Health and Counseling Center, (541) 346-3227
T Jan 7 – Introduction, basic functions, middleground scanning
Mozart K 332 i
R Jan 9 – basic functions, student suggestions for music to study
Mozart K 331 iii, Clementi Op. 36#1 i
T Jan 14 – replacement functions
My Country Tis of Thee
R Jan 16 – prolongations
Old Hundreth, “Neue Liebe, Neues Leben” – Fanny Hensel
T Jan 21 – inversions and added tones
Bach WTC book 1 I, Mozart K545iii
R Jan 23 – chords missing roots
Hensel, Bach Violin Partita #2: Chaccone
T Jan 28 – chordal embellishments and NHTs
Mozart K331 i & K330iii
R Jan 30 – Bach chorale day
Aus meines Herzens Grunde, An Wasserflüssen Babylon
T Feb 4 – review, practice midterm
Beethoven op. 28 iii
R Feb 6 – midterm
T Feb 11 – secondary dominants, structural levels, hand out final project parameters
Beethoven op 13ii and op 31#3i
R Feb 13 – secondary dominants, structural levels
Beethoven op 14#2ii, Bach Violin Sonata in Amin ii
T Feb 18 – extended tonicizations, sequences
Schubert – Grünen Lautenbande, Bach Gavotte from BWV 808
R Feb 20 – more prolongations
Bach Violin Sonata in Amin ii, Beethoven op 31#3i, Mozart K332i
T Feb 25 – borrowed chords and augmented 6ths
Selections from Schubert Winterreise
R Feb 27 – Neapolitans, show and tell of final project ideas
Schubert – Die Liebe hat gelogen, Beethoven op 31#3i,
T Mar 4 – structural levels, compare vaiations
Chopin Op 28#4, Mozart K550 menuett, Beethoven Op 26
R Mar 6 – Bach Chorales II!
Nun ruhen alle Wälder, O Haupt voll Blut und Wunden
T Mar 11 – final presentations
R Mar 13 – final presentations