Dr. Tim Koozin
Listening links
Selected List of Works (Links are outdated and may not work)
(with URLs for online listening)
Eighteenth-Century Contrapuntal Forms (and a few 17th-century pieces)
Selected pieces by Monteverdi, Corelli, Purcell, and Handel
Selected pieces by J.S. Bach
ÊÊÊÊÊÊÊÊÊÊFugue in F major, WTC I Classical ML
ÊÊÊÊÊÊÊÊÊÊFugue in G minor, WTC I Classical ML
ÊÊ ÊÊÊÊÊÊÊFugue in D minor, WTC I Classical MLÊÊ ÊÊÊÊÊÊÊFugue in E flat minor, WTC I Classical ML
ÊÊ ÊÊÊHandel."For Unto Us a Son is Given," Messiah, Classical ML
Small Binary and Ternary Forms
Robert Schumann, Album for the Young: 1. Melody Classical ML, 3. Humming Song Classical ML, 6. Poor Orphan Child Classical ML , 17. Little Morning Wanderer
Ludwig van Beethoven, Piano Sonata No. 4 in E flat major, Op. 7, second mvt.
Frederic Chopin, Mazurkas: Op. 7, No. 1 Classical ML; Op. 7, No. 2
Paul Hindemith, ÒA SwanÓ from Six Chansons
Bela Bartok, Mikrokosmos: ÒBulgarian RhythmÓ
Works with Trio
Ludwig van Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1, third mvt.
Ludwig van Beethoven, Piano Sonata No. 9 in E major Op. 14, No. 1, second mvt.
Joseph Haydn, Symphony No. 101 in D major, Hob. I/101, third mvt.
Johannes Brahms, Intermezzo in A major, Op. 118, No. 2
Sonata Form
Ludwig van Beethoven, Piano Sonata No. 1 in F minor, Op. 2, No. 1, first mvt.
Ludwig van Beethoven, Sonata for Violin and Piano Op. 24, ÒSpring,Ó first mvt.
Wolfgang Amadeus Mozart, Piano Sonata in B flat major, K. 333, first mvt.
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Ludwig van Beethoven, Symphony No. 4 in B flat, Op. 60, first mvt.Ê
Ê
Rondo
Ludwig van Beethoven, Piano Sonata No. 8 in C minor, Op. 13, third mvt.
Wolfgang Amadeus Mozart, Piano Sonata in B flat major, K. 333, third mvt.
Joseph Haydn, Symphony No. 101 in D major, Hob. I/101, fourth mvt.
Variation Forms
Henry Purcell, ÒDidoÕs LamentÓ from Dido and Aeneas
Wolfgang Amadeus Mozart, Piano Sonata in D major, K. 284, third mvt.
Igor Stravinsky, Octet for Wind Instruments, second mvt. (excerpt).
More Contrapuntal Music
Selected works by Mozart and Beethoven
Selected works by Bartok, Stravinsky, Webern, Dallapiccola, Hindemith
Grading : Assignments and Quizzes 25%
Class participation 25%
First Analysis Project 25% ÊDue Monday, November 10
Second Analysis Project 25% Due Wednesday, December 3
Four absences are allowed for any reason. There will be no ÒexcusedÓ absences beyond that number.
Fifth absence lowers final grade by a minus.
Sixth absence lowers final grade by an additional minus.
Seventh absence results in being dropped from the course (resulting in a W or F as appropriate).
Last day to drop without a grade: September 8 Last day to drop or withdraw: November 4
Photocopying rule: When using a photocopied score for assignments, always photocopy it before doing your work. No assignment will be accepted if the studentÕs score annotations are photocopied.
UH Policies on Academic Honesty can be found online at:
Students with disabilities are asked to bring to the instructorÕs attention any special accommodations they may require. Students will document a disability with the UH Center for Students with Disabilities (phone: 713 743-5400). The CSD will provide recommendations to help the instructor and student accommodate a disability.
Reference texts for analysis of form in tonal music:
Benjamin, Thomas. Counterpoint in the Style of J.S. Bach. (Schirmer Books, 1986). MT55.B446 1986
Berry, Wallace. Form in Music (Yale University Press, 1989) MT58 .B34
Caplin, William. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. (Oxford University Press, 1998) MT58 .C37 1998.
Green, Douglass. Form in Tonal Music: An Introduction to Analysis. 2d ed. (Holt, Rinehart, and Winston, 1979). MT58.G75 1979
Spencer, Peter and Peter Temko. A Practical Approach to the Study of Form in Music. (Waveland Press, 1994). MT58.S63 P7 1994.
FIRST ANALYSIS PROJECT
Choose a piece of moderate size (under 200 measures in length) exhibiting a formal design we have studied.
As you prepare your analysis:
For next class, choose and begin examining your piece.
Paper is due Monday, November 10
Choose a complete movement to analyze. A movement of larger size (perhaps around 250 measures or longer) is recommended.
With markings directly on a photocopied score, label harmony and formal divisions in detail.
Include a formal diagram of the movement.
Write a focused analytical essay on a specific aspect of the piece (three to five pages).You are encouraged to meet with me individually as your work progresses.
Each student will present in class work drawn from the paper (10 minutes) in a small group discussion.
Create a study question to help your classmates become acquainted with your topic (due November 24)Make-up day: Monday, Dec 8 (a time available for individual or group discussion on your paper topics)
Paper due: Monday, Dec 15
Jessica Huffer: Beethoven's "Moonlight" sonata, all three movements Study Question: What form are each of the movements in? Recording: |
Sasha Kudryashova: Mozart's Eine kleine Nachtmusik Kv. 525. 3rd (trio) and 4th movement (Rondo) |
Evan Kelsick: Finale of Bruckner's 4th Symphony How does the finale merit the alternative title of this symphony, "Romantic?" Recording: http://internal.uh.classical.com.ezproxy.lib.uh.edu/permalink/recording/3221239287/ |
John Grimmett: Evidence of Things Not Seen. Song cycle by Ned Rorem. I will be analyzing three different songs from the song cycle, one from each of its three parts. The static URLs for these three songs are: Part I: Beginnings: How Do I Love Thee? Part II: Middles: Hymn for Evening Part III: Ends: Evidence of Things Not Seen My question for the class is the following: Notice the chord progressions and key areas that Rorem chooses. Do you think that these choices relate to the formal design of the piece? In addition, since most of these works are based on poetry, do you think the form of the poetry plays a role in the musical construction of these songs? |
| Natalie Lin: Brahms Piano Quartet No. 1 in G minor, Mvt. IV
1. What form is the first section in? (A section) Recording: http://uh.naxosmusiclibrary.com.ezproxy.lib.uh.edu/stream.asp?s=12696%2Fuhnmlpaid04%2Fu11597%5F04 |
Kaylyn Parish: Dvorak's Slavonic Dance op. 72, No. 5 in B flat minor Sudy question: "What form is this piece in?" recording: http://internal.uh.classical.com.ezproxy.lib.uh.edu/permalink/recording/3221227304/ |
Gema Lopez. "Tiento de 2o. Tono por Gesolreut, sobre la Letania de la Virgen" by Pablo Bruna. |
| Gwendolyn Alfred. Gustav Holst, The Planets, Mvt 4: Jupiter, the Bringer of Jollity.
Study Questions: What is the overall form of this piece? What is the role of the Women's Chorus in this movement? Recording: http://internal.uh.classical.com.ezproxy.lib.uh.edu/permalink/recording/3221328350/ |
Mario Prado: Hummel's Trumpet Concerto, first movement. Study question: What is the form of the first movement and the function of the introduction? Recording: http://internal.uh.classical.com.ezproxy.lib.uh.edu/permalink/recording/3221228190/ |
Melissa Ramirez. Overture to "A Midsummer Night's Dream" by Felix Mendelssohn. Study question: How does Mendelssohn use his music to convey characters in this piece? Give one example. Recording: http://internal.uh.classical.com.ezproxy.lib.uh.edu/permalink/recording/3221226803/ |
Laura Ruiz: third movement of Dvorak 6th Symphony Study question: If you just listen to the piece without looking at the score, what do you think the meter is? Recording: http://uh.naxosmusiclibrary.com.ezproxy.lib.uh.edu/stream.asp?s=12696%2Fuhnmlpaid04%2F271429%5F06 |
Galeano Salas "The Aria of the Worm" from John Corigliano's Ghosts of Versailles |
Henry Watts: Grieg's Piano Concerto (1st movt). Study question: Where is the 2nd theme and what type of chords does Grieg use in this passage? Recording: http://internal.uh.classical.com.ezproxy.lib.uh.edu/permalink/recording/3221228511/ |