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http://ocw.mit.edu/courses/music-and-theater-arts/21m-113-developing-musical-structures-fall2002/assignments/ Introduction: Overview of the semester Assignments: Reading: Introduction to DMI and to Part I. To do: Listening: Pp. 35-51 Discussion in Class #2 of Week 2 Projects 1.1-1.2 (DMI pp. 7-34) Paper Due: Class #2 of Week 2
sequence repetition and return antecedent-consequent relationships structural functions as responsive to context pitch contour degrees of complexity simple forms: e.g., a b a'
Paper 1 The focus of this paper is your work on Project 1.2, while using Project 1.1 as background and comparison. The tasks: For each of the block-sets you worked with (two block-sets in Group 1, and one block-set in Group 2), describe and discuss the following: I.A. The process: the blocks you tried, what worked, what didn't, and why.
the strategies you used in making your tune. For instance: o cumulating" (going next-next-next); o finding a good beginning and a good ending and working on the middle; o building modules that worked and putting them together; surprises you encountered -- e.g., hearing a block in a new way as a result of context, finding that prebuilt modules didn't always work together, etc.
initial attempts at accounting for the decisions you made along the way. I.B. Completed tunes: the structure of your completed tune, including a diagram showing its structural hierarchy. a comparison of the structures of your tunes with those in Project 1.1.
II. Block-set Group 2: What specific features do you think make these blocks "strange" -- how are they different from those in Group 1?
Why do these differences make the blocks more difficult to work with? What does this "strangeness" tell you about the aspects you have come to expect (take for granted) in
more familiar music?
If you made changes in the pitches and/or durations, be sure to consider the following: o what was the problem you were trying to "fix?" o what, specifically did you change? o how did your changes succeed in solving the problem? Did you eventually discover coherence-making features of the blocks? What were they and did you
use them in building your tune? Note 1: Please save your completed pieces on a floppy disk or a CD and turn the disk in along with your paper. Note 2: Sample papers for this assignment are in the small bookcase by the door in the Computer Lab and also on the OCW website for this course. Paper Due: Class #2 of Week 2 Sample Student Project 1: Beckys French (PDF) Sample Student Project 1: Becky (MIDI) (Courtesy of Becky Esquenazi. Used with permission.) Week 1: Class #1: Introduction to Impromptu Reconstructing melodies Log keeping Picking out tunes on the keyboard Multiple representations Class #2: Introduction to composing your own tunes: Shared musical structures: Repetition/return Functions Context Sequence Structural hierarchy Week 2: Assignment: Reading: Basics1 At the end of each Part of the text, there is a section called "Some Basics." These sections are intended to give students just that -- basic information relevant to material covered in the projects. Class #1: Analysis of listening examples: Beethoven, Symphony 9, 4th movement, Variations Haydn, Symphony #99, Minuet Vivaldi, Four Seasons, Winter Bach, Partita #2, Gigue Liszt, Faust Symphony For instance, Beethoven's variations (Example 1.2) provide opportunities to listen for "elaborations" on the "simples" in different contexts -- instrumentation, texture, same-different, dynamics, range/register, and character -- what generates the changes in character and what is the continuing "thrust" as the variations develop? A comparison of the Vivaldi and Bach examples raises the issue of use and function of sequential relations, along with the differences between sectional and continuous organization. Noticed the large sections in the Vivaldi and also the changes in the sequential "template" which marks the boundaries of sections. The Bach is more difficult, the question is, "Why is that?" A possible reason is that contrast and boundary-making are at a more fine-grained level of detail--the rate of change is much faster, and in addition, boundaries are obscured. The motive rather than the phrase is the "unit of perception." Why does the Liszt example sound so different from the other examples, and what generates its clear and somewhat frightening affect? The "content" of the sequential "template" and the way it "creeps" from one statement to the next clearly make a big difference, along with texture and instrumentation.
Discussion of Basics1: Texture; instrumentation Expressive markings Performance Class #2: Discussion and performance of student tunes Due Today: Paper 1
Reading: Basics2 Discussion in Class#1 of Week 5 Hasty, Meter as Rhythm (Pp. 1-13) handout. Discussion in Class#2 of Week 5 Class #1: The metric hierarchy -- triple and duple meter Figural and metric structures Listening: Bhimpalasi & Hindemith: Beat and non-beat Lanner & Sousa - triple and duple meter Class #2: Performance and discussion of percussion pieces Due in Class Today: Projects 2.1 and 2.2 Note: Please hand-in your completed percussion pieces on disk. Week 5: The process of making mappings across representations of temporal relations serves to reveal the principles that underlie the whole systematic framework of metric relations. Moreover, as one becomes familiar with the notation, it also becomes possible to create rhythms that one would probably not even think of if using CRN. Further, the notation lends itself to asking questions such as, what is it that generates rhythmic coherence in the midst of rhythmic conflict, and how does rhythmic conflict differ from rhythmic chaos? Class #1: Performance and discussion of percussion pieces (cont.) Rhythm notations: similarities and differences. Class #2: Discussion of Hasty Inventing rhythm notations (MBME - pp. 24-44) Multiple meanings of "fast" and "slow"
Some Impromptu examples. Introduction to rhythmic conflict. Listening (Pp. 109-118): Stravinsky: Petruchka Mozart, Piano Concerto Flamenco C. Porter, Night and Day Week 7: Class #1: Rhythmic complexity (Pp. 123-128) Listening: Ziporyn, "What she saw there." Haydn, Quartet African drumming Stravinsky, Rite of Spring Class #2: Discussion and performance of Project 2.3 student pieces. Due Today: Paper 2 Note: Be sure to hand in your completed pieces on a disk along with your paper.
In all of this, the fifth relationship in its many manifestations comes forth as the critical pillar upon which the generating of the tonal framework rests. That idea, along with the concept of the framework as a large, interconnected network of relations, emerges as central to the work of the course up to this point. Class #1: Analysis of Listening Examples 3.1-3.5 and the pervasiveness of 1->5->1 pp. 187-199. Class #2: Discussion of final projects. Week 10: Class #1: Holiday Class #2: Quiz: Review of Basics 3 and Projects 3.1 and 3.2: Scales, keys, key signatures, circle of fifths, etc.
Throughout Project 4.2 (Tasks 1 and 2), the main point is to pay attention to and try to account for the kinds of features and relations that generate the grouping boundaries you hear and make.
Task 1. Given only a set of varied durations all playing the same pitch (MAKETUNE.D), listen for figural groupings. Then give pitches to the durations so as to bring out these groupings and to make a coherent melody. Do only DUR2 and DUR3. Instructions are quite complete on pp. 230-231. Listen especially to boundary conditions: how tonal functions (stablity-instablity; pitch movement) intersect with rhythmic functions(accent/meter/short-long) to generate musical objects and on a larger level, arrivals and departures of motion. To help account for the grouping boundaries you hear and make, look carefully (in the Edit Window, by number or by letter) at the given pitches while listening to your new block. Notating it (in CMN) and playing it on the keyboard, will help you to consider possible aspects that are generating boundaries and relations among boundaries. For instance: 1. Tonal center -- its arrivals and departures. 2. Goals of motion at boundaries (e.g., 1 and 5). 3. Pitch contour (direction of motion; leaps or steps). 4. Repeated notes, repeated figures, varied repetitions such as sequences. Task 2 is in two parts: For Task 2A, the pitches are pre-composed; in Task 2B the pitches have been randomly generated, but the work is the same for both parts: Given a set of varied pitches all with the same duration, listen for figural groupings, then give varied durations to the pitches to bring out these groupings and to make a coherent melody. More complete instructions and related materials are given on pp. 235-247 which you should read carefully. For Task 2B do only RAND2 and RAND3. RAND1 is discussed in excruciating detail in Explorations 3 which should be read carefully as an example of what to look for. You may not be able to depend on coherencemaking features generated by clear tonal functions, but this can liberate you to listen for other means of boundary-making. At the same time, pay attention to tonal functions that may be lurking behind the apparent non-tonality!! Explorations 3 will be helpful particularly with regard to noticing subtle tonal relations. For Task 2B only, you may change one or two pitches in the pitch list if you want to. But if you do, you must say why you made these changes and comment on the effectiveness of the results.
Notice that there is a new, Final Task within Task 2.B. You must design a second set of durations to make the pitches in each of the rand blocks regrouped in new ways.
Your work on this project and our discussion in class is an opportunity to reflect on many of the issues that we have covered throughout the semester: the tonal network, rhythmic structure, melodic analysis, movement towards arrivals and departures, moving up and down the structural ladder, simplicity and complexity. Week 11: Class #1: Listening and analysis of Large scale compositions: Beethoven Op. 59#2 Discussion of final projects Class #2: Discussion of Project 4.1 pieces Discussion of final projects Week 12: Class #1: Discussion and performance of Project 4.2 pieces Class #2: Continuation Weeks 13-14: Final project presentations