MUTH 3510 Form Analysis
Spring 2009 MWF@8:00
Instructor: Dr. Timothy L. Jackson, Professor of Music
Office: MUS 111
Phone: (940) 565-3748
E-mail:
Formal-structural principles of 18th- and 19th-century music determined by analysis of major composers’ works, larger instrumental and vocal forms. Analytical literature on form.
Provisional List of Repertoire:
Bach, St. Matthew Passion
Beethoven, Coriolan Overture
--. Symphony No. 7
--. Symphony No. 9
Brahms, Symphony No. 1
--. Tragic Overture
--. Selected Lieder.
Bruckner, Symphony No. 7
--. Symphony No. 8, first movement and finale
Chopin, Second Ballade
--. Polonaise-Fantasie
Haydn, “Farewell” Symphony
Mahler, Symphony No. 9
Mendelssohn, “Italian” Symphony
Mozart, “Prague” Symphony
Schubert, Selected Lieder.
Schumann, Symphony No. 2, first movement and finale
Tchaikovsky, Symphony No. 6
Note: Multiple copies of the scores will be placed on reserve in the library. You may borrow the scores and xerox them. The instructor will bring as many copies of the scores to class as possible.
The assignments are short analytical essays submitted every two to three weeks. The short analytical essays (4-5 pages) are supported by clear musical examples and bibliographies. The student is expected to avail himself/herself of all library resources and bibliographies. This includes the on-line “electronic resources,” especially WORLDCAT and RILM. If you do not know how to use these research tools, please consult the music librarians. They are there to help you; ask lots of questions.
There will be approximately four short written assignments – analyses of works, movements, or parts of pieces. Learning to write well is a primary goal of the course.
Time permitting, students may be asked to make a brief in-class presentation on a part of the piece being discussed.
Breakdown of the Final Grade:
Short analytical essays: 50%
In class participation, including short presentation: 25%
Final exam: 25%
Attendance Policy:
Any student with more than 3 unexcused absences will be dropped from the roll with an automatic ‘F.’
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