Instructor:    Dr. Stephen Peles                                                        Office:  251

Phone:         348-1472                                                                    Office Hours:  by appointment




Course Goals: 


·                     To refine and broaden your analytical skills

·                     To broaden your awareness of the wide range of analytical problems of concern to contemporary tonal theorists

·                     To introduce you to the work of some of the most important tonal theorists of this century and the intellectual traditions they represent




·                     Homework.  Reading assignments will include but will not be limited to items on the attached bibliography.  80% of final grade

·                     Final exam.  20% of final grade

·                     Class preparation and participation will be taken into account in the determination of the final grade











Metatheoretical Issues and Questions of Terminology:  “Theory,” “Tonal,” “Tonal Theory”


     Defining terms, defining the issues.  What, if anything, are we trying to explain?


                   Readings:  Ian Bent; Margaret Bent; Lawrence and Margolis; Ratford









The Situation Mid-Century


     Hugo Riemann. Hindemith.  The argument from ‘nature’.


                   Readings:  Christensen; Hindemith; Heiden; Schoenberg; Sessions




Analysis and Performance


                   Readings:  Cone; Levy; Schmalfeldt




Implication-Realization Models/Gestalt Psychology


                   Readings:  Cone; Meyer





Analysis and Historical Studies/Cognitive Psychology


                   Readings:  Agawu; Gjerdingen




Schoenberg and the Tradition of Motivic Analysis


                   Readings: Carpenter; Epstein; Frisch; Lester; Reti; Rothgeg; Schoenberg





Schenker and His Descendents


                   Readings:  Forte; Lerdahl and Jackendoff; Westergaard




Aspects of Tonal Rhythm, Miscellany


                   Readings:  Cone; Lester; Westergaard





Agawu, Kofi.  1991.  Review of Robert O. Gjerdingen, A Classic Turn of Phrase, Music Theory Spectrum vol. 13, no. 1: 112-116.

Bent, Ian.  1987.  Analysis.  New York:  W. W. Norton.

Bent, Margaret. 1986.  “Fact and Value in Contemporary Musical Scholarship.”  In Fact and Value in Contemporary Musical Scholarship (Boulder, Colorado:  The College Music Society):  1-7.

Boretz, Benjamin and Edward T. Cone, eds.  1972.  Perspectives on Contemporary Music Theory.  New York:  W. W. Norton.

Carpenter, Patricia.  1983.  “Grundgestalt as Tonal Function.” Music Theory Spectrum vol. 5: 15-38.

Christensen, Thomas.  1982.  “The Schichtenlehre of Hugo Riemann.” In Theory Only vol. 6, no. 4: 37-44.

Cone, Edward T.  1968.  Musical Form and Musical Performance.  New York:  W. W. Norton.

_____.  1985.  “Musical Form and Musical Performance Reconsidered.” Music Theory Spectrum vol. 7, pp. 149-158.

_____.  1986.  “Schubert’s Promissory Note:  An Exercise in Musical Hermeneutics.”  In Schubert:  Critical and Analytical Studies, Walter Frisch, ed.  Lincoln, Nebraska:  University of Nebraska Press:  13-30.

Epstein, David.  1979.  Beyond Orpheus:  Studies in Musical Structure.  Oxford:  Oxford University Press.

Forte, Allen.  1977.  “Schenker's Conception of Musical Structure,” in Readings in Schenker Analysis and Other Approaches, Maury Weston, ed., New Haven: Yale University Press:  3-37.

Frisch, Walter.  1984.  Brahms and the Principle of Developing Variation.  Berkeley and Los Angeles:  University of California Press.

Gjerdingen, Robert O.  1986.  “The Formation and Deformation of Classic/Romantic Phrase Schemata,” Music Theory Spectrum vol. 8:  25-43.

Heiden, Bernhard.  1942.  “Hindemith's ‘System’–A New Approach,” Modern Music vol. 19 no. 2, pp. 102-107.

Hindemith, Paul.  1970.  The Craft of Musical Composition.  Revised edition. New York:  Schott Music Corp.

Lawrence, Stephen and Eric Margolis.  2001.  “The Poverty of the Stimulus Argument.”  British Journal for the Philosophy of Science vol. 52:  217-276.

Lerdahl, Fred and Ray Jackendoff.  1987.  A Generative Theory of Tonal Music.  Cambridge, MA:  M.I.T. Press.

Lester, Joel.  1979.  “Articulation of Tonal Structures as a Criterion for Analytic Choices,” Music Theory Spectrum vol. 1, pp. 67-79.

_____  1981.  “Simultaneity Structures and Harmonic Functions in Tonal Music.” In Theory Only vol. 5 no. 5, pp. 3-28.

Levy, Edward.  1979.  “Analysis as Applied to Performance.” College Music Symposium vol. 19, no. 1,  128-138.

Meyer, Leonard B.  1976.  “Grammatical Simplicity and Relational Richness:  The Trio of Mozart's G Minor Symphony.” Critical Inquiry vol. 2, no. 4: 693-761.

_____.  1978.  Explaining Music:  Essays and Explorations.  Chicago:  University of Chicago Press.

Radford, Andrew.  1981.  Transformational Syntax:  A Student’s Guide to Chomsky’s Extended Standard Theory.  Cambridge:  Cambridge University Press.

Reti, Rudolph.  1951.  The Thematic Process in Music.  New York:  Macmillan.

Rothgeb, John.  1987.  Review of Walter Frisch Brahms and the Principle of Developing Variation, Music Theory Spectrum vol. 9:  204-214.

Rothstein, William.  1989.  Phrase Rhythm in Tonal Music.  New York:  Schirmer.

Schmalfeldt, Janet.  1985.  “On the Relation of Analysis to Performance:  Beethoven's Bagatelles Op. 126 Nos. 2 and 5.” Journal of Music Theory vol. 29, no. 1, pp. 1-31.

Schoenberg, Arnold.  1969.  Structural Functions of Harmony.  Revised edition.  New York:  W. W. Norton.

Sessions, Roger.  1979.  “Hindemith on Theory.”  In Roger Sessions on Music:  Collected Essays, Edward T. Cone, ed.  Princeton: Princeton University Press:  241-248.

Westergaard, Peter.  1972.  “Some Problems in Rhythmic Theory and Analysis.”  In Benjamin Boretz and Edward T. Cone 1972:  226-237.

_____  1975.  An Introduction to Tonal Theory.  New York:  W. W. Norton.





*Schedule and assignments are subject to change.