Solution Manual for Materials and Techniques of Post-Tonal Music, 5th Edition by Stefan Kostka

INSTRUCTORS MANUAL

INSTRUCTORS MANUAL

Stuvia.com - The Marketplace to Buy and Sell your Study Material

Table of content Chapter 1 The Twilight of the Tonal System Chapter 2 Scale Formations in Post-Tonal Music Chapter 3 The Vertical Dimension: Chords and Simultaneities Chapter 4 The Horizontal Dimension: Melody and Voice Leading Chapter 5 Harmonic Progression and Tonality Chapter 6 Developments in Rhythm Chapter 7 Form in Post-Tonal Music Chapter 8 Imports and Allusions Chapter 9 Nonserial Atonality Chapter 10 Classical Serialism Chapter 11 Timbre and Texture: Acoustic Chapter 12 Timbre and Texture: Electronic Chapter 13 Serialism after 1945 Chapter 14 The Roles of Chance and Choice in Post-Tonal Music Chapter 15 Minimalism and Beyond

TECOM

Instructor’s Manual for

Materials and Techniques Of Post-Tonal Music Fifth Edition

Stefan Kostka University of Texas at Austin

Matthew Santa Texas Tech University

WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

Preface This Instructor’s Manual for Materials and Techniques of Post-Tonal Music was written in response to demand from colleagues at various institutions. At this point it consists almost entirely of suggested for the exercises,and even most of those have been entered with keyboard characters rather than in musical notation.

Any errors that we have noticed in the textbook are also pointed out in this manual. If and when you discover others, please send them to us so that they can be corrected in subsequent editions. No doubt this manual will have errors as well, and we would greatly appreciate hearing about them. Write even if you’re not positive that the answer that we provided is incorrect but if you just have a question about it.

Also, we would be grateful for any suggestions as to how the textbook or this manual could be improved. The same holds true, by the way, for our other books.

Stefan Kostka Professor Emeritus University of Texas at Austin skostka@aol.com Matthew Santa Professor of Music Theory Texas Tech University matthew.santa@ttu.edu

1 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

ONE The Twilight of the Tonal System This chapter attempts to trace some of the developments that contributed to the weakening of the tonal system, especially in the latter half of the nineteenth century. Some of the terms, such as chromatic mediant and real sequence, are well defined while others, suspended tonality and nonfunctional chord successions, are open to interpretation. While this makes some aspects of the chapter difficult to “test,” they are nevertheless concepts of which the students need to be aware.

Answers to Selected Exercises Part A: Fundamentals 1.

Bß:

Gß

G

Dß

D

c:

aß

a

eß

e

d:

bß

b

f

fƒ

E:

C

Cƒ

G

Aß

F:

Dß

D

2.

I–V/ii, I–V/vi, etc. (I would also accept less “traditional” but possible answers such as V–ßIII.

3.

Only V7–V7/vi

4.

Eß7:

C7

Gß7

A7

Cƒ7:

Bß7

E7

G7

(Enharmonic equivalents should be accepted.)

C3:

2 D

5 F

8 Gƒ

11 B

5.

G 7:

E7

Bß7

Dß7

F7:

D7

Aß7

Aß

A

B7

C4:

2 6 10 D Fƒ Aƒ (Enharmonic equivalents should be accepted.)

Part B: Analysis 1.

a.

No. They are in a diatonic mediant relationship.

b.

E Minor. Chromatic mediant.

c.

After the first chord (Bß: I@), a series of diminished seventh chords descends chromatically until the G triad in m. 68, which is tonicized by an fƒo7 (enharmonically spelled), after which the bass proceeds chromatically to a final diminished seventh chord.

d.

g: (G:) I6 viio/V 68

V7/V 69

iiø7

V7 70

N6 75

i@ (V7 76

2 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

i@) V7

i 77

78

TECOM

2.

3.

4.

Aß7 1

eß7 2

Aß7 3

eß7 4

A7 5

e7 6

A7 7

e7 8

Bß7 9

f7 10

E7 11

E7 12

b7 13

Bß7 14

D7 15

Aß7 16

b.

Dß

D

Eß

A

Eß

G

Dß (Each is implied by its dominant.)

c.

None

d.

A

Eß

G

Dß

e.

Dß. This key is implied at the beginning and end of the passage, and it occupies 4 of the 11 measures.

f.

Two in each case.

g.

Yes (but not necessarily in the same clef).

h.

The passage is replete with sequences. The first “leg” of the first sequence is heard in mm. 9-10 (notice that m. 10 is a varied repetition of m. 9), and the second leg follows in mm. 11-12. This is a real sequence that ascends by half step.

In m. 13 we hear the beginning of a third statement of the first sequence, but it is altered to become the first measure of another two-legged real sequence in mm. 13-14 and 15-16. Here the pattern ascends by the interval of a tritone.

Within the second sequence, in mm. 14 and 16, two diatonic melodic sequences occur in which the pattern, consisting of a descending fourth, descends by step.

The 16th-note melodic sequence is used again in m. 17 (“in” GM) and in mm. 18-19 (Dß Major). Also, m. 18 is the second leg of a real sequence begun in m. 17, transposed down a tritone.

a.

I 1

It+6 8

b.

DßM7 2

Bß 3

c.

Eßm (chords 3 and 4)

d.

The passage moves from a tonic triad to an It+6. The space between is filled with a chromatic soprano line, which ascends from C to Fƒ, and a mostly chromatic bass that fills in the space from C down to Aß. This outer-voice framework is then filled in with traditional tertian sonorities.

a.

eß(@) 4

dƒo7 5

A7 6

Dß(@) 7

DßM (chords 6 through 8)

This passage moves from G: V to G: I, filling in the descending fifth in the bass chromatically. There is not a corresponding eight-measure chromatic ascent in the upper voices, but there is still a good deal of ascending chromatic motion (D to F in chords 1-4, E to G in chords 5-8, for example). Again, the outer-voice framework is then filled in with traditional tertian sonorities, few of which have traditional harmonic functions (but notice that chord 5 is a Fr+6 in G).

Chord 7 could indeed be considered a dominant with both a raised and a lowered fifth in the key of G, with the Bß substituting for Aƒ. The same analysis is possible for the penultimate chord in one version of the omnibus progression. In both cases, of course, the sonorities are essentially voice-leading chords.

Using lead-sheet symbols, the chords (as notated) are: D

Eß7

C

bø7

E7ß5

Bß+7

d

G

3 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

1

2

3

4

5

6

7

8

TWO Scale Formations in Twentieth-Century Music Several of the scales presented here might already be familiar to some of your students. The modal scales, for example, may have been discussed in an earlier semester of music theory or in a music history class, and jazz students will probably have been exposed to the diminished (octatonic) scale. This previous exposure may or may not prove helpful to the student who is reading this chapter.

Students who know of the pentatonic scale may have the notion that there is only one pentatonic mode: the one that can be notated as C–D–E–G–A–C, with C as tonic. It will take some doing to convince these students that the “diatonic pentatonic” scale has, in fact, five modes and that other, more chromatic, pentatonic scales do occur.

Many instructors approach the teaching of modal scales through the patterns found on the white keys of the piano.

This is especially true in music history courses, where the idea has some historical validity. Our own approach, as outlined in the chapter, is to teach these scales as variants of the major and natural minor scales. While this method has no historical or even theoretical basis, it leads to the greatest proficiency (but only if the students are proficient in major and minor scales to begin with).

It is something of a challenge to learn to recognize that a passage is octatonic, or mostly so. Our approach is to find two pitch classes that do not belong to the same diminished-seventh chord—C and D, for example—and to look for pitch classes that do not belong to the third diminished-seventh chord—in this case, Cƒ, E, G and Bß. If you cannot find these pitch classes, or if they have a subordinate function, then the passage may well be octatonic.

Finally, students tend to be very literal when it comes to identifying scales in the context of a theory class. While they would have no problem in “real life” identifying the major scale that underlies “Row, Row, Row Your Boat,” in a classroom situation they might be distressed by the missing scale steps. It would be helpful to try to overcome this, while at the same time making an effort to find quiz examples that are unambiguous.

Answers to Selected Exercises Part A: Fundamentals 1.

G–A–B–D–E–G

Fƒ–Gƒ–Aƒ–Cƒ–Dƒ–––Fƒ

B–Cƒ–Dƒ–Fƒ–Gƒ–B

Eß–F–G–Bß–C–Eß

2.

E-Fƒ-Gƒ-Bß-C-D-E

Cƒ–Dƒ–F–G–A–B–Cƒ

Aß–Bß–C–D–E–Gß–Aß

WT-0

WT-1

WT-0

(Enharmonic equivalents should be accepted.)

3.

a. F–G–Aß–Bß–C–D–Eß–F e. A–Bß–C–D–E–F–G–A

i. Dß–Eß–F–G–Aß–Bß–C–Dß

b. E–Fƒ–Gƒ–A–B–Cƒ–D–E f. Aß–Bß–Cß–Dß–Eß–Fß–Gß–Aß

j. C–D–Eß–F–G–A–Bß–C

c. Eß–F–G–A–Bß–C–D–Eß g. G–A–Bß–C–D–Eß–F–G k. B–C–D–E–Fƒ–G–A–B d. D–E–Fƒ–G–A–B–C–D

h. Fƒ–G–A–B–C–D–E–Fƒ l. Bß–C–D–Eß–F–G–A–Bß

4 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

4.

a. Fƒ–G–A–Bß–C–Cƒ–Dƒ–E–Fƒ OCT (0,1)

d. A–B–C–D–Eß–F–Fƒ–Gƒ–A (could begin on another note) OCT (2,3)

b. Aß–Bß–B–Cƒ–D–E–F–G–Aß OCT (1,2)

e. Dƒ–E–Fƒ–G–A–Bß–C–Cƒ–Dƒ (could begin on another note) OCT (0,1)

c. D–Eß–F–Fƒ–Gƒ–A–B–C–D OCT (2,3)

f. Aƒ–B–Cƒ–D–E–F–G–Gƒ–Aƒ (could begin on another note) OCT (1,2)

(Enharmonic equivalents should be accepted throughout.)

5.

a.

A

fƒ

b.

B+

Cƒ+

etc.

c.

cƒ

D

E

fƒ

gƒo

A

b

d.

Aß

bß

co

Dß

eß

f

Gß

e.

eo

e

E

fo

go

g

G

gƒo

aƒo

aƒ

Aƒ

bo

Aß

aß

(Enharmonic equivalents should be accepted for this problem.)

6.

f.

B+

C+

a.

Augmented scale.

b.

Augmented scale, chromatic scale

C

c

Eß+

E+

E

e

G+

Aß+

Part B: Analysis 1.

Pentatonic

2.

a.

Pentatonic

b.

Dorian

c.

Mixolydian

3.

Chromatic

4.

a.

Dorian

b.

Phrygian

c.

Locrian

5 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

cƒo

cƒ

Cƒ

do

TECOM

d.

Lydian-Mixolydian

e.

No. The pitch-classes are: D Eß E Fƒ Gƒ A Bß C D. The right hand part is whole-tone, except for the A in m. 19. The left hand has an altered I–V–I cadence.

5.

Diminished (Octatonic)

6.

a.

Augmented

b.

Augmented

c.

Chromatic

d.

Dorian

a.

Whole-tone

b.

Pentatonic

7.

6 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

THREE The Vertical Dimension: Chords and Simultaneities The most precise method for labeling chords (or any collection of pitch classes, for that matter) is that provided by pitch-class set theory, which is the subject of chapter 9. Some instructors prefer to cover that chapter before turning to the admittedly less precise categorizations offered in this chapter, and there is no reason why that can’t be done.

Nevertheless, there are contexts in which the terminology introduced in the present chapter does seem to be more appropriate, and many of these terms are in common use.

The primary difficulties that will arise in teaching this chapter have to do with voicing and context. It is not enough to make a list of the pitch classes contained in a sonority without paying attention to how they are arranged registrally, as the example in the “summary” shows. Some chords, of course, are amenable to more than one interpretation: French sixth chords and augmented dominants are also whole-tone chords, for example. Finally, some students may already have a terminology for a few of the chord types discussed here. An example is the majorminor seventh chord with a split third, which jazz players know as a dominant seventh with a sharp ninth.

Answers to Selected Exercises Part A: Fundamentals 1.

This question almost always engenders a lively classroom discussion. Rather than allowing an adversarial situation to develop, the instructor might consider using the debate as a part of the learning experience and agree to accept any reasonable answer or even not to grade this part of the assignment at all. a.

Polychord

b.

Secundal

c.

Whole-tone (mixed interval?)

d.

Open fifth

e.

Split 3rd

f.

Added 9th (or 2nd)

g.

Tertian (f13)

h.

Mixed interval (secundal?)

I.

Quartal

3.

The third and fourth chords: a and f. (notice that this question pertains to material learned in an earlier chapter, as do many of the “fundamentals” questions throughout.)

4.

a.

Pentatonic

b.

Mixolydian

c.

Microtonal or Hexatonic

d.

Chromatic

e.

Octatonic (0,1) missing Eß and G

f.

Octatonic (0,1) missing A

g.

Octatonic (1,2) missing Cƒ and G

Part B: Analysis 1.

Example 9a: triads with split thirds – F(3!), A(3!), Cƒ(3!), F(3!), A(3!).

Example 9b: major-seventh chords on the same roots – FM7, AM7, CƒM7, FM7, AM7.

7 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

2.

Open fifths or quartal; pentatonic.

3.

Polychords, specifically major and minor triads a half step apart and with the third of the chord held in common – F and Fƒm, G and Gƒm.

4.

Whole-tone chords.

5.

This progression has a delightful “cocktail piano” sound. Chord “a” is basically an E7 chord or a V7/ii.

Depending upon how you hear the C, B, and Fƒ, it might be an E7sub6, an E9, or an E13. Likewise, chord “c” is 9 basically a V /N, but depending upon how you hear the C and the Bß, it might be an Eß13. a. See above

b. ii7

c. See above

d. NM7

e. V or V9

f. I

6.

Eadd6 occurs on the downbeats of the first three measures, and Fƒadd9 occurs on the downbeats of the last three.

The unconventional g occurs on beat 2 of m. 81, resolving in the next measure to a root position tonic. There are several examples of augmented-sixth chords of that type in the 5th edition of the Kostka/Payne Tonal Harmony, pp. 393-395. Notice also the doubly-chromatic mediant relationship at the cadence: Am – Fƒadd9.

7.

This excerpt has many of the same problems discussed in connection with the first of the “fundamentals” exercises. Shown below are some of the reasonable answers that you might expect to receive.

8.

a.

Mixed interval, G7 with split root and 5th, secundal

b.

Quintal

c.

Tertian, Dm11

d.

Cƒ with split root and 5th, Cƒ7 with split fifth

e.

Secundal, cluster

a.

Circle of fifths, or quartal

b.

Quartal

c.

Chords b and d

d.

Chords a, c, and e

e.

Chords h, j, and l are restatements of chord f.

f.

Polychords

g.

They both contain a minor triad in the lower register linked to a major triad in the upper register, the root of which is a M3 above that of the minor triad (E minor/Aß major and A minor/Dß major). Note that these involve doubly-chromatic mediant relationships.

h.

An A, the fifth of the D minor chord in the lower register.

8 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

FOUR The Horizontal Dimension: Melody and Voice Leading

The “Summary” at the end of the chapter is a bit misleading in that most of it is devoted to the topic of melody. In fact, the chapter has three topics: melody, parallelism, and dissonance treatment. The instructor should emphasize to the students what a major change the latter two developments represented.

Answers to Selected Exercises Part A: Fundamentals 1.

The last two chords of Example 4-11 (G and bß). There may be others as well.

2.

a.

Aß–Bß–C–Eß–F–Aß

b.

G–A–B–Cƒ–Dƒ–F–G

c.

F–Gß–Aß–Bß–C–Dß–Eß–F

d.

Gƒ–Aƒ–B–Cƒ–Dƒ–Eƒ–Fƒ–Gƒ

e.

B–C–Dƒ–E–G–Gƒ–B

e,

D–E–F–G–Gƒ–Aƒ–B–Cƒ–D (Enharmonic equivalents should be accepted.)

a.

Polychords

3.

b.

(Enharmonic equivalents should be accepted.)

(Enharmonic equivalents should be accepted.)

Tertian chords

Part B: Analysis 1.

2.

a.

If we number from 1 to 11 the elements listed in the “Summary” on p. 92 of the text (to which you might want to add some of your own), the following seem to apply: 1, 2, 3, 7, 8, and 9.

b.

No.

c.

Yes. The initial four-note cell is transposed up a P5 and then up another P5 except for the last note, which is transposed down an octave and a fourth. The opening pitch classes of the three segments (G, D, and A) are then restated and retrograded in the final figure (which also recalls the arch-like shape of each of the first three segments). Incidentally, the transposition by P5 is one of only three transpositions that produce no duplication of pitch classes from one statement to the next, the other two being the P4 and the tritone.

a.

Again referring to the list on p. 92 of the text: 1, 2, 3, 5, 6, 7, 8, and (possibly) 9.

b.

No. There is no B.

9 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

c.

From the E4 in m. 2 through the last note of m. 10 (eo7 + fƒo7).

From the last note in m. 10 through the second note of m. 13 (dƒo7 + gƒo7).

From the first dƒ in m. 12 through the first dƒ in m. 15 (dƒo7 + go7).

Of these segments, the first is the most convincing, containing seven of the pitch classes of the octatonic scale. The others contain five and four, respectively.

d.

3.

There is a lot that could be written in response to this question. Students will probably point out the importance of the opening three-note motive and the prominent tritones. Another significant organizing factor is the stepwise ascent from the F4 in m. 1 to the Fƒ5 in m. 16, followed by the dramatic leap up to G6.

The chords are: E 1 a.

fƒ7 cƒm7 E(@) | fƒ(6) [Gƒ] Aƒ | DƒM7 [Gƒ] (brackets indicate an open 5th) 2 3 4 5 6 7 8 9

Parallel fifths: From Chord

To Chord

Between

1

2

S&B

2

3

S&B

3

4

T&B

5

6

A&T

7

8

S&B

8

9

A&T

From Chord

To Chord

Between

5

6

S&T

6

7

S&T

Parallel octaves:

There are also direct fifths between the last two chords, S & B. Regarding dissonance treatment, there are three seventh chords, and in none of them does the seventh of the chord resolve down by step, as convention would dictate.

4.

b.

The composer was evidently trying to make each part as easy to read as possible without causing too much confusion among the singers. The only place where there is a visually difficult interval is in the soprano at the very end (G4–Dƒ5). He could have used flats in the three upper parts, but not so easily in the bass. His solution is probably the best one.

a.

Example 3-20

c.

Example 2-5

e.

Example 3-23

b.

Example 2-13

d.

Example 3-21 Example 3-B-8

f.

Example 3-10 (among others)

10 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

g.

Example 2-11

TECOM

FIVE Harmonic Progression and Tonality

Many students unfortunately associate music of the twentieth century with atonality and with Schoenberg, whose music they are more likely to have heard about than actually listened to. In fact, it is probably safe to say that most music of the twentieth century is tonal, although not in the sense that Brahms’s music is, and the same seems to be true of most of the music being composed in the opening decades of the twenty-first century.

While traditional harmonic procedures are present to some extent in some twentieth-century music, probably a tonal center is more commonly established “by assertion,” as discussed on pp. 102-103. This leads to the somewhat unfortunate terms “pitch-centric” and “pitch centricity” that replace the “neotonal” and “neotonality” of earlier editions of this book to avoid confusion with other uses of those terms. More accurate would be “pitch-class-centric” and “pitch-class centricity,” which instructors should, of course, feel free to substitute if they wish.

Answers to Selected Exercises Part A: Fundamentals 1.

Chromatic mediant relationship (Chapter 1, p. 3): Two triads or keys are in a chromatic mediant relationship if they are both major or both minor in quality and their roots are a m3 or a M3 apart (even if enharmonically spelled). The triads in such a relationship will share exactly one common pitch class. Seventh chords can also be in a chromatic mediant relationship if their triad parts meet the criteria given above.

2.

Cluster (Chapter 3, p. 59): A cluster (also called a secundal chord or a tone cluster) is a chord built from major or minor seconds or from a combination of the two.

3.

Mode of limited transposition (Chapter 2, p. 36): A scale of from six to ten pitch classes that has fewer than twelve unique transpositions with regard to pitch-class content. The term was originated by Olivier Messiaen.

4.

Pitch-centricity (Chapter 5, p. 103): A term used to characterize music that has a tonal center but in which that tonal center is established by nontraditional means. (Note that this term replaces “neotonality,” which was used in previous editions.)

5.

Pandiatonicism (Chapter 5, p. 108): A term used to describe music that uses only the tones of some diatonic scale but which does not rely upon traditional harmonic progressions and dissonance treatment. (Note that there is not universal agreement as to the meaning of this term.)

6.

Pitch-class cell (Chapter 4, p. 81): A collection of intervals that can be rearranged and inverted and that is used as a unifying element.

7.

Planing (Chapter 4, p. 86): Harmonic parallelism.

11 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

8.

Polychord (Chapter 3, p. 64): A chord that consists of the combination of two or more aurally distinguishable chords.

9.

Real sequence (Chapter 1, p. 6): A sequence in which the pattern is transposed exactly.

Part B: Analysis 1.

2.

3.

a.

C is the tonal center. The melody, which is pentatonic, returns to C on beat 1 of each of the six measures; especially significant are the C’s that begin and end the excerpt. Each melodic C is harmonized by a C major triad, which verifies the tonality.

b.

Tertian

c.

No

d.

No

e.

No

a.

D is the tonal center. The melody, which begins in the Aeolian mode and ends in the Dorian, does little to establish the tonality. In fact, heard by itself, the melody seems to suggest A as a center. Instead, the pedal point that “asserts” D as tonic in the first four measures combines with the final chord to clarify the tonality.

b.

Tertian, although you might accept a mixture of tertian and nontertian as an answer.

c.

No, unless the student makes a convincing case for hearing the melody in another tonality.

d.

No, unless the student argues that mm. 1-4 are pandiatonic in D Aeolian, and mm. 5-7 are pandiatonic in D Dorian.

e.

No

a.

A difficult call. Certainly D in the first two measures because of the melody and the first chord, but the next two seem to suggest either G or C (with G being the dominant). In fact, the next chord (not shown) is a C major triad, but the students will have no way of knowing that.

b.

It is basically tertian, as suggested by the analysis, but you might again accept a mixture of tertian and nontertian as an answer.

c.

No

d.

No

e.

One could hear the whole excerpt as a large D: I – IV progression, but the last three chords actually function as C: vi7 – ii7 – V. Certainly the students should recognize the traditional roots of the circle-offifths progression at the end of the excerpt.

12 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

4.

5.

6.

7.

a.

Fƒ. Melodically, this tonal center is strongly implied by the ^1 –– ^5 motion in the first two measures.

Harmonically, the tonality is suggested by the sonorous Iadd9 chords on the downbeats of the last three measures, even if the chords that precede them are not traditional cadence chords.

b.

Tertian (with added notes).

c.

No

d.

No

e.

Not really. The closest thing to a traditional progression is the Ger+6 to tonic in the third and fourth measures, but a tonic six-four is what would really be expected there.

a.

Presumably B, because B is the root of the cadence chord in the last three measures. The melody, which contains every pitch class but E, does little if anything to help, however. It could well be characterized as an atonal melody, although the last five pitches might suggest a center of Cƒ/Dß to some listeners.

b.

I would think primarily tertian, although you might consider accepting mixed.

c.

No, unless one hears the two centers discussed above.

d.

No

e.

Yes, in the circle-of-fifths bass line that opens the excerpt.

a.

G because of the persistent G pedal point, the outlined G triads in the melody, and the importance of the dominant and its dominant (A).

b.

Tertian, but perhaps accept a mixture of the two.

c.

No

d.

Yes. All of the pitches are diatonic to G major, and dissonances are not handled in a traditional manner.

e.

Yes, although a student might be forgiven for not noticing it. Above the pedal point is a I – ii7 – V7 – I progression.

a.

F minor and Fƒ minor. In the lowest register the bass outlines a traditional ^1 –– ^5 –– ^2–– ^5 pattern in Fm, while the tenor line confirms a repeated i – V7 progression (one chord per measure). The melody outlines ^5 –– ^1 –– ^3 –– ^5 at the beginning, followed by a i – viio – i – viio progression in half notes.

b.

Tertian

c.

Yes. See above.

d.

No

e.

Yes. See “a” above.

13 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

SIX Developments in Rhythm

The terminology in this chapter is challenging and sometimes confusing; students will tend, for example to confuse additive rhythm with added values. On the other hand, some terms in common use, such as polyrhythm, are not introduced here because they are so poorly defined.

It is important to emphasize to students that they must study the rhythm as it sounds, not as it is notated, or they will miss out on a lot. Many of the examples in the textbook illustrate that point.

Answers to Selected Exercises Part A: Fundamentals 1.

Chromatic

2.

Example 6-5

3.

Vn I Vn II Vla Vc

5.

84 56 70 63

(56 x 3 / 2) (70 x 4 / 5) (84 x 3 / 4)

a.

144

(96 x 6 = 576 and 576 / 4 = 144)

b.

80

(96 / 3 = 32 [tempo of the dotted half] and 32 x 5 = 160 [the new eighth] and 160 / 2 = 80)

c.

Tempo II

(120 x 2 = 240, 240 / 5 = 48 [the new half note], 48 x 2 = 96)

Part B: Analysis

1.

Bartók uses 4+2+3 over 8. The effect is of three unequal beats in each measure, which is how a conductor would handle such a situation. Students may argue—with some justification—that the top staff calls for 1+3+2+3 over 8, but Bartók’s solution is certainly better overall.

2.

Aspects of meter and rhythm that the students might point out would include, among others: changing time signatures, nontraditional time signatures, and additive rhythm.

Pitch aspects discussed might include the chromaticism (each of the four phrases is a totally chromatic segment of from five to seven pitch classes). Also, the second phrase is an expansion of the first, and the third and fourth phrases are sequential (in pitch, but not in rhythm).

3.

Ignoring the phrase marks and accents, there are three one-measure patterns: 14 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

a.

The pattern of 12 sixteenth notes, which occurs three times. Better students may notice that the last one retrogrades the phrase marks and accents of the second one. If they notice that, they should also notice that the pitch classes are retrograded as well.

b.

The pattern in the right hand of m. 10, which does not recur.

c.

The pattern in m. 11, in which each hand retrogrades the other.

This famous example of integral serialism is addressed in detail in Chapter 13. Students may notice the following relationships, which pertain to both pitch and rhythm. (The relationship between the prime rhythm and its inversion is surely too abstract for the students to discover at this point.) m. 9

prime

4.

m. 10

m. 11

m. 12

retrograde

inversion

inversion

retrograde inversion

retrograde inversion

There are many aspects that the students could discuss, and I am sure that I will omit one or more of them here. a.

If we label the rhythm of m. 1 with an “a,” m. 2 with a “b,” and so forth, the pattern of rhythms is: a

b.

b

c

d

e

e

f

a

There is a tendency to shorten the measures (in terms of 16th notes) until the last measure: 24 21 19 19 13 13 13 24

c.

TESTduration BANKinSthe ELmiddle LER.ofCthe OMmeasure.

All but pattern “d” have their longest

d.

The pitches all belong to a 16-pitch row that is “frozen” in terms of register. It contains all twelve pitch classes with duplications of Cƒ, Fƒ, A, and Bß. Notice that the pitch pattern does not align with the measures.

e.

The contours of the two halves of the row are similar in every instance.

5.

This is a canon at the diminished fifth below and with a temporal displacement of two quarter notes. (Point out the different key signatures for the students, if necessary.) The rhythm is conventional until m. 5, where we encounter polymeter with different time signatures with the barlines not aligned. The scale is octatonic (diminished), which Bartók accomplishes by combining two minor tetrachords a tritone apart.

6.

There is a wealth of material in this brief excerpt for the students to discover. Certainly they should mention the polymeter (different time signatures with the barlines not aligned) and the polytonality. As for the latter, it sounds like Dß over C in the first system and C over something indefinable in the second. They could also point out in the first system, right hand, the palindromic pattern that begins and ends with quartal chords but with tertian ones in between.

In the second system we find diatonic planing in the right hand and real planing in the left involving, in both cases, incomplete ninth chords or three-note secundal chords. The chords in the two systems are inversionally related, more or less.

Additionally, the beginning of the second system makes more sense as three bars of 3/4, which only serves to complicate the issue of the polymeter.

15 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

SEVEN Form in Twentieth-Century Music Part of the appeal of this chapter is that it offers the opportunity for the study of entire movements or pieces. The instructor of a course in twentieth-century music is naturally tempted to concentrate on those crucial details that offer the greatest departure from earlier music—the scales and chords, the pitch-class sets and serialism—but this should not be done at the expense of studying whole pieces. Even if the forms of the pieces are not new, the ways that those forms are delineated may well be. If your schedule does not allow for this kind of score study, a class period devoted to the aural study of formal structures is certainly worth doing. See Part B of the exercises for some suggestions.

Answers to Selected Exercises Part A: Score Analysis 1.

(Bartók) A B A1

B1 A2

See the Kostka/Graybill Instructor’s Guide and Workbook for details.

2.

(Berg) A A1

TESTBANKSELLER.COM 3.

(Debussy “Cathedral”) Various possibilities. One is: A (mm. 1-15; aba) Transition (mm. 16-28) B (mm. 28-40) Transition (mm. 40-46) Ab (mm. 47-67) Transition (mm. 68-71) B (mm. 72-83) Aa (mm. 84-89)

4.

(Debussy “Anacapri”) A B A1 See the Kostka/Graybill Instructor’s Guide and Workbook for details.

5.

(Hindemith) One widely accepted definition of double fugue holds that it is a fugue with two subjects that appear together at some point in the fugue, and under that definition, both of these are double fugues.

16 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

In the Fugue in C, the first entrance of the second subject is in m. 11, and the two are finally combined beginning in m. 38.

In the Fugue in A, by far the more complex of the two, the exposition of the second subject occupies the middle section of the fugue, beginning in m. 28. The two subjects are combined beginning in m. 45, where the similarity between the two is made explicit (compare mm. 45 and 46). There are numerous instances in this fugue of the first subject in stretto and in inversion (contrary motion).

6.

(Ives) There is a canon at the tritone in the right hand of the piano beginning at rehearsal B. This is restated in the piano and violin beginning in the third measure after rehearsal C. Another canon, this one at the unison between violin and piano, begins with the pickup to rehearsal G.

7.

(Schoenberg Op. 19) Note: This piece is also in the Kostka/Graybill anthology.

Various possibilities, among them: a a1 a2 b c a3

beginning m. 2, beat 3 m. 4, beat 4 m. 7, beat 2 m. 8, beat 1 m. 9, beat 1

See the Kostka/Graybill Instructor’s and TEGuide STBA NKWorkbook SELLEfor R.details, COM but note that some errors in measure numbers have been corrected above.

8.

(Schoenberg, Op. 21) Intro.

A B C

mm. 1-3 mm. 4-10 mm. 11-16 mm. 17-26

Notice that this is a passacaglia, the theme being stated first by the bass clarinet beginning in m. 4. See Turek’s Accompaniment to Analytical Anthology of Music for details.

9.

(Schoenberg, Op. 31) The violin and oboe are in canon in this variation, at various intervals of time and pitch. There is a lot of imitation involving the other parts as well, much of it by contrary motion.

10. (Shostakovich) Sonata form m. 1 m. 103

Exposition Development

17 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

m. 178 m. 251

Recapitulation Coda

See the Kostka/Graybill Instructor’s Guide and Workbook for details.

11. (Webern) There are various approaches to this much-analyzed work, among them: m. 1 m. 3 m. 7 m. 11

Introduction A B A1

Part B: Aural Analysis 1.

(Barber) Five-Part Rondo A

2.

B

A

C

A

(A very clear example.)

(Bartók) Ternary

TESTBANKSELLER.COM

Introduction (Mesto) A (March, in B) B (Rubato) A1 (March, in B) 3.

(Dallapiccola) Canon

4.

(Hindemith) Seven-Part Rondo, but with omission of the third A section.

A (Fƒ) B (?)

A (Fƒ) C (E) B (Cƒ) A (Fƒ) Coda (Fƒ)

5.

(Prokofiev) Sonata form. The following outline is extracted from de Stwolinski’s Form and Content in Instrumental Music (Dubuque, Iowa: Wm. C. Brown, 1977), pp. 609-611.

18 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

Exposition Theme 1 (Bß) Transition Theme 2 (F) Closing Theme (F) Development (Bß, F, Eß, C) Recapitulation Theme 1 (Bß) Transition Theme 2 (Bß) Closing Theme (Bß) Coda

6.

(Shostakovich) Variations. Much of the following outline is extracted from de Stwolinski’s Form and Content in Instrumental Music, pp. 111-112 and p. 556.

Theme

Stated by the viola in four phrases, solo in the first two phrases and accompanied by the cello in the third and fourth. In A Minor.

Variation 1 In Bß Minor. Theme in Violin I, for the most part. Phrase 3 is expanded.

Variation 2 In E major and featuring triplets. Second phrase is abbreviated and the fourth extended.

Variation 3 In A minor. The melody moves from the Viola to Violin I. The last phrase is extended.

7.

(Stravinsky: Septet, I) Sonata form.

TESTBANKSELLER.COM

Exposition Theme 1 (A) Theme 2 (E) Closing Theme (D) Development Recapitulation Theme 1 (A) Theme 2 (D?) Closing Theme (C) Coda (A)

8.

(Stravinsky: Symphony of Psalms) Fugue

9.

(Stravinsky: Septet, II) Passacaglia Eight-measure theme (in A), stated ten times. There is a fermata before the last two statements, which gives them the effect of a coda. Each statement is exactly eight measures in length except for the last one, which adds a single measure.

10. (Walter, Schaeffer, and Olnick)

19 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

Ternary The following is found in Barry Schrader’s Introduction to Post-Tonal Music (Englewood Cliffs, N.J.: PrenticeHall, 1982), p. 121.

“Composed in 1959, this was the first work realized in the Toronto studio. It is a simple, lyrical work consisting mostly of sine tones. The structure is ABA, and the refrain is played backward.”

TESTBANKSELLER.COM

20 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

EIGHT Imports and Allusions This chapter attempts to address some of the external influences on concert music during the twentieth century, aspects that may not require a lot of technical knowledge to understand, but that are important to understanding some of the musical styles of the century. As with Chapter 7, some instructors find it sufficient to play recordings in class that illustrate the concepts discussed here and to deal with the material in more of an outline fashion.

Answers to Selected Exercises Part A: Analysis 1.

The form of this melody, including the repeat of measures 5-8, is simply: ˛ a ◊˛ b

c◊

or: A

˛ B ◊

The melody is pentatonic for the most part, only the passing Bß’s departing from that scale. All four phrases cadence on a D4, and the first three approach that pitch from an F4.

The melody is accompanied in the first two phrases by a pentatonic bass line that moves in contrary motion to the melody. This line is thickened by parallel fifths in the first phrase and parallel seventh chords in the second, TEscale.

STBThe ANtexture KSELisLfilled ER.out COinMthe right hand with notes from the bass all of them diatonic to the D Aeolian chords with two intriguing exceptions: the first eighth note in m. 3 and the second one in m. 4.

The melody of phrase 3 is accompanied by diatonic seventh chords and one triad, some in root position and some inverted, leading to an unexpected cadence on Bß. The final phrase starts in a similar fashion but crescendos to an outburst of chromaticism and dissonance at the cadence.

2.

This is a challenging assignment because of the transpositions involved. a. The chords in the accompaniment: | Aß |

|

|

Dß | Bß | Aß Go | Fm Eß | Dß | Eß |

All of the chords but the last are in first inversion. b. There is really nothing here that conforms to a traditional harmonic progression in Eß except for the largescale IV – I progression between the first and last chords. c. The dissonances are neither as numerous nor as sharp as might have been expected. Most of them are appoggiaturas (like the first Bß in Trumpet I), passing tones, or as a sort of inverted Eß pedal point (as in the fourth measure of the Trumpet I part). d. In the other parts is a canon with Trumpet I as the leader and Flute and Trumpet II together as the follower.

Because the leader contains changes in the time signature, there is a resulting polymeter between the two canonic lines and also between those lines and the accompaniment, which keeps an underlying quarter-note pulse. The Clarinet doubles the followers for three measures, then helps out Trumpet I for one measure, and then has its own independent line for the last five measures.

21 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

3.

The progression shows a few departures from the simple pattern given in the question, but the basic I – IV – I of the first eight measures is maintained: | Bß | Eß7(9) | Bß(13) | Bß7 | Eß7 | Aß9 | Bß(9) | Bß |

4.

Juxtapositions of D and Dß: mm. 16-17 mm. 19-20 m. 22 m. 22 m. 23 m. 23

Oboe Flute Clarinet and Horn Horn Clarinet and Horn Horn

Juxtapositions of A and Aß: m. 18 m. 19 m. 21 m. 21 m. 22 m. 23

Bassoon Flute and Clarinet Horn Bassoon Flute and Bassoon Horn

TESTBANKSELLER.COM

22 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

NINE Nonserial Atonality If Joe Straus’ book is the Introduction to Post-Tonal Theory (4th ed., W.W. Norton, 2016), then this chapter is an introduction to the introduction. Slim as it is, the presentation, augmented in this edition by the Appendix of set classes, provides an enormous amount of information for the student who has not been previously exposed to this method of analysis.

Every instructor has his or her favorite method of teaching normal orders, interval vectors, and so forth, and you are certainly welcome to substitute your own approach. The clock face method, for example, is favored by many for its visual representation of pitch class sets, but I have found that the time required to draw the clocks is excessive and does not lead the student to true proficiency. Another—and very efficient—method converts pitch classes to numbers and carries out the various operations by means of mod 12 arithmetic, but we fear that such an approach may reinforce the prejudice held by all too many students that atonal music is mathematical, cold, and unemotional.

From Stefan: On a personal note, some years ago I saw two dancers from the Fort Worth Ballet interpreting Webern’s music through dance, and I was amazed and very moved. I somehow had not been attuned to the sensual aspect of his music, which this couple and a choreographer obviously understood very well. For some time I tried to obtain a video of them to show my students as we worked on this chapter, but I was not successful.

Answers to Selected Exercises Part A: Fundamentals (0,7,10,8) (6,0,9,7) (0,1,5,8) (3,9,8,0) (0,1,3,9,2) (4,3,11,8,6)

TESTBANKSELLER.COM

1.

a. b. c. d. e. f.

2.

In each exercise, the normal order is given in the first measure and the best normal order in the second. The prime form is provided beneath the second measure. Answers that are enharmonically and/or transpositionally equivalent should be accepted.

23 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

Forte numbers: a. 3-5 b. 3-6 c. 3-12 d. 4-9 e. 4-27 f. 4-6 g. 5-19 h. 5-Z17 i. 5-Z37 j. 6-20 3.

4.

TESTBANKSELLER.COM

While going over these in class, it would be helpful to point out to the students that they could have looked up the answers in the Appendix because they already knew the prime forms (and some of them will probably have done so). Also, it is very useful to know how many intervals a given set will produce—that is, the sum of the members of the interval vector. If there are n unique pitch classes in a set, it will contain n(n-1)/2 intervals. For example, for a tetrachord, 4 x 3 / 2 = 6; for a hexachord, 6 x 5 / 2 = 15. a.

<100011>

b.

<020100>

c.

<000300>

d.

<200022>

e.

<012111>

f.

<210021>

g.

<212122>

h.

<212320>

i.

<212320>

j.

<303630>

The alert student will know from the chapter that the interval vectors above can be used to settle the issue of transpositional symmetry (see p. 188). Inversional symmetry is a little trickier. One approach would be to teach them how to make what John Rahn calls an index vector (see the third edition of his Introduction to Post-Tonal Theory, pp. 83-85). Another is to “eyeball” the prime form for a pattern that is the same ascending and descending, but this will not always work, as Exercises A-1-f and h illustrate. A method that will work for any set is to put the original and its inversion into normal order; if the two are the same or transpositionally equivalent, then the set is inversionally symmetrical. a.

neither

b.

inversionally

c.

both

d.

both

e.

neither

f.

inversionally

g.

neither

h.

inversionally

i.

inversionally

j.

both

24 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

5.

Sets 5-Z17 and 5-Z37 are Z-related. They share the same interval vector.

6.

The trichords may be listed in any order. In the example below, the first and last trichords are both [016] sets.

8. This set is not inversionally symmetrical. The matrix does not create a 0 in a row or column associated with all four PCs (PC 7 is the only one without a 0). Transposing the inversion of the set by PCIs 1, 5, 6, 9, and 10 will produce a PC set with no invariant PCs.

Part B: Analysis

1.

[0347]

2.

[016]

3.

[013679] It is transpositionally symmetrical.

4.

On beat one is a series of [0268] sets, which are both transpositionally and inversionally symmetrical. On the ESthese TBA KSELLERsymmetrical. .COM second beats [0246] sets are found,T and areNinversionally

5.

[016] and [01469]

6.

[0135] and [0135] The first aggregate is completed by the final C7 in m. 2, which is certainly a significant location.

7.

[014]

8.

Two occurrences of [0123] begin the bassoon part, and [0124] occurs twice in mm. 5 and 6. It is interesting that in each case the second set is a T7 relationship to the first, specifically, a P4 or P11 below the first.

9.

The first three are [0124] sets, and the last is [027].

10. There are a number of ways that this melody could be segmented, and any reasonable ones should be accepted.

If one uses each rest and each breath mark as a delineator, one finds the following: Begins in m. 1 m. 3 m. 6

Set Class [01236] [01236] (same pitches as the first) [0236] (a non-literal subset) 25 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

m. 7 m. 9 m. 9 m. 13 m. 15 m. 15 m. 16

[025] (another non-literal subset of the first one) [01] [012367] (a non-literal superset of the first) [016] (a non-literal subset of the first) [012] (another non-literal subset of the first) [0124] (a new set) [01]

Other aspects of the melody were discussed in Chapter 4 of this manual.

11. [016]

12. The G3 in the left hand in m. 4. It is structurally significant in the sense that it is the bass note of the only strongly stated chord in the excerpt.

13. The hexachord is 6-20 [014589]. The correspondences between the first six trichords and the second six is only partly explained by the fact that the e/k and f/l pairs contain the same pitch classes. a.

[048]

b.

[014]

c.

[015]

d.

[014]

e.

[048]

f.

[048]

g.

[015]

h.

[014]

i.

[015]

j.

[014]

k.

[048]

l.

[048]

14. The primary set appears to be [014]. It occurs in the voice in mm. 1 and 2 as well as in the first three notes of m.

5. In the vibraphone it occurs three times in mm. 1-3, while in the contrabass it is found in mm. 3 and 4. (This TEtoSthe TBstudents ANKSthat ELL R.COthat M goes no further than this is far from might be a good time to emphasize anEanalysis complete.)

26 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

TEN Classical Serialism This chapter and the previous one are probably the most challenging for students and require the most time to master. The subject matter of both chapters appeals to instructors in part because it can be tested, which is less the case in the other chapters in this book. However, the material appeals also because it is so central to understanding and talking about much of twentieth-century music. It is fashionable today to say that serialism is dead, but that is certainly not the case. While there are surely few composers today who use the system exclusively, there are a great many—including some whose music is accepted and enjoyed by the general concert-going public—who utilize serial techniques more or less often, depending upon the situation. For many, serialism has become one of the many techniques available—not the Holy Grail that Schoenberg may have thought he had found, but immortal in its own way.

Students are apt to approach this chapter with skepticism. They may not have heard any twelve-tone music, but they know they don’t like it because “it’s so mathematical.” For that reason we do not use pitch-class numbers in either of the two chapters, nor do we number the members of a row starting with 0, which some do in order to be consistent with transposition indexes. More important is to convince the students through sound that serialism is capable of a wide range of expression. Play them your favorite excerpts and explain why they appeal to you.

One of the most successful assignments we have ever devised required our students to compose a short serial work and to arrange to have it performed (by themselves or others) at our “Darmstadt West Festival.” They had to compose and analyze the row and do the same for the piece, which had to use at least a minimal number of row forms. Silly would not be accepted. The assignment sheet gave them a sample row form and showed two entirely different styles using that row, along with analyses. Students complained loudly but almost universally said afterward that they enjoyed the assignment. And some of their short pieces were truly wonderful.

TESTBANKSELLER.COM Answers to Selected Exercises

Part A: Fundamentals 1.

2.

Enharmonic equivalents should be accepted. a.

Fƒ

A

e.

Cƒ Aƒ

b.

B

D

f.

A

Fƒ

c.

Eß C

g.

B

D

d.

Aß F

h.

E

G

The approach given here follows that used in the model analysis on pp. 204-206. This is truly a beautiful row. I recommend playing it for the students several times, perhaps as it appears in the right hand at the beginning of Example 10-7.

Aƒ 1

B 2

Dƒ 3

Fƒ 4

Gƒ 5

D 6

Cƒ 7

F 8

G 9

C 10

A 11

E 12

The row has a number of tonal aspects. Notes 1-5 belong to B Major, and notes 8-12 belong to C Major. The row also contains a major triad (2-4), a minor triad (10-12), a major seventh chord (1-4) and two minor seventh chords (2-5 and 9-12). All the seventh chords are inversionally symmetrical, which means that inversions of the

27 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

row will also begin with a major seventh chord and end with a minor seventh chord, a feature that plays out in the piece.

Interval classes: 1

4

3

2

Dƒ 3

Fƒ 4

Gƒ 5

B 2

Aƒ 1

6 D 6

1 Cƒ 7

4 F 8

2 G 9

5 C 10

3 A 11

5 E 12

The row has two occurrences of each IC except for IC 6, which occurs once. This means that it is some kind of all-interval row, but it is not the sort of all-interval row discussed in the text: M7

m6

m3

Dƒ 3

Fƒ 4

B 2

Aƒ 1

M2 Gƒ 5

tt

m2

M3 m7 P4 M6 P5 F G C A E Cƒ 7 8 9 10 11 12

D 6

However, it is the sort of all-interval row mentioned in footnote 3, and Dallapiccola presents it in that fashion at the beginning of Example 10-7.

The row is not a derived set, nor does it contain any recurring segments. But, as the analysis below demonstrates, there are two occurrences each of [037], [025], [026], [0358], [0146], and [0157], a characteristic that the composer might make use of.

B D F G C Aƒ Dƒ Fƒ Gƒ Cƒ [015] [037] [025] [026] [016] [014] [026] [027] [025] [037] [0158] [0358] [0146] [0157] T[0147] ESTBA[0146] NKSE[0157] LLER[0247] .COM [0358]

3.

Eß G 1 2

A 3

B 4

Dß C 5 6

Bß D 7 8

E 9

A

E

Fƒ Gƒ F 10 11 12

This row contains few, if any, tonal references. It does, however, have a four-note whole-tone scale segment (notes 2-5) and a complete whole-tone scale (6-11), although the pitch classes are not presented in scalar order.

Interval classes:

Eß 1

4 G

2 A

2 B

2

3

4

2 Dß 5

1 C 6

2 Bß 7

4 D

2 E

8

9

2

2

Fƒ 10

Gƒ 11

3 F 12

Ascending intervals:

Eß 1

M3 M2 M2 M2 M7 m7 M3 M2 M2 M2 M6 G A B C D E F Dß Bß Fƒ Gƒ 2 3 4 5 6 7 8 9 10 11 12

This is not an all-interval row of any sort because there are no occurrences of IC5 or IC6. It does, however, contain a recurring five-note pattern (notes 1-5 and 7-11), which means that there will be invariant subsets available to the composer. For example, the first five pitch classes of P-3 (above) would occur in P-8 in the same order later in the series.

28 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

G A B C D E Eß Dß Bß Fƒ [026] [024] [024] [012] [013] [013] [026] [024] [024] [013] [0248] [0246] [0124] [0123] [0124] [0246] [0248] [0246] [0124]

F

Gƒ

The transposition index numbers below are shown as subscripts for formatting reasons.

I3

I7

I9

I11

I1

I0

I10

I2

I4

I6

I8

I5

P3

Dƒ

G

A

B

Cƒ

C

Aƒ

D

E

Fƒ

Gƒ

F

R3

P11

B

Dƒ

F

G

A

Gƒ

Fƒ

Aƒ

C

D

E

Cƒ

R11

P9

A

Cƒ

Dƒ

F

G

Fƒ

E

Gƒ

Aƒ

C

D

B

R9

P7

G

B

Cƒ

Dƒ

F

E

D

Fƒ

Gƒ

Aƒ

C

A

R7

P5

F

A

B

Cƒ

Dƒ

D

C

E

Fƒ

Gƒ

Aƒ

G

R5

P6

Fƒ

Aƒ

C

D

E

Dƒ

Cƒ

F

G

A

B

Gƒ

R6

P8

Gƒ

C

D

E

Fƒ

F

Dƒ

G

A

B

Cƒ

Aƒ

R8

P4

E

Gƒ

Aƒ

C

D

Cƒ

B

Dƒ

F

G

A

Fƒ

R4

P2

D

Fƒ

Gƒ

Aƒ

C

B

A

Cƒ

Dƒ

F

G

E

R2

PO

C

E

Fƒ

T BANA KSELGLERB.COCƒ M GƒESTAƒ

Dƒ

F

D

R0

P10

Aƒ

D

E

Fƒ

Gƒ

G

F

A

B

Cƒ

Dƒ

C

R10

P6

Cƒ

F

G

A

B

Aƒ

Gƒ

C

Dƒ

E

Fƒ

Dƒ

R1

RI3 RI7 RI9 RI11 RI1 RI0 RI10 RI2 RI4 RI6 RI8 RI5

4.

Bß Eß F 1 2 3

D 4

C 5

Dß G 6 7

B 8

Fƒ 9

A Gƒ E 10 11 12

I don’t find any clear tonal references here, but one can hear the first five pitches as being “in” Bß and the last five as implying A. Interval classes:

Bß 1

5 Eß 2

2 F 3

3 D 4

2 C 5

1 Dß 6

6 G 7

4 B 8

5 Fƒ 9

3 A 10

1 Gƒ 11

4 E 12

Ascending intervals:

Bß 1

P5 M2 M6 m7 m2 F D C Eß Dß 2 3 4 5 6

tt G 7

M3 P5 m3 M7 m6 B A E Fƒ Gƒ 8 9 10 11 12

29 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

This is an all-interval row of the type defined in the text. There are no recurring patterns of three or more pitch classes.

Bß

F

Eß

D

C

G

Dß

B

A

Fƒ

E

Gƒ

[027] [013] [025] [012] [016] [026] [015] [025] [013] [015] [0237] [0235] [0125] [0127] [0126] [0157] [0135] [0235] [0135] It is only toward the end of the set that set classes recur—the final three trichords and two tetrachords duplicate set classes found earlier.

I10

I3

I5

I2

I0

I1

I7

I11

I6

I9

I8

I4

P10

Aƒ

Dƒ

F

D

C

Cƒ

G

B

Fƒ

A

Gƒ

E

R10

P5

F

Aƒ

C

A

G

Gƒ

D

Fƒ

Cƒ

E

Dƒ

B

R5

P3

Dƒ

Gƒ

Aƒ

G

F

Fƒ

C

E

B

D

Cƒ

A

R3

P6

Fƒ

B

Cƒ

Aƒ

Gƒ

A

Dƒ

G

D

F

E

C

R6

P8

Gƒ

Cƒ

Dƒ

C

Aƒ

B

F

A

E

G

Fƒ

D

R8

P7

G

C

D

B

A

Aƒ

E

Gƒ

Dƒ

Fƒ

F

Cƒ

R7

P1

Cƒ

Fƒ

Gƒ

F

Dƒ

E

Aƒ

D

A

C

B

G

R1

P9

A

D

E

Cƒ

B

C

Fƒ

Aƒ

F

Gƒ

G

Dƒ

R9

P2

D

G

A

Fƒ

E

F

B

Dƒ

Aƒ

Cƒ

C

Gƒ

R2

P11

B

E

Fƒ

Dƒ

Cƒ

D

Gƒ

C

G

Aƒ

A

F

R11

P0

C

F

G

E

D

Dƒ

A

Cƒ

Gƒ

B

Aƒ

Fƒ

R0

P4

E

A

B

Gƒ

Fƒ

G

Cƒ

F

C

Dƒ

D

Aƒ

R4

TESTBANKSELLER.COM

RI10 RI3 RI5 RI2 RI0 RI1 RI7 RI11 RI6 RI9 RI8 RI4

5.

A 1

Fƒ 2

G 3

Gƒ E 4 5

F 6

B 7

Bß D 8 9

Dß C Eß 10 11 12

This row contains no tonal implications.

Interval classes:

A 1

3 Fƒ 2

1 G 3

1 Gƒ 4

4 E 5

1 F 6

6 B 7

1 Bß 8

4 D 9

1 Dß 10

1 C 11

30 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

3 Eß 12

TECOM

This is obviously not at all-interval row. However, the reversed interval classes in the second hexachord indicate that it may be a retrograde of the first, which is indeed the case. This means that the row is a derived set, the second hexachord being the retrograde of the first at the interval of a tritone.

Ascending intervals:

A 1

M6 m2 m2 m6 m2 G E F Fƒ Gƒ 2 3 4 5 6

tt

M7 M3 M7 M7 m3 D C Bß Dß Eß 8 9 10 11 12

B 7

Because the second hexachord is a retrograde of the first, there are only 24 unique forms of the row, not 12. For example, P-9 is identical to R-3, and I-9 is the same as RI-3.

I9

I6

I7

I8

I4

I5

I11

I10

I2

I1

I0

I3

P9

A

Fƒ

G

Gƒ

E

F

B

Aƒ

D

Cƒ

C

Dƒ

R9

P0

C

A

Aƒ

B

G

Gƒ

D

Cƒ

F

E

Dƒ

Fƒ

R0

P11

B

Gƒ

A

Aƒ

Fƒ

G

Cƒ

C

E

Dƒ

D

F

R11

P10

Aƒ

G

Gƒ

A

F

Fƒ

C

B

Dƒ

D

Cƒ

E

R10

P2

D

B

C

Cƒ

A

Aƒ

E

Dƒ

G

Fƒ

F

Gƒ

R2

P1

Cƒ

Aƒ

B

C

Gƒ

A

Dƒ

D

Fƒ

F

E

G

R1

P7

G

E

F

TESTDBANDƒ KSELALERGƒ .COM C Fƒ

B

Aƒ

Cƒ

R7

P8

Gƒ

F

Fƒ

G

Dƒ

E

Aƒ

A

Cƒ

C

B

D

R8

P4

E

Cƒ

D

Dƒ

B

C

Fƒ

F

A

Gƒ

G

Aƒ

R4

P5

F

D

Dƒ

E

C

Cƒ

G

Fƒ

Aƒ

A

Gƒ

B

R5

P6

Fƒ

Dƒ

E

F

Cƒ

D

Gƒ

G

B

Aƒ

A

C

R6

P3

Dƒ RI9

C RI6

Cƒ RI7

D RI8

Aƒ RI4

B RI5

F RI1

E RI1

Gƒ RI2

G RI1

Fƒ RI0

A RI3

R3

1

0

31 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

6.

P-3 will work combinatorially with P-1, 5, and 9 and with I-2, 6, and 10. An in-class activity would be to discover that it is also combinatorial with R-3, 7, and 11 and with RI-0, 4, and 8.

I3

I8

I7

I11

I0

I4

I10

I9

I1

I6

I5

I2

P3

Dƒ

Gƒ

G

B

C

E

Aƒ

A

Cƒ

Fƒ

F

D

R3

P10

Aƒ

Dƒ

D

Fƒ

G

B

F

E

Gƒ

Cƒ

C

A

R10

P11

B

E

Dƒ

G

Gƒ

C

Fƒ

F

A

D

Cƒ

Aƒ

R11

P7

G

C

B

Dƒ

E

Gƒ

D

Cƒ

F

Aƒ

A

Fƒ

R7

P6

Fƒ

B

Aƒ

D

Dƒ

G

Cƒ

C

E

A

Gƒ

F

R6

P2

D

G

Fƒ

Aƒ

B

Dƒ

A

Gƒ

C

F

E

Cƒ

R2

P8

Gƒ

Cƒ

C

E

F

A

Dƒ

D

Fƒ

B

Aƒ

G

R8

P9

A

D

Cƒ

F

Fƒ

Aƒ

E

Dƒ

G

C

B

Gƒ

R9

P5

F

Aƒ

A

Cƒ

D

Fƒ

C

B

Dƒ

Gƒ

G

E

R5

P0

C

F

E

Gƒ

A

Cƒ

G

Fƒ

Aƒ

Dƒ

D

B

R0

P1

Cƒ

Fƒ

F

A

Aƒ

D

Gƒ

G

B

E

Dƒ

C

R1

P4

E

A

Gƒ

C

Cƒ

F

B

Aƒ

D

G

Fƒ

Dƒ

R4

RI3

RI8

RI7

T11ESRI TB0 ANRIK4SERI L10 LER M1 RI RI.9 CORI

RI6

RI5

RI2

Part B: Analysis 1.

a.

Right hand: R-10, I-11, and I-11.

Left hand: P-10, RI-11, and RI-11.

b.

Yes. Both measures are hexachordally combinatorial because the pairs of hexachords are aligned and result in aggregates.

c.

Yes, in both cases. The secondary set in the left hand is: G

B

Fƒ

A

Aß E

F

Dß C

Eß Bß D

Fƒ

G

And the one in the right hand: D 2.

Bß Eß C

Dß F

B

E

A

Aß

a.

P-9 begins in the Horn 2 in m. 1, I-5 begins in the Harp in m. 2, I-9 begins in the Horn 1 in m. 3, and P-1 begins in the Harp in m. 4.

b.

No. For example, there are two occurrences of pitch class A within the first three measures and before the first aggregate has been completed.

c.

Yes. In fact it is a double canon involving P-9 and I-9 for the first canon and I-5 and P-1 in the second.

32 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

3.

a.

The Clarinet and Horn state I-3 three times.

b.

The two segmentations are almost identical. There is some variation in the way the first two notes of the row are distributed in mm. 8 and 10.

c.

The rhythm is almost the same.

d.

The Flute and Oboe state I-8 three times. The last three notes in the Flute begin a statement of P-3.

e.

The duets are similar in that they both segment three statements of a row form between the two instruments. However, the segmentations are done differently. Notice that the Flute and Oboe play a similar number of pitch classes and that the pattern exactly inverts in the second statement of I-8. The Clarinet, like the Horn in Example 4-7, plays only twelve pitch classes over the course of three statements of I-3, in effect creating a new row. In fact, the segmentations between this duet and the one in Example 4-7 are identical except for the very beginnings of the first two presentations of the row, which have to be adjusted because the Bassoon plays the first note of the first presentation. (Compare this analysis with the one on p.

208.)

Fl. Ob. 1 Fl. 1 Ob.

4.

2

3

2

3

Fl. Ob. 1

2

3

Cl. Hn. Fg. 1

2

4 5

6

7

5

6

7

4 5 4

Cl. 1 Hn.

2

Cl. Hn. 1

2

4

3

4

3

4

10 11

8

9

10 11

8

9

10

11

(7 pitch classes) 12 (5) 12 (5) (7) (5) 12 (7)

T7ESTBANKSELL12ER(4).COM

5

8

5

5

9

7 6 6

3

8

9

10 11

(7) (1)

11 9

10

(4) 12 (8)

9

10

8 6

7

6

7

8

(4) 11 12 (8)

R-10. The G and Dß in the right hand belong to both I-10 and R-10.

33 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

5.

a.

b.

I2

I7

I3

I6

I0

I4

I8

I5

I9

I10

I1

I11

P2

D

G

Dƒ

Fƒ

C

E

Gƒ

F

A

Aƒ

Cƒ

B

R2

P9

A

D

Aƒ

Cƒ

G

B

Dƒ

C

E

F

Gƒ

Fƒ

R9

P1

Cƒ

Fƒ

D

F

B

Dƒ

G

E

Gƒ

A

C

Aƒ

R1

P10

Aƒ

Dƒ

B

D

Gƒ

C

E

Cƒ

F

Fƒ

A

G

R10

P4

E

A

F

Gƒ

D

Fƒ

Aƒ

G

B

C

Dƒ

Cƒ

R4

P0

C

F

Cƒ

E

Aƒ

D

Fƒ

Dƒ

G

Gƒ

B

A

R0

P8

Gƒ

Cƒ

A

C

Fƒ

Aƒ

D

B

Dƒ

E

G

F

R8

P11

B

E

C

Dƒ

A

Cƒ

F

D

Fƒ

G

Aƒ

Gƒ

R11

P7

G

C

Gƒ

B

F

A

Cƒ

Aƒ

D

Dƒ

Fƒ

E

R7

P6

Fƒ

B

G

TESTEBANGƒ KSELCLERA.COCƒ M Aƒ

D

F

Dƒ

R6

P3

Dƒ

Gƒ

E

G

Cƒ

F

A

Fƒ

Aƒ

B

D

C

R3

P5

F

Aƒ

Fƒ

A

Dƒ

G

B

Gƒ

C

Cƒ

E

D

R5

RI2

RI7

RI3

RI6

RI0

RI4

RI8

RI5

RI9

RI10 RI1

RI11

The row forms are approximately aligned in the layout below.

Voice: Piano:

R-8 P-2

I-8

P-2 R-2

P-8

RI-2 I-8

R-2

RI-8

I-2

RI-2 P-2

RI-8

There are several places where a pitch is shared by two row forms, but these are fairly easy to recognize once you have the information above, except for the last measure. In that measure, the piano plays all of the notes of RI-8, except for Cƒ and Bß, which are shared with the voice. The vocalist sings notes 1-4 (only) of I-2. This leaves an unanalyzed C5 as a grace note in the piano. The only explanation is that this is note 6 of I-2 and that the E4 that precedes it in the piano serves as note 5 (as well, of course, as note 9 from RI-8). c.

Various examples could be cited. If we restrict ourselves only to pitches in the same register in voice and piano, we could cite Gß in m. 4, C-A in m. 5, E4 and F5 in m. 7, A in m. 8, E in m. 10, and A in m. 11.

d.

This is too broad a question to provide a suggested answer for. They will probably find a number of [0145], [0147], and [0148] tetrachords as well as their trichordal subsets. Any reasonable segmentation should be accepted.

34 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

ELEVEN Timbre and Texture: Acoustic This chapter and the next deal with the issue of the sound of post-tonal music. While timbre and texture are important aspects of this music, they do not seem to present subject matter that is totally objective and easy to test.

(This may be why timbre and texture receive such short shrift in most textbooks of this sort.) Because of this, many instructors cover these chapters briefly, in a lecture/demonstration format. One activity that we have found most successful is to ask faculty members or advanced students who are familiar with new techniques for their instruments to demonstrate them before the class. Even if that sort of presentation does not lend itself to a later quiz, it does fulfill our real objective, which is to educate.

Answers to Selected Exercises Part A: Fundamentals 1.

Let’s number the four cello lines from top to bottom, Vc 1, Vc 2, Vc 3, and Vc 4. They share the same seven string techniques (numbered below), with one exception: Vc 1 Vc 2 Vc 3 Vc 4

1 7 6 2

2 6 4 4

3 5 2 6

4 4 7 1

5 3 5 3

6 6 3 5

7 1 1 7

TESTBANKSELLER.COM The “culprit,” of course, is Vc 2, which should completely reverse the pattern from Vc 1. This is confirmed in the next “measure,” where the patterns appear in reverse chronological order and Vl 3 has the correct sequence: 7 6 5 4 3 2 1.

2.

Octatonic (diminished)

3.

[01348]

4.

Whole-tone

Part B: Analysis 1.

a.

Phrase 1 (mm. 21-24). One element is the ascending melody, which is accompanied by parallel whole-tone chords (and which can be characterized as incomplete half-diminished sevenths with a major ninth). This first element could also be divided into two elements. A second element is the sustained Gƒ pedal, and the third is the ostinato, which ends with an arpeggiated augmented triad.

Phrase 2 (mm. 25-30). One element is the planed four-chord ostinato in the highest register: A – Eß – Fƒ – C; the enharmonic spellings are discussed under (b). A second element is the melody on the middle staff, and a third element (or third and fourth) is the aƒø7 chord in third inversion and the associated Gƒ pedal point beneath it.

35 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

Phrase 3 (mm. 31-35). It is probably better to consider the chord in m. 31 as both the last event of phrase 2 and the first event of phrase 3, but to do so would have complicated the question. One element of the texture is the Fƒ chord that expands registrally on the second beat (this might be considered to be two elements). Another element is the quick parallel triads that lead into restatements of the first element: a – Fƒ – a – D – a – D – a (– Fƒ). b.

Phrase 1 is whole-tone, plus the passing Dƒ in the ostinato and the Cƒ anticipation (really part of the next phrase) in m. 24. Phrase 2 is diminished (octatonic), plus the Gƒ pedal point. This scale actually continues until the D triad in m. 32. It may be that Debussy spelled the triads as he did in order to be consistent in the spelling of the scale: A–Aƒ–Bƒ–Cƒ–Dƒ–E–Fƒ–G. (Similar enharmonic spellings occur in the piano arrangement of The Rite of Spring, although perhaps for different reasons; see the first few pages of the excerpt in the Burkhart Anthology).

c.

Phrase 1 is in Gƒ because of the pedal point and the final note of the ostinato, which is also the lowest note in the texture. Phrase 2 is also in Gƒ because of the pedal point, but the ostinato chords and the melody (in G?) are in conflict with it. Phrase 3 is in Fƒ because each gesture is directed toward it; the A minor and D major triads, while in conflict with Fƒ, go by too quickly to have any effect.

d.

The Fƒ major triad is in a doubly-chromatic mediant relationship with the A minor triad and in a chromatic mediant relationship with the D major triad.

TWELVE Timbre and Texture: TESTBA NKSELLER.COM Electronic The subject of electronic music in all of its forms is, of course, huge and highly technical. There is probably little point in having students memorize technical information unless they are going to have the opportunity to use it. The best exercises are those in Part A, and it would be ideal if they could be worked on as a group activity either in a computer lab or in a smart classroom. Another very valuable activity is a visit to an electronic music studio, where a composer can demonstrate how sounds are generated, altered, and combined. Finally some serious listening (Part C of the exercises) is crucial if students are to overcome the impression (that some of them will begin with) that electronic music is a gadget generally associated with film scores and sound effects.

36 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

THIRTEEN Serialism After 1945 Most of this chapter deals with integral serialism (also called total serialization, total control, and so forth), a shortlived but fascinating episode in post-WW II music. All of these pieces are fiendishly difficult to perform. Strangely enough, these hyper-organized works tend to sound random—this is especially true of the Boulez’s Structures 1a. A class discussion of why this is so might be worthwhile.

Answers to Selected Exercises Part A: Fundamentals 1.

Enharmonic equivalents should be accepted. a.

P-2

D

Bß

e.

I-2

D

Fƒ

b.

P-0

C

Aß

f.

I-0

C

E

c.

R-2

Bß D

g.

RI-2 Fƒ

D

d.

R-5

Dß F

h.

RI-11 Eß B

2.

Babbitt, Three Compositions for Piano p. R 215) TES(the TBrow ANisKgiven SELonLE .COM Nono, Il canto sospeso The row given on p. 275 (by Babbitt)

3.

Nono, Il canto sospeso (The second hexachord is a retrograde of the first.)

4.

Yes. As explained in the text, the two hands are playing different row forms, and each measure contains an aggregate with no duplication of pitch classes between the staves.

5.

No. The two pianos are presenting P-3 and I-3, respectively, so there is an obvious duplication of pitch-classes.

Part B: Analysis 1.

a.

The row forms in Piano I are P-3 (p. 270), P-4 (p. 281, right hand), and P-9 (p. 281, left hand). The starting notes of these row forms—Eß, E, and A—in the original row (p. 267) occur in order positions 1, 7, and 3, which is the sequence found in the top row of the matrix of inversions (p. 269).

b.

The row forms in Piano II are I-3 (p. 270), I-2 (p. 281, right hand), and I-9 (p. 281, left hand). The starting notes of these row forms—Eß, D, and A—in the original row (p. 267) occur in order positions 1, 2, and 3, which is the sequence found in the top row of the matrix of prime forms (p. 268).

c.

As explained on p. 271, the durations in Piano I on p. 270 are derived from the retrograde of the bottom row of the inversion matrix. On p. 281 the durations in the right hand (11, 12, 6, 7, etc.) and those in the left hand (9, 6, 8, 12, etc.) are derived from the retrogrades of the next two rows of the matrix.

37 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

d.

As explained on p. 271, the durations in Piano II on p. 270 are derived from the retrograde of the bottom row of the prime matrix. On p. 281 the durations in the right hand (8, 5, 9, 2, etc.) and those in the left hand (6, 9, 11, 5, etc.) are derived from the retrogrades of the next two rows of the matrix.

e.

1 2 3 4

f.

Piano I on p. 270 uses dynamic 12 and on p. 281 uses dynamic 7 twice. The sequence 12-7-7 comes from the secondary diagonal (upper right to bottom left) of the prime matrix. Piano II on p. 270 uses dynamic 5 and on p. 281 uses dynamic 2 twice. The sequence 5-2-2 comes from the secondary diagonal (upper right to bottom left) of the inversion matrix.

pppp ppp pp p

5 6 7 8

quasi p mp mf quasi f

9 10 11 12

f ff fff ffff

FOURTEEN The Roles of Chance and Choice in Twentieth-Century Music The use of chance in composition and choice in performance—or indeterminacy—contrasts strongly with the approaches to composition discussed in the previous chapter, but this material will be equally alien to some students.

A worthwhile activity is to arrange for a class performance of some of the examples in the chapter. For instance, Example 14-7 could be assigned to two pianists who are to work up their own interpretations of the piece without consultation and then perform them in class.

TESTBANKSELLER.COM Answers to Selected Exercises Part A: Analysis 1.

a.

Each choir plays four pitch classes that consist of a triad plus a fourth pitch class a half step away from the root or the fifth of the triad: Flutes Oboes Horns

F Aß C + B Fƒ A Cƒ + D or D Fƒ A + Cƒ Eß G Bß + E

In addition, within each choir, the instruments at the top have the longest pattern and the ones at the bottom have the shortest. (This is also true between the choirs.) b.

Flutes Oboes Horns

c.

Yes.

[0147] [0158] [0147]

38 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

FIFTEEN Minimalism and Beyond This chapter attempts to bring the reader up to the present day, but “contemporary” music is as confusing and frustrating as it always has been, and we always seem to need a few decades to sort it out. (Remember, too, that this text does not pretend to be a history book—it’s about materials and techniques, even though some history is bound to come into the discussion now and then.) Minimalism, which I am told is called “Musique repetitive” in France, is old stuff by now, having even come and gone from television commercials. What seems to be going on these days (and for some years, now) is a movement toward embracing 19th-century Romanticism, leavened by whatever more contemporary techniques suit the composer in a particular situation. Serialism is not dead, nor are the other developments and discoveries of the twentieth century, but neither is any one of them central the way this reemerging tonality seems to be. At least that’s how it looks to us, although, like most of us, we find it very difficult to keep up with what is happening just in this country, not to mention in the rest of the world. We would appreciate any helpful comments on all of this and how this final chapter might be improved.

An effective way to help students internalize the fundamentals of minimalism is to arrange a performance of some of In C involving the entire class (well, maybe not, if you teach in a situation with huge sections). This can be done in a single class period, and everyone, including vocalists, can take part. Agree some days before on how many figures to go through (I might suggest 1 through 15) so that students who play transposing or bass clef instruments can write out their own versions if necessary. Before the performance begins, it is important to read aloud and to discuss the performance instructions that are part of the score. These instructions, when followed, provide a fluid and fun experience for the performers.

Answers to Selected Exercises

TESTBANKSELLER.COM Part A: Analysis 1.

2.

The complete score is on IMSLP: http://imslp.org/wiki/In_C_(Riley,_Terry).

B4 enters at 53”, A4 enters at 1:05, new rhythm at 2:03, G4 reintroduced at 2:51, F4 enters at 3:17, E4 reintroduced at 3:44, D4 enters at 4:16, new rhythm at 4:24, E5 reintroduced at 5:17, F5 and G5 enter at 7:06, repeats from the beginning starting at 7:13.

3.

B: I I6

4.

The progression of chords 5-6 recurs at a different pitch level in chords 8-9, although this does not seem particularly significant. More interesting is the way that the roots (and bass line) of chords 4-7 outline a diminished-seventh chord.

vi

1 Bm

ii6 viiø7/I

2 BßM

I

3 EßM

4 DßM

5 FßM <cm>

<dcm>

7 Bßm <cm>

8 AM

9 Cm <dcm>

5.

DßM9

6.

The movement is a scherzo and trio, although the trio is labeled “Intermezzo.” The scherzo is in a clearly audible ˛ A ◊˛ B ◊ form, with a cadence in E minor at the double bar (the first repeat is actually written out). The trio is more involved and features chromatic mediant relationships: A F to A

C9

6 Gm

[01469] AmM9

A1 F to Dß to F

B F

A2 (followed by “Da capo il scherzo”) F

39 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

TECOM

7.

This is a set of variations on Pachelbel’s Canon theme, composed before Pachelbel’s music had become overexposed to the point of sounding trite. Listened to with fresh ears, Rochberg’s variations are very effective and evoke feelings of nostalgia.

There are 22 variations in all, including the opening statement of the theme as a variation. The eight-measure variations are 7 and 18. Variations 16 and 17 invert the stepwise melody (in the cello). In terms of the larger structure, Variations 12-15 seem to form a central section that stands out because of its ultra-romantic style.

TESTBANKSELLER.COM

40 WWW.NURSYLAB.COM

TECOM #1 TEST BANKS WHOLESALER

Powered by TCPDF (www.tcpdf.org)