BAIN MUSC 525
Post-Tonal Theory

Fall 2022

MUSC 525 | Blackboard | Listening/Analysis

C O U R S E   M O D U L E S
1.	Pitch & Interval (Ch. 1)
2.	Pitch-Class Sets (Ch. 2)
	Set Properties & Relations (Ch. 3)
4.	Centricity & Referential Collections (Ch. 5)
5.	Advanced Topics (Ch. 4)
6.	Serialism (Ch. 6)
Harvard Dictionary Grove Music Online Naxos Music Library

News

Mon., Oct. 3: Common-Tone Theorems & Symmetry under T_n & I_n

Reading

Read Ch. 3, pp. 95-132

Quotable

	Tones held in common between two different members of the same set class can provide an important musical continuity.
	– Joseph N. Straus, Introduction to Post-Tonal Theory

Required Textbook

Joseph N. Straus, Introduction to Post-Tonal Theory, 4th ed. (New York: Norton, 2016).
ISBN-13: 9780393938838 {Table of Contents; E-book: VitalSource}

Course Documents

1. Syllabus (pdf) 
• Reading & Exam Schedule (pdf)
• Daily Schedule (pdf)
• Links for Students
2. Straus 4/e:
   
• Theory Exercises (pdf)
• Solution Guide 
• Blackboard Activities & Quizzes (Quiz 1-16) (pdf)
• Listening/Analysis
• Musical Examples (by chapter & topic)
• Model Analyses
• Guided Analyses
• Digital Anthology
• Videos: Graphic Music Analyses (Straus 2022)
  
3. Handouts
4. Practice Tests
5. Composition Project (pdf)
6. Mathematical Terms & Concepts
7. Bibliography
   
• Articles

Software

1. Reginald Bain, PC Polygon Assistant, v2.03
   
2. Reginald Bain, Twelve-Tone Assistant, v2.4
   

Chapter/Lecture Overviews

1. Chapter 1  
   • Basic Concepts of Pitch and Interval (pdf)
2. Chapter 2
   • Pitch-Class Sets (pdf)
   • Set Theory (pdf)
   • Normal Form, Set Class, and Prime Form (pdf)
     
   • Segmentation & Analysis (pdf)
   • Edward T. Cone, Music: A View from Delft (pdf)
     
   • Johannes Vermeer, View of Delft (1660-61), oil on canvas {WC; WP}
   • Article: JSTOR
   • Model Analyses (Ch 1-2)
     • Ch. 1 Model Analyses (pdf)
     • Ch. 2 Model Analyses (pdf)
3. Chapter 3
   • Some Additional Properties & Relationships (pdf)
4. Chapter 5
   • Centricity and Referential Pitch Collections (pdf)
5. Chapter 4
   •  Motive, Voice Leading, and Harmony (pdf)
6. Chapter 6
   • 6-1: Basic Concepts of Twelve-Tone Music (pdf)
   • 6-2: Varieties of Twelve-Tone Music (pdf)

Set Class Lists

1. Under T_n/T_nI
   • Bain, Set Class List, v2.3 (pdf) (Kostka & Payne 2004)
   • Straus, List of Set Classes, pp. 378-381 (Straus 2016)
   • Walters, Table of pc set classes {www.mta.ca}
2. Under T_n
   • Nelson, Prime Forms Table {ComposerTools}
3. Under T_nM/T_nMI
   • Morris, Set-Class Table {Website}; See also: Morris 1987 Appendix One (Morris 1987)
4. Other
   • Hanson, The Projection and Interrelation of Sonorities in ET {Archive.org} (Hanson 1960)
   • Forte, Appendix 1: Prime Forms and Vectors of PC Sets {GB} (Forte 1973)
   • Carter, Catalogue I: Catalogue of Intervals and Chords, from The Harmony Book {GB} (Carter 2002)

Research Tools

Digital Scores

1. Alexander Street: Classical Scores Library {AS}
2. Boosey & Hawkes, Study Score Videos {YouTube Playlist}
• Davies, Eight Songs for a Mad King (1969) {SF: YouTube}
• Stravinsky, Rite of Spring (1913) {SF: YouTube}
3. International Music Score Library Project {IMSLP}
4. Kronos Quartet, 50 for the Future
   
• Composers & Works
5. Score Follower {Website; {YouTube Channel}
   
• Incipitsify {YouTube Channel}
• Adès, Traced Overhead (1995-96) {SF: YouTube}
  
• Cerrone, The Arching Path (2016) {SF: YouTube}
  
• Czernowin, String Quartet (2010) {SF: YouTube}
  
• Crumb, Black Angels (1971) {SF: YouTube}
• Glass, Quartet Satz (2017) {SF: YouTube}
• Norman, The Companion Guide to Rome I-VIII (2013) {SF: YouTube}
  
• Schoenberg, Pierrot lunaire (1912) {SF: YouTube}

Online Resources

1. Allen Forte Electronic Archive {AFEA}
   
2. Arnold Schoenberg Center {ASC}
• Compositions: A complete works list with recordings {ASC}
3. Schoenberg, Style and Idea
   • Composition with Twelve Tones (1941) {GB}
4. Webern, The Path to New Music (1932-33) {Archive.org}
5. London et al., Row Forms in the Serial Works of Schoenberg, Berg, and Webern {CCARH}
6. Mathematics and the Twelve Tone System

Bibliographies

1. BAIN MUSC 525 Bibliography & Articles
   
2. Séminaire MaMuX {IRCAM}

History

Schuijer, Michiel. 2008. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts. Rochester: University of Rochester Press. {Full text: JSTOR; GB}

Taruskin, Richard. 2010. Music in the Early Twentieth Century. New York: Oxford University Press. {GB}

______________. 2010. Music in the Late Twentieth Century. New York: Oxford University Press. {GB}

Main References

Babbitt, Milton. 2003. The Collected Essays of Milton Babbitt, edited by Stephen Peles, Stephen Dembski, Andrew Mead, and Joseph N. Straus. Princeton: Princeton University Press. {Full text: GB}

Forte, Allen. 1973. The Structure of Atonal Music. New Haven: Yale University Press. {GB)

Lewin, David. 1987. Generalized Musical Intervals and Transformations (GMIT). New Haven: Yale University Press. {GB}

Morris, Robert. 1987. Composition with Pitch Classes: A Theory of Compositional Design. New Haven: Yale University Press. {GBd}

Rahn, John. 1980. Basic Atonal Theory. New York: Longman. {Gbd}

Straus, Joseph N. 2022. The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses. New York: Oxford University Press. {GB; Oxford; Companion Website}

______________ 2016. Introduction to Post-Tonal Theory, 4th ed. New York: Norton. {GB}

Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford. {GB; Full text: Ebook Central}

ASC - Arnold Schoenberg Center; CW - Companion Website; GB - Google Books; MTO - Music Theory Online

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