YSP 2007

Yale Summer Program Abroad 2007: Vienna, Austria Music. S138 Major Austrian Composers of the Early Twentieth Century. Dates: July 9-August 10, 2007. Instructor: Allen Forte, Yale University

An introduction to the music of Mahler, Schoenberg, Berg, and Webern (the "Second Viennese School") in the cultural and geographical settings related to the genesis of selected compositions by these composers.

Instructor:Professor Allen Forte
Dept of Music, Yale University
allen.forte@yale.edu

For further information on registration and accommodations in Vienna please contact william.whobrey@yale.edu
William Whobrey, Director of YSP

OMG OMG OMG

Allen Forte! Vienna! Schoenberg! It's like a dream come true.
I don't care how much this costs. I am going.

Final Bibliography for Literature Review Project

Anderson, Gillian B. and Ronald H. Sadoff. “Music and Image Bibliography.” http://pws.prserv.net/loosepoodle/AndrsonSadofBib.pdf.

Buhler, James, Carol Flinn, and David Neumeyer, editors. Music and Cinema. Hanover, NH: University Press of New England, 2000.

Dickinson, Kay, editor. Movie Music: The Film Reader. New York, NY: Routledge, 2003.

Donnelly, K.J., editor. Film music: Critical Approaches. New York, NY: Continuum, 2001.

Flinn, Carol. “The Most Romantic Art of All: Music in the Classical Hollywood Cinema.” Cinema Journal 29, no. 4 (1990): 35-50. Via JSTOR, http://www.jstor.org

Gallez, Douglas W. “Satie’s ‘Entr’acte:’ A Model of Film Music” In Cinema Journal 16. no. 1 (1976): 36-50. Via JSTOR, http://www.jstor.org

Gallez, Douglas W. “Theories of Film Music.” Cinema Journal 9, no. 2 (1970): 40-47. Via JSTOR, http://www.jstor.org

Gessner, Robert. “’The Parts of Cinema’: A Definition” In The Journal of the Society of Cinematologists 1 (1961): 25-39. Via JSTOR, http://www.jstor.org

Huntley, John and Roger Manvell, editors. Techniques in Film Music. New York, NY: Focal Press, 1975.

Kaye, Peter D. “Film Music Cognition Bibliography.” http://pws.prserv.net/loosepoodle/FilmMusic.html.

Kubik, Gail. “The Composer’s Place in Radio” In Hollywood Quarterly 1, no. 1 (1945): 60-68. Via JSTOR, http://www.jstor.org

Leinberger, Charles. Ennio Morricone’s The Good, the Bad, and the Ugly: A Film Score Guide. Lanham, MD: Scarecrow Press, 2004.

MacDonald, Lawrence E. The Invisible Art of Film Music: A Comprehensive History. New York, NY: Ardsley House Publishers, 1998.

MacGowan, Kenneth. Behind the Screen: The History and Techniques of the Motion Pictures. New York: Dell, 1965.

Marks, Martin. “Film Music: The Material, Literature, and Present State of Research.” In Notes 36, no. 2 (1979): 282-325. Via JSTOR, http://www.jstor.org

Mathieson, Muir. “Aspects of Film Music.” In Tempo 9 (1944): 7-9. Via JSTOR, http://www.jstor.org

Miceli, Sergio. “Analizzare la musica per film, una riproposta della teoria dei livelli.” Rivista italiana di musicologia 29, no. 2 (1994): 517-544. Via RILM, http://www.rilm.org

Morton, Lawrence. “Film Music of the Quarter” In The Quarterly of Film Radio and Television 6, no. 1 (1951): 69-72. Via JSTOR, http://www.jstor.org

Nelson, Robert U. “Film Music: Color or Line?” In Hollywood Quarterly 2, no. 1 (1946): 57-65. Via JSTOR, http://www.jstor.org

Neumeyer, David. “Film Music Analysis and Pedagogy.” Indiana Theory Review 11 (1990): 1-28.

Plantinga, Carl. “Film Theory and Aesthetics: Notes on a Schism” In The Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 445-454. Via JSTOR, http://www.jstor.org

Prendergast, Roy M. Film Music: A Neglected Art: A Critical Study of Music in Films. New York, NY: Norton, 1992.

Reay, Pauline. Music in Film: Soundtracks and Synergy. New York, NY: Wallflower, 2004.

Russell, Mark and James Young. Film Music. Boston, MA: Focal Press, 2000.

Schelle, Michael. The Score: Interviews with Film Composers. Los Angeles, CA: Silman-James Press, 1999.

Smith, Jeff. The Sounds of Commerce: Marketing Popular Film Music. New York, NY: Columbia University Press, 1998.

Spande, Robert. “The Aesthetics of Film Music.” http://web.archive.org/web/20031208182300/http://www.franklinmarketplace.com/filmmusic.html. Via FilmSound.org, http://www.filmsound.org/filmmusic

Toeplitz, Jerzy. “Film Scholarship: Present and Prospective” In Film Quarterly 16, no. 3 (1963): 27-37. Via JSTOR, http://www.jstor.org

MuCT 519 Project Proposal

Title:
The Harmonic Languages of Florestan and Eusebius in Schumann’s Phantasiestücke, op. 12

Proposal:
Robert Schumann’s dual nature is well documented in studies of his literary and musical works. Florestan, the extrovert, is flamboyant and ebullient; Eusebius, the introvert, is controlled and introspective. These two personalities transcended every aspect of Schumann’s life, both professionally and personally. As a writer, Florestan and Eusebius became his pseudonyms; as a composer, Florestan and Eusebius offered two unique harmonic aesthetics for his musical works.

Phantasiestücke, a collection of eight works for solo pianoforte, utilizes the dichotomy of Florestan and Eusebius. Each personality has its own tonic pitch – F for Florestan and E for Eusebius – as well as their own tonal compasses based on strength/weakness and independence/dependence. “In der nacht,” the fifth song of the collection, exhibits harmonic traits that characterize both personalities.

Although these two personalities provide an explanation for the musical material of “In der nacht,” they do not supply an analytical rationalization for its harmonic language. This article will attempt to solve the analytical riddle of “In der nacht” by using contemporary systems set forth by Charles J. Smith, Richard Cohn, and Daniel Harrison. If one theory will encompass the entire work, or multiple theories will add up to a complete analytical explanation, is yet to be seen.

Resources:

Cohn, Richard. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions” In Music Analysis 15, no. 1 (1996): 9-40. Via JSTOR, http://www.jstor.org

Harrison, Daniel. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago, IL: University of Chicago Press, 1994.

Kaminsky, Peter. “Principles of Formal Structure in Schumann’s Early Piano Cycles” In Music Theory Spectrum 11, no. 2 (1989): 207-225. Via JSTOR, http://www.jstor.org

Krebs, Harald. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York, NY: Oxford University Press, 1999.

Lewis, Christopher. “Into the Foothills: New Directions in Nineteenth-Century Analysis” In Music Theory Spectrum 11, no. 1 (1989): 15-23. Via JSTOR, http://www.jstor.org

Sams, Eric. “Why Florestan and Eusebius?” In The Musical Times 108 (Feb 1967): 131, 133-4. Via JSTOR, http://www.jstor.org

Smith, Charles J. “The Functional Extravagance of Chromatic Chords” In Music Theory Spectrum 8 (Spring 1986): 94-139. Via JSTOR, http://www.jstor.org