TWENTIETH- - Synapse Music

NOTES
1. Barry Schrader, Introduction to Electro-Acoustic Music, p. 33.
Form in Twentieth-Century Music 155
2. For a detailed analysis of the form of this work, see Wallace Berry, Form in Music,
pp.216-24.
3. For a detailed analysis of this movement, see Mary Wennerstrom, "Form in Twentieth­
Century Music," in Wittlich, ed., Aspects afTwentieth-Century Music, pp. 19-33.
4. For an analysis of this movement, see Gail de Stwolinski, Form and Content in
Instrumental Music, pp. 546-48.
5. These definitions are used for convenience, but the difference between the two was not
so clearly defined in the Baroque period, during which both the passacaglia and the
chaconne first flourished.
6. Paul Hindemith, The Craft of Musical Composition, Vol. I, p. 56. The derivation of this
series of tones is found on pp. 32-43.
7. Erna Lendvai, Bila Bartok: An Analysis of His Music.
8. Jonathan D. Kramer, 'The Fibonacci Series in Twentieth Century Music."
9. Jonathan D. Kramer, "Moment Form in Twentieth Century Music," p. 180.
EXERCISES
Part A: Score Analysis
Each of the pieces below can be found in one of the three anthologies listed at the beginning
of this chapter. Analyze the form of whatever piece you are assigned, including a
diagram down to the phrase level, if possible. Be sure to include measure numbers.
I. Bartok: Mikrokosmos (1931), No. 94, "Tale" (K-G, p. 477).
2. Berg: Wozzeck (1921), "Marie's Lullaby" (WEN, p. 28).
3. Debussy: Preludes, Book I (1910), "The Engulfed Cathedral" ("La Cathedrale
engloutie") (BUR, p. 421).
4. Debussy: Preludes, Book I (1910), "The Hills of Anacapri" ("Les Collines
d' Anacapri") (K-G, p. 449).
5. Hindcmith: Ludus TOllalis (1942), Fugue in C (BUR, p. 490) and Fugue in A (WEN,
p. 140). Before beginning work on these fugues, review the terms "double fugue" and
"triple fugue."
6. Ives: Sonata No.2 for Violin and Piano (1910), II (WEN, p. 147). Though this
movement is not a canon, it contains some canonic passages. Locate and comment
upon each one.
7. Schoenberg: Six Short Pieces for Piano, Op. 19 (1911), No.6 (WEN, p. 173).
8. Schoenberg: Pierrot Lunaire, Op. 21 (1912), No.8 (TUR, p. 438).
9. Schoenberg: Variations for Orchestra, Op. 31 (1928), Var. 2 (TUR, p. 443). Concentrate
on the issue of imitation in this variation.