Autographs and Archival Documents
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10.1: L. Poundie Burstein with Quynh Nguyen and Jennifer Roderer, “The Best Laid Plans . . . and Others: An 18th-Century Compositional Outline” - explores how an 18th-century music theorist attempted to distinguish essential material from elaboration in a contemporary composition; would be suitable for the study of phrase structure and small forms, for considering melodic construction, and for exploring the history of music analysis
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9.5: Yi-Cheng Daniel Wu, “Poetry and Musical Organization in JIA Guoping’s The Wind Sounds in the Sky (2002)” - shows how JIA Guoping derives his rhythmic structure from aspects of Chinese poetry; suitable for post-tonal music theory courses, discussions of text-music relations, and classes exploring cultural exchange
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7.1: Stephanie Probst, “Music Appreciation Through Animation: Percy Scholes’s ‘AudioGraphic’ Piano Rolls” – discusses piano rolls with music-analytical overlay; includes a visual analysis of Bach’s B-flat major fugue from WTC I; suitable for introducing students to different visual models for analyzing form and for introducing fugue
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4.2: Carmel Raz, “Anne Young’s Musical Games (1801): Music Theory, Gender, and Game Design” and 4.3: Carmel Raz, “Anne Young’s Introduction to Music (1803): Pedagogical, Speculative, and Ludic Music Theory” – discusses an educational board game for teaching music fundamentals and the connection to contemporary speculative music theory; suitable for students studying music and gender, the history of music theory, and music theory pedagogy
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3.2: J. Daniel Jenkins, “Schoenberg’s ‘Advice for Beginners in Composition with Twelve Tones’” – shows how Arnold Schoenberg teaches how to generate inversionally combinatorial twelve-tone rows, drawing from his pre-broadcast sketches; suitable for post-tonal music theory courses; demonstrates how one might use an archive in a music theoretical context
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1.3: Edward Klorman, “Multiple Agency in Mozart’s Chamber Music” – Professor Edward Klorman emphasizes how historical sources, including musical scores, can draw our attention to the social interplay among individual performers, or “personas enacted by the individual players” (4:38–41), within string quartets. Using an excerpt from the last movement of Mozart’s String Quartet in G Major, K. 387 (1782), as an example, Klorman illustrates his concept of “multiple agency,” a perspective that “celebrates the creative role of performers” and that yields “vivid analytical interpretations that can be masked by conventional, omniscient vantage points” (4:10–28). This video is suitable for students at all levels who would like to learn more about the socio-historical and -cultural dimensions of composition and performance. Basic knowledge of musical form and tonality are welcome but not necessary. For further reading, please see the author’s monograph Mozart’s Music of Friends: Social Interplay in the Chamber Works (Cambridge University Press, 2016) and Edward T. Cone’s The Composer’s Voice (University of California Press, 1974).