20th-century Western Art Music
-
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
-
8.4: Stanley V. Kleppinger, “Appropriating Copland’s Fanfare” – argues that characteristic gestures from Copland’s Fanfare for the Common Man came to symbolize Americanness in popular culture; suitable for introducing students at all levels to topic theory
-
7.3: Orit Hilewicz and Stephen Sewell, “A Film Scene for Schoenberg’s Begleitungsmusik zu einer Lichtspielscene” – produces a new silent film to accompany Schoenberg’s music for an imagined silent film; accompanying materials: https://mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hilewicz.html
-
6.1: Cecilia Oinas, “Sensitivity, Intimacy, and Bodily Interaction in Kurtág’s Four-Handed Piano Works” – explores the intimacy of hands-crossing gestures in four-hand piano music
-
5.1–5.3: Joshua Banks Mailman, “Babbitt’s Beguiling Surfaces, Improvised Inside” Part 1, Part 2, and Part 3 – discusses Babbitt’s compositional techniques (specifically partial ordering) and connects these techniques to improvisation (including jazz); suitable for students studying 20th-century compositional techniques
-
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