THYU 334 Analysis with Pitch-Class Set Theory
Pitch-Class Set theory, which emerged after 1950, is widely utilized in the analysis of post-tonal music, including music from the beginning of the 20th century. From Schönberg to Stravinsky; from Scriabin to Webern; Bartok, Berio, Lutoslawski, Varèse and Messiaen - this huge variety of music can be approached with one single - but very flexible – method: The Pitch-Class Set theory. In this class you can expect to learn why this theory is so powerful. A major theme of this theory is how chords as they appear in the score relate to more abstract concepts such as the so-called prime form, and subsequently how these abstract Pitch Class sets are used to create harmony in a post tonal language. These topics will be discovered by analyzing music. Besides the aforementioned well-known composers, less familiar repertoire will receive close attention such as music by Hale Smith, Dallapiccola, Jolivet, Knussen, and Unsuk Chin. Students deepen their understanding of the concepts presented in class in projects in which they engage creatively with materials. Projects can be model composition or the analysis of a composition. In the projects the students can focus on a specific area of interest and develop a thorough understanding that is relevant to any performer, composer, or music scholar.