THE RESEARCH PROJECT MUS 215 路
MUSIC THEORY IV 路
DR. TOBY RUSH
YOUR GOAL
YOUR GOAL is to become the foremost expert about your topic among UNC students and faculty
YOUR GOAL is to become the foremost expert about your topic among UNC students and faculty This goal is easily attainable if you allow yourself a consistent and regular time to do research
YOUR GOAL is to become the foremost expert about your topic among UNC students and faculty This goal is easily attainable if you allow yourself a consistent and regular time to do research If you take advantage of the research tools available to you, you can acquire most of the research that exists on your topic within a month or two
MY RECOMMENDED APPROACH
STEP ONE: SELECT A PIECE :
TWENTIETH-CENTURY STYLE SYNOPSIS ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM These are composers who continued to write in the style of the Romantic period into the Twentieth Century. Some, notably Strauss and Schoenberg, began to experiment with expressionism and the intense chromaticism which led to atonality. Name
Lived
Max Bruch Ferruccio Busoni Mario Castelnuovo-Tedesco Gustav Mahler Hans Pfitzner Giacomo Puccini Max Reger Arnold Schoenberg Richard Strauss
1838–1920 1866–1924 1895–1968 1860–1911 1869–1949 1858–1924 1873–1916 1874–1951 1864–1949
Nationality German Italy Italy Austria Russia Italy German Austria German
Notes wrote in Brahms’ style composed primarily for piano wrote for guitar, also film music wrote few works; mainly conducted self-described “anti-modernist” composer of La Bohème, Tosca often wrote fugues, variations became serialist in 1921 known for operas and tone poems
RUSSIAN POST-ROMANTICISM These composers tended to be nationalistic and used folk music in their compositions. Because of the treaty between Russia and France at the beginning of the century to defend one another from Germany and Austria, the two countries enjoyed a cultural exchange of ideas. Name
Lived
Alexander Glazunov Dmitri Kabelevsky Aram Khachaturian Nikolai Miaskovsky Sergei Rachmaninoff Nikolai Roslavetz Alexander Scriabin
1865–1936 1904–1987 1903–1978 1881–1950 1873–1943 1880–1944 1872–1915
Nationality Russia Russia Armenia Russia Russia Russia Russia
Notes nationalist, taught Shostakovich composed for young musicians influenced by Armenian folk music “father of the Soviet symphony” one of the finest pianists of his day modernist; banned in 1930 became atonalist in 1908
IMPRESSIONISM AND FRENCH POST-ROMANTICISM Impressionism was one of the first truly Twentieth-Century styles, and beyond Debussy and Ravel most composition was a balance between the newer techniques of Impressionism and what was simply a French treatment of Postromanticism. Name
Lived
Lili Boulanger Nadia Boulanger Cecile Chaminade Claude Debussy Frederick Delius Paul Dukas Gabriel Fauré Charles Griffes Maurice Ravel Albert Roussel
1893–1918 1887–1979 1857–1944 1862–1918 1862–1934 1865–1935 1845–1924 1884–1920 1875–1937 1869–1937
Nationality France France France France England France France United States France France
Notes won Prix de Rome at 19, died at 24 taught Stravinsky, Copland wrote character pieces, salon songs hated the term “impressionism” used African-American folk music prolific Post-Romanticist master of French art-song most famous American impressionist works required virtuosi to play them bridged into French Neoclassicism
STEP ONE: SELECT A PIECE •
Download Style Synopsis from Blackboard
:
TWENTIETH-CENTURY STYLE SYNOPSIS ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM These are composers who continued to write in the style of the Romantic period into the Twentieth Century. Some, notably Strauss and Schoenberg, began to experiment with expressionism and the intense chromaticism which led to atonality. Name
Lived
Max Bruch Ferruccio Busoni Mario Castelnuovo-Tedesco Gustav Mahler Hans Pfitzner Giacomo Puccini Max Reger Arnold Schoenberg Richard Strauss
1838–1920 1866–1924 1895–1968 1860–1911 1869–1949 1858–1924 1873–1916 1874–1951 1864–1949
Nationality German Italy Italy Austria Russia Italy German Austria German
Notes wrote in Brahms’ style composed primarily for piano wrote for guitar, also film music wrote few works; mainly conducted self-described “anti-modernist” composer of La Bohème, Tosca often wrote fugues, variations became serialist in 1921 known for operas and tone poems
RUSSIAN POST-ROMANTICISM These composers tended to be nationalistic and used folk music in their compositions. Because of the treaty between Russia and France at the beginning of the century to defend one another from Germany and Austria, the two countries enjoyed a cultural exchange of ideas. Name
Lived
Alexander Glazunov Dmitri Kabelevsky Aram Khachaturian Nikolai Miaskovsky Sergei Rachmaninoff Nikolai Roslavetz Alexander Scriabin
1865–1936 1904–1987 1903–1978 1881–1950 1873–1943 1880–1944 1872–1915
Nationality Russia Russia Armenia Russia Russia Russia Russia
Notes nationalist, taught Shostakovich composed for young musicians influenced by Armenian folk music “father of the Soviet symphony” one of the finest pianists of his day modernist; banned in 1930 became atonalist in 1908
IMPRESSIONISM AND FRENCH POST-ROMANTICISM Impressionism was one of the first truly Twentieth-Century styles, and beyond Debussy and Ravel most composition was a balance between the newer techniques of Impressionism and what was simply a French treatment of Postromanticism. Name
Lived
Lili Boulanger Nadia Boulanger Cecile Chaminade Claude Debussy Frederick Delius Paul Dukas Gabriel Fauré Charles Griffes Maurice Ravel Albert Roussel
1893–1918 1887–1979 1857–1944 1862–1918 1862–1934 1865–1935 1845–1924 1884–1920 1875–1937 1869–1937
Nationality France France France France England France France United States France France
Notes won Prix de Rome at 19, died at 24 taught Stravinsky, Copland wrote character pieces, salon songs hated the term “impressionism” used African-American folk music prolific Post-Romanticist master of French art-song most famous American impressionist works required virtuosi to play them bridged into French Neoclassicism
STEP ONE: SELECT A PIECE •
Download Style Synopsis from Blackboard
:
TWENTIETH-CENTURY STYLE SYNOPSIS ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM
•
Find a style that interests or intrigues you
These are composers who continued to write in the style of the Romantic period into the Twentieth Century. Some, notably Strauss and Schoenberg, began to experiment with expressionism and the intense chromaticism which led to atonality. Name
Lived
Max Bruch Ferruccio Busoni Mario Castelnuovo-Tedesco Gustav Mahler Hans Pfitzner Giacomo Puccini Max Reger Arnold Schoenberg Richard Strauss
1838–1920 1866–1924 1895–1968 1860–1911 1869–1949 1858–1924 1873–1916 1874–1951 1864–1949
Nationality German Italy Italy Austria Russia Italy German Austria German
Notes wrote in Brahms’ style composed primarily for piano wrote for guitar, also film music wrote few works; mainly conducted self-described “anti-modernist” composer of La Bohème, Tosca often wrote fugues, variations became serialist in 1921 known for operas and tone poems
RUSSIAN POST-ROMANTICISM These composers tended to be nationalistic and used folk music in their compositions. Because of the treaty between Russia and France at the beginning of the century to defend one another from Germany and Austria, the two countries enjoyed a cultural exchange of ideas. Name
Lived
Alexander Glazunov Dmitri Kabelevsky Aram Khachaturian Nikolai Miaskovsky Sergei Rachmaninoff Nikolai Roslavetz Alexander Scriabin
1865–1936 1904–1987 1903–1978 1881–1950 1873–1943 1880–1944 1872–1915
Nationality Russia Russia Armenia Russia Russia Russia Russia
Notes nationalist, taught Shostakovich composed for young musicians influenced by Armenian folk music “father of the Soviet symphony” one of the finest pianists of his day modernist; banned in 1930 became atonalist in 1908
IMPRESSIONISM AND FRENCH POST-ROMANTICISM Impressionism was one of the first truly Twentieth-Century styles, and beyond Debussy and Ravel most composition was a balance between the newer techniques of Impressionism and what was simply a French treatment of Postromanticism. Name
Lived
Lili Boulanger Nadia Boulanger Cecile Chaminade Claude Debussy Frederick Delius Paul Dukas Gabriel Fauré Charles Griffes Maurice Ravel Albert Roussel
1893–1918 1887–1979 1857–1944 1862–1918 1862–1934 1865–1935 1845–1924 1884–1920 1875–1937 1869–1937
Nationality France France France France England France France United States France France
Notes won Prix de Rome at 19, died at 24 taught Stravinsky, Copland wrote character pieces, salon songs hated the term “impressionism” used African-American folk music prolific Post-Romanticist master of French art-song most famous American impressionist works required virtuosi to play them bridged into French Neoclassicism
STEP ONE: SELECT A PIECE •
Download Style Synopsis from Blackboard
:
TWENTIETH-CENTURY STYLE SYNOPSIS ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM
•
Find a style that interests or intrigues you
These are composers who continued to write in the style of the Romantic period into the Twentieth Century. Some, notably Strauss and Schoenberg, began to experiment with expressionism and the intense chromaticism which led to atonality. Name
Lived
Max Bruch Ferruccio Busoni Mario Castelnuovo-Tedesco Gustav Mahler Hans Pfitzner Giacomo Puccini Max Reger Arnold Schoenberg Richard Strauss
1838–1920 1866–1924 1895–1968 1860–1911 1869–1949 1858–1924 1873–1916 1874–1951 1864–1949
Nationality German Italy Italy Austria Russia Italy German Austria German
Notes wrote in Brahms’ style composed primarily for piano wrote for guitar, also film music wrote few works; mainly conducted self-described “anti-modernist” composer of La Bohème, Tosca often wrote fugues, variations became serialist in 1921 known for operas and tone poems
RUSSIAN POST-ROMANTICISM
•
Investigate the composers listed underneath that style
These composers tended to be nationalistic and used folk music in their compositions. Because of the treaty between Russia and France at the beginning of the century to defend one another from Germany and Austria, the two countries enjoyed a cultural exchange of ideas. Name
Lived
Alexander Glazunov Dmitri Kabelevsky Aram Khachaturian Nikolai Miaskovsky Sergei Rachmaninoff Nikolai Roslavetz Alexander Scriabin
1865–1936 1904–1987 1903–1978 1881–1950 1873–1943 1880–1944 1872–1915
Nationality Russia Russia Armenia Russia Russia Russia Russia
Notes nationalist, taught Shostakovich composed for young musicians influenced by Armenian folk music “father of the Soviet symphony” one of the finest pianists of his day modernist; banned in 1930 became atonalist in 1908
IMPRESSIONISM AND FRENCH POST-ROMANTICISM Impressionism was one of the first truly Twentieth-Century styles, and beyond Debussy and Ravel most composition was a balance between the newer techniques of Impressionism and what was simply a French treatment of Postromanticism. Name
Lived
Lili Boulanger Nadia Boulanger Cecile Chaminade Claude Debussy Frederick Delius Paul Dukas Gabriel Fauré Charles Griffes Maurice Ravel Albert Roussel
1893–1918 1887–1979 1857–1944 1862–1918 1862–1934 1865–1935 1845–1924 1884–1920 1875–1937 1869–1937
Nationality France France France France England France France United States France France
Notes won Prix de Rome at 19, died at 24 taught Stravinsky, Copland wrote character pieces, salon songs hated the term “impressionism” used African-American folk music prolific Post-Romanticist master of French art-song most famous American impressionist works required virtuosi to play them bridged into French Neoclassicism
STEP ONE: SELECT A PIECE •
Download Style Synopsis from Blackboard
:
TWENTIETH-CENTURY STYLE SYNOPSIS ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM
•
Find a style that interests or intrigues you
These are composers who continued to write in the style of the Romantic period into the Twentieth Century. Some, notably Strauss and Schoenberg, began to experiment with expressionism and the intense chromaticism which led to atonality. Name
Lived
Max Bruch Ferruccio Busoni Mario Castelnuovo-Tedesco Gustav Mahler Hans Pfitzner Giacomo Puccini Max Reger Arnold Schoenberg Richard Strauss
1838–1920 1866–1924 1895–1968 1860–1911 1869–1949 1858–1924 1873–1916 1874–1951 1864–1949
Nationality German Italy Italy Austria Russia Italy German Austria German
Notes wrote in Brahms’ style composed primarily for piano wrote for guitar, also film music wrote few works; mainly conducted self-described “anti-modernist” composer of La Bohème, Tosca often wrote fugues, variations became serialist in 1921 known for operas and tone poems
RUSSIAN POST-ROMANTICISM
•
Investigate the composers listed underneath that style
These composers tended to be nationalistic and used folk music in their compositions. Because of the treaty between Russia and France at the beginning of the century to defend one another from Germany and Austria, the two countries enjoyed a cultural exchange of ideas. Name
Lived
Alexander Glazunov Dmitri Kabelevsky Aram Khachaturian Nikolai Miaskovsky Sergei Rachmaninoff Nikolai Roslavetz Alexander Scriabin
1865–1936 1904–1987 1903–1978 1881–1950 1873–1943 1880–1944 1872–1915
Nationality Russia Russia Armenia Russia Russia Russia Russia
Notes nationalist, taught Shostakovich composed for young musicians influenced by Armenian folk music “father of the Soviet symphony” one of the finest pianists of his day modernist; banned in 1930 became atonalist in 1908
IMPRESSIONISM AND FRENCH POST-ROMANTICISM
•
Find a composition that interests or intrigues you
Impressionism was one of the first truly Twentieth-Century styles, and beyond Debussy and Ravel most composition was a balance between the newer techniques of Impressionism and what was simply a French treatment of Postromanticism. Name
Lived
Lili Boulanger Nadia Boulanger Cecile Chaminade Claude Debussy Frederick Delius Paul Dukas Gabriel Fauré Charles Griffes Maurice Ravel Albert Roussel
1893–1918 1887–1979 1857–1944 1862–1918 1862–1934 1865–1935 1845–1924 1884–1920 1875–1937 1869–1937
Nationality France France France France England France France United States France France
Notes won Prix de Rome at 19, died at 24 taught Stravinsky, Copland wrote character pieces, salon songs hated the term “impressionism” used African-American folk music prolific Post-Romanticist master of French art-song most famous American impressionist works required virtuosi to play them bridged into French Neoclassicism
STEP ONE: SELECT A PIECE •
Download Style Synopsis from Blackboard
:
TWENTIETH-CENTURY STYLE SYNOPSIS ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM
•
Find a style that interests or intrigues you
These are composers who continued to write in the style of the Romantic period into the Twentieth Century. Some, notably Strauss and Schoenberg, began to experiment with expressionism and the intense chromaticism which led to atonality. Name
Lived
Max Bruch Ferruccio Busoni Mario Castelnuovo-Tedesco Gustav Mahler Hans Pfitzner Giacomo Puccini Max Reger Arnold Schoenberg Richard Strauss
1838–1920 1866–1924 1895–1968 1860–1911 1869–1949 1858–1924 1873–1916 1874–1951 1864–1949
Nationality German Italy Italy Austria Russia Italy German Austria German
Notes wrote in Brahms’ style composed primarily for piano wrote for guitar, also film music wrote few works; mainly conducted self-described “anti-modernist” composer of La Bohème, Tosca often wrote fugues, variations became serialist in 1921 known for operas and tone poems
RUSSIAN POST-ROMANTICISM
•
Investigate the composers listed underneath that style
These composers tended to be nationalistic and used folk music in their compositions. Because of the treaty between Russia and France at the beginning of the century to defend one another from Germany and Austria, the two countries enjoyed a cultural exchange of ideas. Name
Lived
Alexander Glazunov Dmitri Kabelevsky Aram Khachaturian Nikolai Miaskovsky Sergei Rachmaninoff Nikolai Roslavetz Alexander Scriabin
1865–1936 1904–1987 1903–1978 1881–1950 1873–1943 1880–1944 1872–1915
Nationality Russia Russia Armenia Russia Russia Russia Russia
Notes nationalist, taught Shostakovich composed for young musicians influenced by Armenian folk music “father of the Soviet symphony” one of the finest pianists of his day modernist; banned in 1930 became atonalist in 1908
IMPRESSIONISM AND FRENCH POST-ROMANTICISM
•
Find a composition that interests or intrigues you
•
Locate a score and recording
Impressionism was one of the first truly Twentieth-Century styles, and beyond Debussy and Ravel most composition was a balance between the newer techniques of Impressionism and what was simply a French treatment of Postromanticism. Name
Lived
Lili Boulanger Nadia Boulanger Cecile Chaminade Claude Debussy Frederick Delius Paul Dukas Gabriel Fauré Charles Griffes Maurice Ravel Albert Roussel
1893–1918 1887–1979 1857–1944 1862–1918 1862–1934 1865–1935 1845–1924 1884–1920 1875–1937 1869–1937
Nationality France France France France England France France United States France France
Notes won Prix de Rome at 19, died at 24 taught Stravinsky, Copland wrote character pieces, salon songs hated the term “impressionism” used African-American folk music prolific Post-Romanticist master of French art-song most famous American impressionist works required virtuosi to play them bridged into French Neoclassicism
STEP TWO: PRELIMINARY RESEARCH
STEP TWO: PRELIMINARY RESEARCH ☑ Is this a topic with which you will enjoy spending a fair amount of time this semester?
STEP TWO: PRELIMINARY RESEARCH ☑ Is this a topic with which you will enjoy spending a fair amount of time this semester?
☑ Is there enough research out there to support a decentsized composition-centric paper? (at least 15 sources)
STEP TWO: PRELIMINARY RESEARCH ☑ Is this a topic with which you will enjoy spending a fair amount of time this semester?
☑ Is there enough research out there to support a decentsized composition-centric paper? (at least 15 sources)
☑ Are the resources reasonably easy to get your hands on?
STEP TWO: PRELIMINARY RESEARCH If your preliminary research makes you hesitant to use the composition or composer, make a different selection and repeat the process
STEP THREE: SECURE YOUR SELECTION
STEP THREE: SECURE YOUR SELECTION •
Inform me by e-mail before 5:00 pm on January 31
STEP THREE: SECURE YOUR SELECTION •
Inform me by e-mail before 5:00 pm on January 31
•
Pieces are reserved on a “first come, first served” basis
STEP FOUR: CRAFT YOUR THESIS
STEP FOUR: CRAFT YOUR THESIS thesis is an idea about your piece that you are going to support with your paper
• Your
STEP FOUR: CRAFT YOUR THESIS thesis is an idea about your piece that you are going to support with your paper
• Your
• It
does not need to be an incredible discovery that changes humanity
STEP FOUR: CRAFT YOUR THESIS thesis is an idea about your piece that you are going to support with your paper
• Your
• It
does not need to be an incredible discovery that changes humanity
• It
does not even need to be something you would defend with every part of your being
STEP FOUR: CRAFT YOUR THESIS thesis is an idea about your piece that you are going to support with your paper
• Your
• It
does not need to be an incredible discovery that changes humanity
• It
does not even need to be something you would defend with every part of your being
• Sometimes
the “outside the box” theses make the best papers
STEP FOUR: CRAFT YOUR THESIS
To determine your thesis, do general research and ask questions with an open mind
0
25
50
Using a thesis
75
100
Not using a thesis
% Awesome
MAKE YOUR PAPER AWESOME NOT STUPID
STEP FOUR: CRAFT YOUR THESIS • Possibilities
for theses include:
STEP FOUR: CRAFT YOUR THESIS • Possibilities
for theses include:
• Something
that makes the composition unique
STEP FOUR: CRAFT YOUR THESIS • Possibilities
for theses include:
• Something • How
that makes the composition unique
the composition represents a particular style or technique
STEP FOUR: CRAFT YOUR THESIS • Possibilities
for theses include:
• Something
that makes the composition unique
• How
the composition represents a particular style or technique
• How
the composition is different than others by the same composer
STEP FOUR: CRAFT YOUR THESIS • Possibilities
for theses include:
• Something
that makes the composition unique
• How
the composition represents a particular style or technique
• How
the composition is different than others by the same composer
• An
analysis of the composer’s language using the composition as an example
OUTSIDE THE BOX
r o f y d o n e r h T s ’ i k c e r e e d m e n r e t P x f e o n a m r s o a f e n l e a e c s s e e ” b . g e r n r a a l u c t e c a u m r i “Th t h s s t o e r t i o H m f l o a s c i m p i t y t c i s ’ V i e d r h t e v e t n o M f o n o i t varia
SURE, IT’S A STRETCH But it’s the crazy ones that make an impression
“Iannis X enakis’ C amplified o ncret PH , can be u , when pro sed to acc p e r l y patterns u r a t e l y predict in the No weather rth Atlan tic Ocean .”
WHOA THERE I said outside the box, not completely off the plantation
STEP FIVE: COLLECT RESEARCH
STEP FIVE: COLLECT RESEARCH • Your
goal for this step is to collect as many sources as you can that pertain, even obliquely, to your thesis statement
STEP FIVE: COLLECT RESEARCH • Your
goal for this step is to collect as many sources as you can that pertain, even obliquely, to your thesis statement
• If
you don’t have your thesis statement figured out just yet, work hard to hone in on it as you research
STEP FIVE: COLLECT RESEARCH • Your
goal for this step is to collect as many sources as you can that pertain, even obliquely, to your thesis statement
• If
you don’t have your thesis statement figured out just yet, work hard to hone in on it as you research
• It
is vitally important to take copious notes as you research
STEP FIVE: COLLECT RESEARCH CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167. Owned by UNC Music Library.
Taking notes as you research will make your life much, much easier when it comes time to assemble and write your final paper
158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music." 158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"
STEP FIVE: COLLECT RESEARCH CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167. Owned by UNC Music Library.
As you identify sources — even before you get your hands on them — record as much bibliographic information as you can
158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music." 158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"
STEP FIVE: COLLECT RESEARCH CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167. Owned by UNC Music Library.
I give each of the sources a code, which I use as shorthand in footnotes as I write the draft I then replace the codes with actual citations after I finish writing
158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music." 158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"
STEP FIVE: COLLECT RESEARCH CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167. Owned by UNC Music Library.
As part of my research time, I go through the list of sources and check to see the item’s availability
158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music." 158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"
STEP FIVE: COLLECT RESEARCH CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167. Owned by UNC Music Library.
As I read (or skim) the sources, I record information that might be useful for my paper, making sure to carefully note page numbers so I can make proper citations
158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music." 158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"
STEP FIVE: COLLECT RESEARCH CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167. Owned by UNC Music Library.
If you have a laptop, bring it to the library and keep notes in a word processing document If not, consider using e-mail or Google Docs
158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music." 158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"
STEP SIX: CONSTRUCT AN OUTLINE
STEP SEVEN: WRITE YOUR PAPER
STEP EIGHT: PROOFREAD AND EDIT
TYPES OF SOURCES
TYPES OF SOURCES
TYPES OF SOURCES • Books
TYPES OF SOURCES • Books • Reference
works
TYPES OF SOURCES • Books • Reference • Textbooks
works
TYPES OF SOURCES • Books • Reference
works
• Textbooks • Biographies
TYPES OF SOURCES • Books • Reference
works
• Textbooks • Biographies • Analytical
books
TYPES OF SOURCES
TYPES OF SOURCES • Articles
TYPES OF SOURCES • Articles • About
the composer
TYPES OF SOURCES • Articles • About
the composer
• About
the piece
TYPES OF SOURCES • Articles • About
the composer
• About
the piece
• About
techniques, etc.
TYPES OF SOURCES • Articles • About
the composer
• About
the piece
• About
techniques, etc.
• Performance
reviews
TYPES OF SOURCES
TYPES OF SOURCES
• Web
sites
TYPES OF SOURCES
• Web
sites
• Musical
scores
TYPES OF SOURCES
• Web
sites
• Musical
scores
• Recordings
and liner notes
TYPES OF SOURCES
• Web
sites
• Musical
scores
• Recordings • Personal
and liner notes
correspondences and interviews
FINDING AND ACQUIRING SOURCES
BIBLIOGRAPHY MINING The easiest way to find sources
Your best first step: The New Grove Dictionary of Music and Musicians
FINDING AND ACQUIRING SOURCES The entry on the composer of your piece is an excellent place to begin learning about your composer and his or her style
FINDING AND ACQUIRING SOURCES
...but what can be even more useful is the list of sources in the bibliography.
FINDING AND ACQUIRING SOURCES The bibliography might contain books about the composer, about his or her works, or about the compositional style...
FINDING AND ACQUIRING SOURCES
...it may also contain articles in scholarly journals...
FINDING AND ACQUIRING SOURCES
... some of which may be in languages other than English.
FINDING AND ACQUIRING SOURCES
Two very useful databases are available on the Music Library Web Site under “Music Research Resources”
FINDING AND ACQUIRING SOURCES
RILM
(Répertoire International de Littérature Musicale)
FINDING AND ACQUIRING SOURCES
RILM
(Répertoire International de Littérature Musicale) • Lists
articles, books and dissertations
FINDING AND ACQUIRING SOURCES
RILM
(Répertoire International de Littérature Musicale) • Lists
articles, books and dissertations
• Tends
toward scholarly articles
FINDING AND ACQUIRING SOURCES
RILM
(Répertoire International de Littérature Musicale) • Lists
articles, books and dissertations
• Tends • Not
toward scholarly articles
as current
FINDING AND ACQUIRING SOURCES
IIMP
(International Index to Music Periodicals)
FINDING AND ACQUIRING SOURCES
IIMP
(International Index to Music Periodicals) • Lists
only articles
FINDING AND ACQUIRING SOURCES
IIMP
(International Index to Music Periodicals) • Lists
only articles
• Includes
scholarly articles and popular pieces like record reviews
FINDING AND ACQUIRING SOURCES
IIMP
(International Index to Music Periodicals) • Lists
only articles
• Includes
scholarly articles and popular pieces like record reviews
• Current
CLICK “BOOKS & MORE” to find books, scores, and recordings
FINDING AND ACQUIRING SOURCES Use a “Subject” search on your composer using the format “lastname firstname” (e.g., martinu bohuslav) to find sources by and about your composer
THE MUSIC LIBRARY IS AWESOME But it only has a fraction of what’s out there to find
PROSPECTOR There’s research in them thar hills
PROSPECTOR
PROSPECTOR • An
alliance of major Colorado libraries (as well as a few from neighboring states)
PROSPECTOR • An
alliance of major Colorado libraries (as well as a few from neighboring states)
• The
system has a very efficient system of sharing materials
PROSPECTOR • An
alliance of major Colorado libraries (as well as a few from neighboring states)
• The • To
system has a very efficient system of sharing materials
use, do a search in The Source and click the “Repeat in Prospector” button on the results screen
PROSPECTOR • An
alliance of major Colorado libraries (as well as a few from neighboring states)
• The
system has a very efficient system of sharing materials
• To
use, do a search in The Source and click the “Repeat in Prospector” button on the results screen
• Follow
the commands to have the item sent to you; most items arrive within three business days
INTERLIBRARY LOAN Works best when skies are clear
INTERLIBRARY LOAN
INTERLIBRARY LOAN •A
system similar to Prospector, but which includes thousands of libraries worldwide
INTERLIBRARY LOAN •A
system similar to Prospector, but which includes thousands of libraries worldwide
• Much
slower (2 weeks to 2 months) and less reliable
INTERLIBRARY LOAN •A
system similar to Prospector, but which includes thousands of libraries worldwide
• Much • To
slower (2 weeks to 2 months) and less reliable
find sources you want to order, use WorldCat (available under Music Research Resources)
INTERLIBRARY LOAN •A
system similar to Prospector, but which includes thousands of libraries worldwide
• Much
slower (2 weeks to 2 months) and less reliable
• To
find sources you want to order, use WorldCat (available under Music Research Resources)
• To
order sources, use the Interlibrary Loan Request Form (found by clicking “Interlibrary Loan” from the Music Library Web Site main page)
It is vital to identify sources early so you can allow time for Interlibrary Loan items to arrive
THE MUSIC LIBRARY IS
RIGHT NEXT DOOR BEGIN YOUR RESEARCH TODAY
MUS 215 路 MUSIC THEORY IV THE UNIVERSITY OF NORTHERN COLORADO