Rhythmic Theory
Spring 2002
Mr. Lubben joseph.lubben@oberlin.edu
Bibbins 208
Office hours: Tue 2-4; Fri 3:30-5
x8239
Course Website
http://www.oberlin.edu/~jlubben/muth342/muth342.htm
Course Textbooks
There are no textbooks for this course. A large binder has been placed on reserve in the Conservatory library, containing articles and book excerpts for required reading. When a given reading is assigned, it will be your responsibility to photocopy the relevant pages from the binder, read the assignment critically, and bring your copy to the class meeting. Additional materials may be handed out in class as necessary.
Course Content
This course divides into three sections. In the first, we will examine the fundamental structures and perceptual processes that create rhythm and meter, with an emphasis on the analysis of homophonic tonal music. In the second section, we will look at complex interactions of metric levels, broadening our analytic purview to include, in addition to traditional tonal music, some African, Latin-American, and contemporary popular repertoires. In the third section, we will turn to the complex meters and rhythmic devices used in contemporary art music.
Course Goals
By the end of the course, you should be able to:
Assignments and Grading
Short homework assignments will be given more or less weekly, and will count for 25% of the course grade. Performance assignments, presented in class or in individual appointments, will count for 10%. Three quizzes will be given, each counting 10%. Three projects (papers) will be required, each counting 15%. Your class preparation, participation and attitude will count for 10% (do the reading, think about it, and remain engaged during class).
Attendance
Attendance is mandatory. If you have to miss class, you must explain your reasons to me. Otherwise, I will assume that you don’t care, and will evaluate you accordingly.
Honor Code
It is expected that you will do all work for this course completely on your own. You may, however, discuss reading assignments or study for quizzes with classmates. You MUST write out in full and sign the honor code on all written assignments and quizzes.
Syllabus
Week 1
Mon Feb 4 Introduction: musical time
Wed Feb 6 components of tonal rhythm: grouping and accent
Fri Feb 8 grouping
Week 2
Mon Feb 11
Wed Feb 13 accent
Fri Feb 15
Week 3
Mon Feb 18 meter
Wed Feb 20
Fri Feb 22 Interaction analyses: simple Quiz#1 (terminology/recognition)
Week 4
Mon Feb 25 Interaction analyses: w/overlap and elision
Wed Feb 27
Fri Mar 1 Phrase rhythms
Week 5
Mon Mar 4
Wed Mar 6
Fri Mar 8 Eurhythmics interlude
Week 6
Mon Mar 11 polyphony: composite/independent rhythms; hierarchy/reinforcement
Wed Mar 13 Project#1 due (grouping/meter analysis)
Fri Mar 15 metric conflict 1: grouping
Week 7
Mon Mar 18
Wed Mar 20 metric conflict 2: displacement
Fri Mar 22
SPRING BREAK
Week 8
Mon Apr 1 metric progressions/processes
Wed Apr 3
Fri Apr 5 Quiz #2 (terminology/recognition)
Week 9
Mon Apr 8 polyrhythms: africa
Wed Apr 10 polyrhythms: venezuela
Fri Apr 12 polyrhythms: minimalism
Week 10
Mon Apr 15 polyrhythms: techno
Wed Apr 17 Bach 12#5
Fri Apr 19 Project #2 due (metric polyphony analysis)
Week 11
Mon Apr 22
Wed Apr 24
Fri Apr 26 complex meters: stretching/contraction basis
Week 12
Mon Apr 29 complex meters: accentual models
Wed May 1 complex meters: mensural models (Lewin)
Fri May 3 complex meters: mensural models (Messiaen)
Week 13
Mon May 6 complex meters: “new complexity”
Wed May 8 confronting notation/complexity: projection theories
Fri May 10 Quiz #3 (terminology/recognition)
Wed May 15 Project #3 due (complex meter analysis)