Large Forms: Difference between revisions
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**[http://openmusictheory.com/minuet.html Minuet Form] | **[http://openmusictheory.com/minuet.html Minuet Form] | ||
**Pop/Rock Form: [http://openmusictheory.com/popRockForm.html 1], [http://openmusictheory.com/popRockForm-terms 2], [http://openmusictheory.com/popRockForm-containers 3], [http://openmusictheory.com/popRockForm-functions 4], [http://openmusictheory.com/popRockForm-notation 5] | **Pop/Rock Form: [http://openmusictheory.com/popRockForm.html 1], [http://openmusictheory.com/popRockForm-terms 2], [http://openmusictheory.com/popRockForm-containers 3], [http://openmusictheory.com/popRockForm-functions 4], [http://openmusictheory.com/popRockForm-notation 5] | ||
*[https://www.top40theory.com/ Peres, ''Top 40 Theory''] | *[https://www.top40theory.com/ Peres, ''Top 40 Theory''] | ||
**[https://www.top40theory.com/blog/dont-bore-us-but-dont-rush-to-the-chorus “Don't Bore Us, but Don't Rush to the Chorus”] | **[https://www.top40theory.com/blog/dont-bore-us-but-dont-rush-to-the-chorus “Don't Bore Us, but Don't Rush to the Chorus”] | ||
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*[https://www.musicals101.com/book.htm Kenrick, ''Elements of a Musical:'' "The Book (Libretto)"] | *[https://www.musicals101.com/book.htm Kenrick, ''Elements of a Musical:'' "The Book (Libretto)"] | ||
*[http://www.smt-v.org/archives/volume6.html#detour-or-bridge-contrasting-sections-and-storytelling-in-musical-theater Jarvis and Peterson, "Detour or Bridge? Contrasting Sections and Storytelling in Musical Theater"] | *[http://www.smt-v.org/archives/volume6.html#detour-or-bridge-contrasting-sections-and-storytelling-in-musical-theater Jarvis and Peterson, "Detour or Bridge? Contrasting Sections and Storytelling in Musical Theater"] | ||
==== Listening or Videos ==== | |||
*[http://www.smt-v.org/archives/volume6.html#the-dance-chorus-in-recent-top-40-music Barna, "The Dance Chorus in Recent Top-40 Music"] | |||
** | ** | ||
Revision as of 19:11, 29 July 2020
| This lesson is part of the Rhythm, Meter & Form category. |
Objectives
- Students will be able to analyze a composition using formal notation (A, A’, B, etc.).
- Students will be familiar with common forms such as sonata allegro, da capo aria, and popular song form.
- Students will be familiar with macroformal structures such as song cycles, operas, oratorios, musicals, and concept albums.
Resources
Reading:
- Hutchinson, Music Theory for the 21st-Century Classroom:
- Covach, “Form in Rock Music: A Primer”
- Shaffer, Wharton (eds.), Open Music Theory
- Peres, Top 40 Theory
- “Don't Bore Us, but Don't Rush to the Chorus”
- “The Chainsmokers ft. Halsey — ‘Closer’: Crafting the Chorus”
- “Everything You Need to Know About the Postchorus”
- “About that Chorus in Bed Rexha’s ‘I’m a Mess’”
- “A Sonic Twist in the Plot: The Bridge in Modern Pop”
- “The PostChorus-Bridge Switcheroo”
- “Recycling the Chorus in Zedd & Elley Duhé’s ‘Happy Now’”
- “The Internal Sonic Progression in Bebe Rexha’s “I’m a Mess’”
- “Sonic Meta-Progressions in Pop Songs”
- Kenrick, Elements of a Musical: "The Book (Libretto)"
- Jarvis and Peterson, "Detour or Bridge? Contrasting Sections and Storytelling in Musical Theater"
Listening or Videos
Class Activities
- Discussion and definition of the concept of formal analysis, and of common large-scale forms
- Formal analysis of music in different genres and time periods
- Creation of a compositional formal blueprint based around two or three given melodies or motives
Assignments
- Comprehension questions
- Formal analysis of written and recorded music
- Creation of a formal blueprint for a piece to meet given criteria
Files
- Formal Analysis: "Jumper" by Third Eye Blind (Word | Pages | PDF)
- Formal Analysis: "Unfinished" by Barenaked Ladies (Word | Pages | PDF)
- Formal Analysis: Piano Sonata in C minor, K. 457 by W. A. Mozart (Finale | MusicXML | PDF)