I first matriculated at the Eastman School of Music in September of 2006.


Below is a history of my work while at Eastman during the Spring 2008 semester.

TH452 – Advanced Keyboard Skills (Prof. Dariusz Terefenko):

 
TH524 – History of Theory (Prof. Robert Wason):

  • Week 3: Diary 1: “Ancient Greek Theory through Medieval Modes and Origins of Counterpoint”
  • Week 8: Mid-Term
  • Week 11: Diary 2: “Eighteenth-Century Thorough Bass, Fundamental Bass, and Formal Analysis”

 
TH511 – Music Cognition (Prof. David Temperley):


Below is a history of my work while at Eastman during the Fall 2007 semester.

TH451 – Intermediate Keyboard Skills (Prof. Marie Rolf):

 
TH511 – Theory & Analysis of Tonal Music (Prof. William Marvin):

  • Week 2: Schenkerian Graph of Christian Pezold’s “Minuet” in G major from the Notebook of Anna Magdalena Bach (BWV 114)
  • Week 3: Schenkerian Graph of Franz Schubert’s “Das Wandern”
  • Week 4: Schenkerian Graph of Joseph Haydn’s Theme from “Variations on the St. Anthony Chorale”
  • Week 5: Schenkerian Graph of the theme from Ludwig van Beethoven’s Piano Sonata op. 26, mvmt. 1 (mm. 1-34)
  • Week 6: Schenkerian Graph of J. S. Bach’s “Little Prelude in F” (BWV 927)
  • Week 8: Schenkerian Graph with Commentary for the Tenor Aria #3 (“Dies Bildniss ist bezaubernd schön”) from Mozart’s Magic Flute
  • Week 9: Schenkerian Graph of the “Minuet” from J. S. Bach’s French Suite #2 in C Minor
  • Week 10: Schenkerian Graph of Chopin’s Nocture op. 32, no. 1
  • Week 11: Schenkerian Graph of Beethoven Piano Sonata op. 27, no. 2, mvmt. 1 (Adagio)
  • Week 12: Schenkerian Graph of the “Air” from J. S. Bach’s Orchestral Suite #3 in D major
  • Week 15: Schenkerian Graph of the “Allemande” from J. S. Bach’s Partita #2 in D Minor

 
TH523 – What is Theory? (Prof. Dariusz Terefenko):

  • Week 6: Handout and Script from presentation on Anton Reicha’s Treatise on Melody
  • Week 13: Handout and Script from presentation on the History of Theories of Sonata Form
  • Week 15: Abstract and Proposal entitled “Prolonged Anticipations: Towards A Theory of Counterline”

 
TH583 – Independent Study in Songwriting, Form, and Notation (Prof. John Covach):


Below is a history of my work while at Eastman during the Spring & Summer 2007 semester.

CMP413 – Compositional Practices circa 1955-1980 (Prof. Robert Morris):

  • Week 6: Score and mp3 of Isomorphisms, a composition where rhythm is subject to formal procedures
  • Week 13: Score and mp3 of Jazz Odyssey, a composition using indeterminant procedures, new instrumental resources, and new forms of notation
  • Week 14: Handout and script for presentation on Michael Nyman
  • Week 15: Score and mp3 of Subliminimal, a composition involving aspects of minimalism

 
JCM441 – Advanced History and Analysis of Jazz (Prof. Jeff Campbell):

  • Week 3: Transcription of Lionel Hampton’s vibraphone solo from the 1936 Benny Goodman recording of “Dinah”
  • Week 3: Transcription of Benny Goodman’s clarinet solo and Lionel Hampton’s vibraphone solo from the 1936 Benny Goodman recording of “Sweet Sue”
  • Week 3: Transcription of Benny Goodman’s clarinet solo from the 1939 Benny Goodman recording of “Seven Come Eleven”
  • Week 3: Handout for presentation on the small groups recordings of Benny Goodman
  • Week 6: Final paper topic proposal: Counterpoint in the rhythm guitar playing of Freddie Green
  • Week 7: Handout for presentation on Charlie Christian
  • Week 11: Handout for presentation on Freddie Green
  • Week 11: Essay on the Improvised Counterpoint of Freddie Green
  • Week 11: Transcription of rhythm guitar and bass parts from Count Basie’s “Count’s Place”
  • Week 11: Transcription of rhythm guitar and bass parts from Count Basie’s “Oh, Lady Be Good”
  • Week 11: Transcription of rhythm guitar and bass parts from Count Basie’s “Secrets”
  • Week 11: Transcription of rhythm guitar and bass parts from Count Basie’s “Tally Ho, Mr. Basie!”
  • Week 11: Transcription of rhythm guitar and bass parts from Count Basie’s “What’cha Talkin'”

(Thanks are due to Michael Pettersen of freddiegreen.org for some tweaks to the Freddie Green transcriptions that he suggested over the summer of 2007).

 
MUY590 – Bach Cantatas and Chorale Preludes (Prof. Dan Zager):

  • Week 4: Handout for presentation on the cantatas of Dietrich Buxtehude
  • Week 9: Handout for presentation on the cantatas of Christoph Graupner
  • Week 13: Final paper comparing J. S. Bach’s cantata BWV 199, Mein Herze schwimmt im Blut, to Graupner’s cantata on the same text by Georg Lehms

 
TH521 – Pedagogy of Music Theory (Prof. Steven Laitz):

  • Week 1: Questions on the general approach of music theory
  • Week 3: Sample homework assignment on fundamentals (intervals)
  • Week 4: Sample quiz on fundamentals (meter and intervals)
  • Week 6: Sample lecture on the fundamentals topic of non-harmonic tones
  • Week 9: Sample quiz on aural skills (melodic and rhythmic dictation)
  • Week 10: Take-home exam on fundamentals and aural skills textbooks
  • Week 11: Follow-up on aural skills class observation
  • Week 11: Sample lecture on aural skills (intro to four-part singing and hearing phrases with cadences)
  • Week 13: Sample homework on harmony
  • Week 15: Sample lecture on harmony (mixture)
  • Week 15: Take-home exam on harmony textbooks

 
MUY590 – Stravinsky: His Debts and His Debtors (Prof. Truman Bullard):

  • Week 3: Script and handout for presentation on the Septet (1953) by Igor Stravinsky
  • Week 3: Listening journal for four works by Stravinsky: Les Noces, Ragtime, Piano Rag, and Pulcinella
  • Week 3: Listening journal for two works by Stravinsky: Octet and Concerto in D for Violin and Orchestra
  • Week 3: Listening journal for five works by Stravinsky: Symphony in Three Movements, Three Songs from William Shakespeare, In memoriam Dylan Thomas, Movements for Piano and Orchestra, and Elegy for JFK
  • Week 5: Handout for presentation on Stravinsky’s influence as seen in James MacMillan
  • Week 6: Final Paper on Stravinsky’s influence as seen in James MacMillan

 


Below is a history of my work while at Eastman during the Fall 2006 semester.

TH451 – Modal Counterpoint (Prof. Matthew Brown):

  • Week 1: Cantus Firmus Exercises
  • Week 2: Two-Voice First Species Exercises
  • Week 3: Two-Voice Invertible First Species Exercises
  • Week 4: Two-Voice Second Species Exercises
  • Week 5: Two-Voice Imitative First Species Exercises
  • Week 6: Two-Voice Imitative First Species (Inversion and Retrograde) Exercises
  • Week 7: Cantus-Altus Imitation Exercise
  • Week 8: Cantus-Altus Imitation (Longer) Exercise
  • Week 9: Three-Voice First Species Exercises
  • Week 10: Three-Voice Second Species Exercises
  • Week 11: Three-Voice Imitative First Species Exercises
  • Week 12: Three-Voice Exposition Exercises
  • Week 12: Three-Voice Fifth Species Exercise
  • Week 13: Four-Voice Fifth Species Exercise

TH513 – Theory/Analysis of 20th-Century Music (Prof. David Headlam):

  • Week 1: Review of Robert Morris’s Class Notes for Atonal Theory
  • Week 1: Review of Robert Morris’s Composition with Pitch-Classes
  • Week 1: Short Analysis of Piece III from Stravinsky’s Three Pieces for String Quartet
  • Week 2: Issues in Dave Headlam’s The Music of Alban Berg
  • Week 2: Analyses of Edgar Varèse’s Density 21.5
  • Week 3: Summary of Cycles and Geometric Symmetry
  • Week 3: Analysis of Berg’s op. 4 Altenberg Lieder, nos. 2 and 3 for voice and piano
  • Week 4: Definitions and Questions from Joseph Rosen’s Symmetry in Science
  • Week 4: Analysis of Berg’s op. 5, no. 2 for clarinet and piano
  • Week 5: Summary of David Lewin’s “Transformational Techniques in Atonal and Other Music Theories” with an analysis of Webern’s op. 5, no.2 for string quartet
  • Week 6: Summary of David Lewin’s “Klumpenhouwer Networks and Some Isographies That Involve Them” with GIS Table for Chapter 2 of Generalized Music Intervals and Transformations
  • Week 8: Analysis of Webern’s Cello Sonata, 1914
  • Week 10: Handout for Presentation on Andrew Mead’s “Large-Scale Strategy in Arnold Schoenberg’s Twelve-Tone Music”
  • Week 13: Analysis of the “Musette” from Schoenberg’s Piano Suite, op. 25

TH581 – Recent Theories of Rhythm and Meter (Prof. David Temperley):

  • Week 1: Questions on Carl Schachter’s “Rhythm and Linear Analysis” in Unfoldings
  • Week 2: Questions on Fred Lerdahl and Ray Jackendoff’s A Generative Theory of Tonal Music
  • Week 3: Questions on “The 1980’s consensus” (Lester, Kramer, Benjamin)
  • Week 4: Questions on William Rothstein’s Phrase Rhythm in Tonal Music
  • Week 5: Questions on Christopher Hasty’s Meter as Rhythm
  • Week 6: Questions on Harald Krebs’s Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann
  • Week 7: Questions on articles by Richard Cohn, 2001; Richard Cohn, 1992; David Lewin, 1981
  • Week 8: Questions on articles by Roger Kamien, 1993; Eric McKee, 2004; David Temperley, 2003
  • Week 9: Questions on articles by David Headlam, 1985; Channan Willner, 1998
  • Week 10: Questions on readings from John Sloboda, 1985; Dirk-Jan Povel & Peter Essens, 1985; Eric Clarke, 1999
  • Week 11: Questions on readings from Justin London, 2004; Christopher Longuet-Higgins & Mark Steedman, 1971; David Temperley, 2001
  • Week 11: Questions on readings from Justin London, 2004; Christopher Longuet-Higgins & Mark Steedman, 1971; David Temperley, 2001
  • Week 12: Handout for discussion of hypermeter in “The Christian Life” as performed by the Byrds and the Louvin Brothers
  • Week 13: Analysis of the Rondo alla zingarese (mvmt. 4) from Brahms’s Piano Quartet, op. 25