Introduction

In this space we will explore the variety of musics that have emerged during the twentieth and twenty-first century. The focus here will be on listening to these compositions and learning to understand them not only on their own terms, but in relation to other works as well. While there is much to be gained by studying the scores of these works, scores can only transmit so much information. In some cases, music became more and more complex, particularly in terms of rhythm. In other cases, composers sought to remove themselves from the compositional process and left many of the work's determining properties up to performers.

This project has several unique features. First, I have put it online so that others may benefit from it. An online source such as this also facilitates the inclusion of multimedia, non-linear sequencing, and links to ancillary materials. Second, rather than telling you what to listen for, I present a series of graded questions with each composition. This allows this site to be used by virtually anyone--from music enthusiast to graduate student in music. The depth of each individual's answers to these questions is the only thing that will differ from person to person: you need not be able to read music to use this site. The reader/listener is welcome to do as much or as little work as they see fit.

There are a few sets of questions that might be useful in general. The first set of questions stem from Jan LaRue's Guidelines for Style Analysis and they examine the notions of sound, harmony, melody, rhythm, and growth (or form). A useful outline can be found here. Students might consider each of these features of music as broadly or as specifically as possible. The second set of questions for study are adapted from the practice of Friendly Bible Study:

• What is the "main point" of this composition, or, what is this composition saying about music?
• How does this composition challenge your understanding of music?
• What problems do you have with this composition? (or, what problems does this piece attempt to solve? What problems does it create?)
• How does this piece of music relate to other compositions that I know?
• What are the implications of this piece for subsequent compositions and/or composers?

Now, without further ado, the first installment...

Feel free to leave comments below, or e-mail me at ttutheory at gmail.com.