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Listening Log for Music Theory
Lindsey Steinbrunner
April 4, 2011
The music of the 20th century is break away from the strict composition traditions of the
Common Practice Period. The macrocosm of the Common Practice Period broke into smaller
microcosms. These microcosms were created when composers changed one of the five elements
of music: tonality, vocabulary, texture, sonorities, and time organization.
In Impressionism, time organization is the only musical element that is basically the
same. Strong beats can be obscured through cross-rhythms, ties, and syncopations. Tonality is
modified. There is a tonal center to each piece of music, but the tonic is usually emphasized
through the use of pedal points, not voice leading. The phrases are of irregular length and the
cadences are not as formulated. Some of the most common cadences are cadences in thirds,
plagal cadences, and authentic cadences without a leading tone. Sonorities are also modified. For
example, tertian harmonies become ninth, eleventh, and thirteenth chords and the dissonances
that are created have no obligation to resolve. Also, new sonorities such as quintal and quartal
harmonies are used. Vocabulary completely changes. Modes, whole-tone scales, pentatonic
scales, and other non-traditional scales can be used to compose music instead of just traditional
scales. Unlike in the Common Practice Period, chromatic pitches are used freely. They do not
need to emphasize or embellish diatonic pitches. Texture also completely changes. Counterpoint
is virtually non-existent and the main texture is monolinear. Some of the textural elements used
are ostinati, pedal points, and planing.
In Neoclassicism, texture is the only music element that is basically maintained. The
main texture is clear counterpoint with sparse textures. Tonality is modified. The music is tonal
and the tonic is emphasized through voice leading or through assertion. The phrases are of
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regular lengths (4, 8 measures) and the cadences are clearly formed. Vocabulary is modified. The
pieces are created with scales and modes and the melody lines are usually diatonic. Sonorities are
also modified. The harmonies are tertian, quartal, or secundal and there are sudden tonal shifts.
Time organization completely changes. Meters can by symmetric or asymmetric, may change
frequently, and can be juxtaposed to create polymeters. The metric stress shifts to beats other
than the strong beat (beat one).
In Minimalism, tonality, vocabulary, and sonorities all basically stay the same. The tonal
center of the piece is easy to determine. The melody lines are simple with only a few pitches and
tend to be created from simple scale structures. The melody can be expanded with additive
process or permutational process. The sonorities are usual consonant and are fixed for long
periods of time. They serve no real function in the piece. Texture completely changes. It is static
for long periods of time and is created through pedal points, ostinati, drones, and imitation.
Textures shift in and out of phase (phase process). Time organization also completely changes.
Pulse remains steady for long period of time, and repetitions and rhythmic ostinati are frequently
used. Two phrases can be performed at differing speeds (phase shifting).
In Eclecticism, there are no guidelines in determining the style of music like the other
microcosms. This is the category for the composers that do not fit into any particular category.
The musical elements of tonality, vocabulary, texture, sonorities, and time organization all differ
based on the composer. One composer might completely change all five elements, while another
composer may only manipulate a few of the elements. This is the most widely diverse category
of music.
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Parachute Dancing (1984)
Libby Larsen
Dayton Philharmonic Orchestra
12 February 2011
Tonality, Phrase Design, Cadences, Form

The key and overall tonality of this piece is hard to determine. There does not seem to
be a tonal center. The phrases are of irregular length and the cadences are hard to
identify. The piece ends with no true, formulated cadence.
Pitch Vocabulary: important intervals, chromatic events, dissonances

There is no instrument that consistently has the melody in this piece; the melody
switches between instruments frequently. This creates a feeling of pointillism as the
melody weaves between registers and timbres. The chromatic pitches do not follow
any of the rules seen in the Common Practice Period. They are used in the same way
as the diatonic pitches.
Musical textures, counterpoint, articulations

The main texture is counterpoint made up of independent and individual lines. New
textures are created in a few different ways. The first way is by giving importance to
non-traditional instruments, such as a bell from a bicycle. The other way is by playing
traditional instruments in non-traditional ways. For example, instead of the string
players bowing the strings, they hit the strings with the bow. There are multiple
different articulations and dynamics throughout the piece, which adds to the texture.
For example, the brass plays loud, accented notes that interrupt the melody.
Sonorities and harmonic patterns
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
The main sonorities are tertian triads and tertian tetrads. These sonorities are both
diatonic and chromatic. The sevenths created in the tertian tetrads do not always
resolve.
Time organization: meter and rhythms

The meter of this piece is a simple meter. The metric stress is not always on beat one.
This stress changes due to the strong articulations on beats other than beat one.
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Clarinet Concerto (1949)
Allegro Vigaroso
Gerald Finzi (1901-1956)
Dayton Philharmonic Orchestra
25 February 2011
Tonality, Phrase Design, Cadences, Form

The piece is centered on a C Phrygian mode. This is the tonic that the movement
begins and ends with. The phrases are of normal lengths and end with clear cadences.
The final tonic of the movement is a Picardy Third in C major.
Pitch Vocabulary: important intervals, chromatic events, dissonances

The tonic of the movement switches multiple times. The scales present throughout are
E major, G-flat major, B major, D major, A-flat major, D-flat major, and E-flat major.
The clarinet plays the main melody line throughout the movement. This line is of
made up almost entirely of diatonic pitches. There are some chromatic pitches that are
used to emphasize or embellish the diatonic pitches.
Musical textures, counterpoint, articulations

There is counterpoint that is made up of multiple independent, individual lines. There
are a few short ostinato patterns, but none are that are of sufficient length in
comparison to the length of the movement. The articulations are usually on strong
beats, but there are a few accents on the offbeat. There are a few sequences in the
different instrumental parts.
Sonorities and harmonic patterns

The sonorities are mostly diatonic tertian triads, but there are a few tertian tetrads.
The dissonances created by these tetrads usually resolve.
Time organization: meter and rhythms
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
The main meter of the piece is 4/4, but other simple meters are present, such as 2/4
and 3/4. The metric stress is almost always on beat one.
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Clarinet Concerto (1949)
Adagio
Gerald Finzi (1901-1956)
Dayton Philharmonic Orchestra
25 February 2011
Tonality, Phrase Design, Cadences, Form

The key of the piece changes frequently, but the first tonic is in the C mixolydian
mode. The phrases are of regular length. The first cadence is a half cadence on a G
major tertian triad and the second cadence is an authentic cadence (VII-I) in C. The
final cadence of the movement ends on an F major tertian triad.
Pitch Vocabulary: important intervals, chromatic events, dissonances

There are a wide variety of scales used throughout the movement, including D-flat
major, A major, B major, E major, and F major. The clarinet melody is made up of
mostly diatonic pitches. The chromatic pitches work to define the tonic or are used as
embellishments.
Musical textures, counterpoint, articulations

The main texture is counterpoint made up of multiple independent, individual lines.
There is one short ostinato-like passage, but it only has two legs. There are many
different articulations used to emphasize different pitches.
Sonorities and harmonic patterns

The main sonority is a diatonic tertian triad. Some tertian tetrads are used which
create dissonances. The tonal center of the movement switches often, especially in the
last 30 measures.
Time organization: meter and rhythms
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
The meters of the movement are simple meters. The main meter is 4/4, but 3/4 and
3/2 are also used. The metric stress is almost always on beat one, but syncopations
and ties shift this metric stress occasionally.
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Clarinet Concerto (1949)
Rondo
Gerald Finzi (1901-1956)
Dayton Philharmonic Orchestra
25 February 2011
Tonality, Phrase Design, Cadences, Form

The beginning of the movement does not establish a key and is highly chromatic.
Throughout the movement, the key switches multiple times, but the final key is C
major. The phrases are of regular length. The final cadence of the movement is a
plagal cadence (iv-I), with the final tonic being a C major triad.
Pitch Vocabulary: important intervals, chromatic events, dissonances

There are a wide variety of scales used in the movement: C mixolydian, A major, Dflat major, E major, B major, A-flat major, and B-flat major. The clarinet melody is
made up of mostly diatonic pitches. The chromatic pitches are used to emphasize the
diatonic pitches or used as embellishments. There are multiple chromatic passages
that are used to propel the music to a new tonal center.
Musical textures, counterpoint, articulations

The movement is made up of counterpoint, consisting of independent and individual
lines. There are a few short ostinato-like passages, but none of them are long enough
to be considered true ostinati. There are many sequences throughout the movement
and some of the sequences reoccur.
Sonorities and harmonic patterns

The sonorities are mostly diatonic tertian triads, but there are also tertian tetrads
present. The tonal center shifts often and the overall tonic of the piece is hard to
determine.
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Time organization: meter and rhythms

The meters of the movement are all simple meters. The most used meter is 4/4, but
3/4, 2/4, 2/2, and 3/2 are also used. The metric stress is usually on beat one, but
occasionally it shifts to beat two. This shift is emphasized through articulations and
ties. There are also syncopations throughout the movement.
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Apollo and the Muses (1927-28)
“The Birth of Apollo,” “Apollo’s Variation”
Igor Stravinsky (1882-1971)
Dayton Philharmonic Orchestra
2 February 2011
Tonality, Phrase Design, Cadences, Form

The Birth of Apollo
o The main key of this piece is C major. The phrases are of regular length and
end in cadences. The final cadence is a half cadence on a G major tertian triad.

Apollo’s Variation
o The piece begins with a violin solo in the key of G minor. Then the solo
moves through multiple keys. When the rest of the string section comes in, the
key of G minor is once again established. The phrases are of regular length.
The final cadence is on a G major tertian triad that is missing the fifth.
Pitch Vocabulary: important intervals, chromatic events, dissonances

The Birth of Apollo
o There are a few other keys represented in this piece, two of them being A
major and D major. The melody line stays in the first violin most of the time,
but also switches to other instrumental parts. Chromatic pitches are used to
embellish or emphasize the diatonic pitches. Dissonances resolve.

Apollo’s Variation
o The piece moves around multiple keys, but never settles into a new key with a
new tonic. The violins have the melody the entire time, with the lower strings
providing an accompaniment. The melodic line is both diatonic and
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chromatic. The chromatic pitches emphasize and embellish the diatonic
pitches.
Musical textures, counterpoint, articulations

The Birth of Apollo
o The multiple independent, individual lines create counterpoint, which is the
main texture of this piece. The lower string instruments have a short ostinato
passage that occurs multiple times. There is sequencing and repetition
throughout. Articulations are used to bring out certain “voices.”

Apollo’s Variation
o The piece is made up of counterpoint created by the different independent,
individual lines. Articulations are used to create different “colors” throughout
the piece.
Sonorities and harmonic patterns

The Birth of Apollo
o The two main sonorities are tertian triads and tertian tetrads. These two
sonorities are represented both diatonically and chromatically. There is a new
tonic a few times.

Apollo’s Variation
o The sonorities are tertian triads and tertian tetrads. The tonic pitch changes as
the piece progresses.
Time organization: meter and rhythms

The Birth of Apollo
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o The meters in this piece are all simple meters. The meters used are 4/4, 2/2,
and 2/4. The strongest beat is almost always beat one, which is where the
metric stress usually resides.

Apollo’s Variation
o The meters in this piece are complex meters. The meters used are 2/8, 3/8, and
3/16. The strong beat is usually beat one. The metric stress is shifted every
once in awhile with the use of ties and articulations.
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Sur les cimes (On the Peaks) (1960)
Eugène Bozza (1905-1991)
Jonathan Payne
28 January 2011
Tonality, Phrase Design, Cadences, Form

This piece is in a major key and the final cadence is a perfect authentic cadence. The
phrases are of regular length. The first half of the piece is slow and the second half of
the piece has a quicker tempo.
Pitch Vocabulary: important intervals, chromatic events, dissonances

The piece modulates to a few different keys, both major and minor. The melody line
and the accompaniment line are composed of mostly diatonic pitches. The chromatic
pitches are used to emphasize the diatonic pitches or to embellish the diatonic pitches.
Musical textures, counterpoint, articulations

The main texture is counterpoint made up of independent and individual lines. The
piano plays some short ostinato passages throughout the piece. There is repetition in
both the horn and piano parts. Articulations give the piano and horn each distinct
sounds. The horn uses a variety of different sounds, such as muting some of its
melodic passages.
Sonorities and harmonic patterns

The main sonorities are tertian triads and tertian tetrads. These sonorities are mainly
diatonic. The music is tonal, so the tonal center of each section is easy to hear.
Time organization: meter and rhythms

The piece is organized in simple meter. The strong beat is usually beat one and the
metric stress rarely changes.
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Metamorphosis Two (1988)
Philip Glass
David Watanabe
18 February 2011
Tonality, Phrase Design, Cadences, Form

The piece is in A minor. There are two main sections. The A section consists of an
ostinato in the left hand and a repetition of a slow pattern of octaves in the right hand.
The B section consists of an ostinato in the left hand and a fast repetition of an
arpeggiated pattern in the right hand. It is in rounded binary form.
Pitch Vocabulary: important intervals, chromatic events, dissonances

There is no dissonance and there are no chromatic notes. The two melodies are
simple, with a minimal amount of notes used. In the A section, the right hand plays in
octaves. The interval in the ostinato is made up of either a major third or a minor
third.
Musical textures, counterpoint, articulations

There is an ostinato in the left hand throughout the entire piece. It does not stay
stationary and moves to new pitch levels. The piece is very imitative, constantly
repeating the same melodic and harmonic material.
Sonorities and harmonic patterns

Each sonority lasts for a long period of time before it changes. All sonorities are
consonant.
Time organization: meter and rhythms

The rhythm of the ostinato is constant throughout the piece. This piece is in a simple
meter, either 2/4 or 4/4.
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En Forêt, op. 40 (1941)
Eugène Bozza (1905-1991)
Mitchell McCrady
25 February 2011
Tonality, Phrase Design, Cadences, Form

This piece is in a major key. There is a build up to the final cadence, which is a
perfect authentic cadence. The phrases are of regular length.
Pitch Vocabulary: important intervals, chromatic events, dissonances

The piece explores a few different keys, but ultimately returns to the starting key. The
horn melody and the piano accompaniment are mostly diatonic. There are some
chromatic pitches used to either embellish the diatonic pitches or to emphasize the
diatonic pitches.
Musical textures, counterpoint, articulations

The overall texture is counterpoint made up of independent and individual lines.
There are some places that the horn and piano play in octaves. The piano plays some
ostinato passages. Different articulations are used between the horn and piano. The
horn produces different sounds, which includes muting some notes.
Sonorities and harmonic patterns

The sonorities used are tertian triads and tertian tetrads. Most of the sonorities are
diatonic, but some chromatic pitches are used.
Time organization: meter and rhythms

The piece is in simple meter. Beat one is usually the strong beat, with the others
falling in weaker succession. The metric stress is normally on beat one.
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Preludes, Book 1 (1909-1910)
De pas sur la neige, Ce qu’a vu le vent d’ouest
Claude Debussy (1862-1918)
Samuel Petrick
18 March 2011
Tonality, Phrase Design, Cadences, Form

De pas sur la neige
o The piece starts and ends in the D mixolydian mode. This is established
through pedal points on “D” and the final cadence on a D minor triad. The
final cadence is a plagal cadence (iv-i). The phrases are of irregular length.

Ce qu’a vu le vent d’ouest
o The piece begins in the D mixolydian mode with a pedal point on “F-sharp.”
The final cadence ends with a D-sharp minor-minor seventh chord. The
phrases are of irregular length.
Pitch Vocabulary: important intervals, chromatic events, dissonances

De pas sur la neige
o There is free chromaticism throughout the piece. These chromatic notes are
not used to emphasize diatonic pitches, but just used freely. Besides the D
mixolydian mode, a D-flat mixolydian mode is also used.

Ce qu’a vu le vent d’ouest
o There is free chromaticism throughout the piece; these chromatic pitches are
not used to emphasize diatonic pitches. There is an exploration of many scales
and modes throughout the piece.
Musical textures, counterpoint, articulations

De pas sur la neige
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o There is an ostinato throughout most of the piece. The ostinato exchanges
between all four “voices.” Rhythmically, it is a sixteenth note followed by a
dotted eighth note tied to an eighth note tied to a quarter note. There are two
of these rhythmic patterns in each measure. The major pedal point throughout
most of the piece is on “D.” There is planing in tertian triads and planing in
quartal triads. Counterpoint is virtually non-existent.

Ce qu’a vu le vent d’ouest
o There are multiple ostinati throughout the piece with different rhythmic
patterns and pitch sequences. The ostinato does not remain in the left hand of
the piano; it can also be found in the right hand. The main pedal point
throughout the piece is on “F-sharp.” There is planing in tertian triads,
seconds, quartal triads, octaves, and tertian tetrads. The main texture is a
melody against an ostinato; there is virtually no counterpoint.
Sonorities and harmonic patterns

De pas sur la neige
o The two sonorities in the piece are tertian triads and quartal triads. Dissonance
is created through free chromaticism and has no requirement to resolve.

Ce qu’a vu le vent d’ouest
o The sonorities found are tertian triads, tertian tetrads, and quartal triads. There
is dissonance created through chromatic pitches. This dissonance has no
requirement to resolve.
Time organization: meter and rhythms

De pas sur la neige
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o The piece is in a simple meter, 4/4. The strong beats are obscured sometimes.
Beat two has more emphasis than beat one in some measures. This is
accentuated with longer note values and articulations.

Ce qu’a vu le vent d’ouest
o The two meters in the piece are simple meters. The main meter is 4/4, but
there are also some sections in 3/4. The strong beat emphasis is sometimes
shifted to beat two. This is done byway of putting the longer notes on beat two
and also through ties and articulations. There are no cross-rhythms, but there
are some syncopations.
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Margaret Songs (1998)
“Bright Rails,” “So Little There,” “Beneath the Hawthorne Tree”
Libby Larsen
Joy Willenbrink, Kate Hunt, Stephanie Jabre
2 February 2011
Tonality, Phrase Design, Cadences, Form

All three pieces are in minor keys. The phrases are of regular lengths and each piece
has a different final cadence. The final cadence of the song cycle is a perfect authentic
cadence. The forms of each piece are also different. For example, one piece is in a
rounded binary form and another has a more strophic form.
Pitch Vocabulary: important intervals, chromatic events, dissonances

The voice line is most important and the piano is more of a supporting element. The
voice line is made of mostly diatonic pitches. The chromatic pitches in the voice and
piano are used to emphasize or embellish the diatonic pitches.
Musical textures, counterpoint, articulations

The main texture is counterpoint made of independent, individual lines. The piano has
some ostinato accompaniment. The articulations of the piano and the voice set them
apart. Some of the articulations are trills, staccatos, and accents. The voice is
accompanied in many different ways. The piano has a full accompaniment,
accompanies in a recitative style, or does not play at all. There are moments in each
song where the voice sings without any piano accompaniment.
Sonorities and harmonic patterns

The main sonorities are tertian triads and tertian tetrads. The triads formed are mostly
diatonic in nature.
Time organization: meter and rhythms
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
The meters of the pieces are both simple and compound meters. The metric stress is
not always on beat one. It is sometimes shifted to another beat, such as when the
piano accompaniment comes in after the first beat, which the voice started on. The
rhythms are both straight and syncopated.
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The music of the 20th century is a diverse selection of music. The five musical elements
(tonality, vocabulary, texture, sonorities, and time organization) are used in a variety of different
ways. In each microcosm, these elements can stay the same, be modified, or be completely
changed. In regards to tonality, music can have a strong tonal center or have no tonal center and
use tone rows. Also, the phrases can be of regular lengths (4, 8 measures) or irregular lengths (3,
7, 11 measures). With vocabulary, a piece can be composed with traditional scales or with modes
and non-traditional scales. Also, chromatic pitches can be used to emphasize diatonic pitches or
they can have the same importance as diatonic pitches. In texture, there can be clear
counterpoint, or there can be no counterpoint at all. Sonorities can be as simple as tertian tetrads
or can be as complex as polychords. Also, dissonance can resolve or not resolve. With time
organization, there can be symmetric meters or asymmetric meters. Also, the strong beat
emphasis does not always have to be on beat one. Music of the 20th century has no limitations.
The patterns of sound that can be created are endless and will continue to expand. There will
always be new ways to modify and enhance musical sounds.