THE RESEARCH PROJECTMUS 215 · MUSIC THEORY IV · DR. TOBY RUSH

YOUR GOAL

YOUR GOAL

is to become the foremost expert about your topicamong UNC students and faculty

YOUR GOAL

is to become the foremost expert about your topicamong UNC students and faculty

This goal is easily attainable if you allow yourselfa consistent and regular time to do research

YOUR GOAL

is to become the foremost expert about your topicamong UNC students and faculty

This goal is easily attainable if you allow yourselfa consistent and regular time to do research

If you take advantage of the research tools availableto you, you can acquire most of the research

that exists on your topic within a month or two

MY RECOMMENDED APPROACH

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0123042056723089: ;0:<2 ;:3=>;4;ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM

?ese are composers who continued to write in the style of the 9omantic period into the 0wentieth 7entury@ ;omeA notably ;trauss and ;choenbergA began to experiment with expressionism and the intense chromaticism which led to atonality@

Name Lived Nationality Notes

Bax Cruch DEFE–DGHI Jerman wrote in CrahmsK style Lerruccio Cusoni DEMM–DGHN 4taly composed primarily for piano Bario 7astelnuovo60edesco DEGO–DGME 4taly wrote for guitarA also film music Justav Bahler DEMI–DGDD Pustria wrote few worksQ mainly conducted 5ans >fitzner DEMG–DGNG 9ussia self6described Ranti6modernistS Jiacomo >uccini DEOE–DGHN 4taly composer of La Bohème, Tosca Bax 9eger DETF–DGDM Jerman often wrote fuguesA variations Prnold ;choenberg DETN–DGOD Pustria became serialist in DGHD 9ichard ;trauss DEMN–DGNG Jerman known for operas and tone poems

RUSSIAN POST-ROMANTICISM

?ese composers tended to be nationalistic and used folk music in their compositions@ Cecause of the treaty between 9ussia and Lrance at the beginning of the century to defend one another from Jermany and PustriaA the two countries enjoyed a cultural exchange of ideas@

Name Lived Nationality Notes

Plexander Jlazunov DEMO–DGFM 9ussia nationalistA taught ;hostakovich Umitri Vabelevsky DGIN–DGET 9ussia composed for young musicians Pram Vhachaturian DGIF–DGTE Prmenia influenced by Prmenian folk music 3ikolai Biaskovsky DEED–DGOI 9ussia Rfather of the ;oviet symphonyS ;ergei 9achmaninoW DETF–DGNF 9ussia one of the finest pianists of his day 3ikolai 9oslavetz DEEI–DGNN 9ussia modernistQ banned in DGFI Plexander ;criabin DETH–DGDO 9ussia became atonalist in DGIE

IMPRESSIONISM AND FRENCH POST-ROMANTICISM

4mpressionism was one of the first truly 0wentieth67entury stylesA and beyond Uebussy and 9avel most composition was a balance between the newer techniques of 4mpressionism and what was simply a Lrench treatment of >ost6romanticism@

Name Lived Nationality Notes

<ili Coulanger DEGF–DGDE Lrance won >rix de 9ome at DGA died at HN 3adia Coulanger DEET–DGTG Lrance taught ;travinskyA 7opland 7ecile 7haminade DEOT–DGNN Lrance wrote character piecesA salon songs 7laude Uebussy DEMH–DGDE Lrance hated the term RimpressionismS Lrederick Uelius DEMH–DGFN 2ngland used Pfrican6Pmerican folk music >aul Uukas DEMO–DGFO Lrance prolific >ost69omanticist Jabriel Lauré DENO–DGHN Lrance master of Lrench art6song 7harles JriWes DEEN–DGHI 8nited ;tates most famous Pmerican impressionist Baurice 9avel DETO–DGFT Lrance works required virtuosi to play them Plbert 9oussel DEMG–DGFT Lrance bridged into Lrench 3eoclassicism

STEP ONE:SELECT A PIECE

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0123042056723089: ;0:<2 ;:3=>;4;ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM

?ese are composers who continued to write in the style of the 9omantic period into the 0wentieth 7entury@ ;omeA notably ;trauss and ;choenbergA began to experiment with expressionism and the intense chromaticism which led to atonality@

Name Lived Nationality Notes

Bax Cruch DEFE–DGHI Jerman wrote in CrahmsK style Lerruccio Cusoni DEMM–DGHN 4taly composed primarily for piano Bario 7astelnuovo60edesco DEGO–DGME 4taly wrote for guitarA also film music Justav Bahler DEMI–DGDD Pustria wrote few worksQ mainly conducted 5ans >fitzner DEMG–DGNG 9ussia self6described Ranti6modernistS Jiacomo >uccini DEOE–DGHN 4taly composer of La Bohème, Tosca Bax 9eger DETF–DGDM Jerman often wrote fuguesA variations Prnold ;choenberg DETN–DGOD Pustria became serialist in DGHD 9ichard ;trauss DEMN–DGNG Jerman known for operas and tone poems

RUSSIAN POST-ROMANTICISM

?ese composers tended to be nationalistic and used folk music in their compositions@ Cecause of the treaty between 9ussia and Lrance at the beginning of the century to defend one another from Jermany and PustriaA the two countries enjoyed a cultural exchange of ideas@

Name Lived Nationality Notes

Plexander Jlazunov DEMO–DGFM 9ussia nationalistA taught ;hostakovich Umitri Vabelevsky DGIN–DGET 9ussia composed for young musicians Pram Vhachaturian DGIF–DGTE Prmenia influenced by Prmenian folk music 3ikolai Biaskovsky DEED–DGOI 9ussia Rfather of the ;oviet symphonyS ;ergei 9achmaninoW DETF–DGNF 9ussia one of the finest pianists of his day 3ikolai 9oslavetz DEEI–DGNN 9ussia modernistQ banned in DGFI Plexander ;criabin DETH–DGDO 9ussia became atonalist in DGIE

IMPRESSIONISM AND FRENCH POST-ROMANTICISM

4mpressionism was one of the first truly 0wentieth67entury stylesA and beyond Uebussy and 9avel most composition was a balance between the newer techniques of 4mpressionism and what was simply a Lrench treatment of >ost6romanticism@

Name Lived Nationality Notes

<ili Coulanger DEGF–DGDE Lrance won >rix de 9ome at DGA died at HN 3adia Coulanger DEET–DGTG Lrance taught ;travinskyA 7opland 7ecile 7haminade DEOT–DGNN Lrance wrote character piecesA salon songs 7laude Uebussy DEMH–DGDE Lrance hated the term RimpressionismS Lrederick Uelius DEMH–DGFN 2ngland used Pfrican6Pmerican folk music >aul Uukas DEMO–DGFO Lrance prolific >ost69omanticist Jabriel Lauré DENO–DGHN Lrance master of Lrench art6song 7harles JriWes DEEN–DGHI 8nited ;tates most famous Pmerican impressionist Baurice 9avel DETO–DGFT Lrance works required virtuosi to play them Plbert 9oussel DEMG–DGFT Lrance bridged into Lrench 3eoclassicism

STEP ONE:SELECT A PIECE

• Download Style Synopsis from Blackboard

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0123042056723089: ;0:<2 ;:3=>;4;ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM

?ese are composers who continued to write in the style of the 9omantic period into the 0wentieth 7entury@ ;omeA notably ;trauss and ;choenbergA began to experiment with expressionism and the intense chromaticism which led to atonality@

Name Lived Nationality Notes

Bax Cruch DEFE–DGHI Jerman wrote in CrahmsK style Lerruccio Cusoni DEMM–DGHN 4taly composed primarily for piano Bario 7astelnuovo60edesco DEGO–DGME 4taly wrote for guitarA also film music Justav Bahler DEMI–DGDD Pustria wrote few worksQ mainly conducted 5ans >fitzner DEMG–DGNG 9ussia self6described Ranti6modernistS Jiacomo >uccini DEOE–DGHN 4taly composer of La Bohème, Tosca Bax 9eger DETF–DGDM Jerman often wrote fuguesA variations Prnold ;choenberg DETN–DGOD Pustria became serialist in DGHD 9ichard ;trauss DEMN–DGNG Jerman known for operas and tone poems

RUSSIAN POST-ROMANTICISM

?ese composers tended to be nationalistic and used folk music in their compositions@ Cecause of the treaty between 9ussia and Lrance at the beginning of the century to defend one another from Jermany and PustriaA the two countries enjoyed a cultural exchange of ideas@

Name Lived Nationality Notes

Plexander Jlazunov DEMO–DGFM 9ussia nationalistA taught ;hostakovich Umitri Vabelevsky DGIN–DGET 9ussia composed for young musicians Pram Vhachaturian DGIF–DGTE Prmenia influenced by Prmenian folk music 3ikolai Biaskovsky DEED–DGOI 9ussia Rfather of the ;oviet symphonyS ;ergei 9achmaninoW DETF–DGNF 9ussia one of the finest pianists of his day 3ikolai 9oslavetz DEEI–DGNN 9ussia modernistQ banned in DGFI Plexander ;criabin DETH–DGDO 9ussia became atonalist in DGIE

IMPRESSIONISM AND FRENCH POST-ROMANTICISM

4mpressionism was one of the first truly 0wentieth67entury stylesA and beyond Uebussy and 9avel most composition was a balance between the newer techniques of 4mpressionism and what was simply a Lrench treatment of >ost6romanticism@

Name Lived Nationality Notes

<ili Coulanger DEGF–DGDE Lrance won >rix de 9ome at DGA died at HN 3adia Coulanger DEET–DGTG Lrance taught ;travinskyA 7opland 7ecile 7haminade DEOT–DGNN Lrance wrote character piecesA salon songs 7laude Uebussy DEMH–DGDE Lrance hated the term RimpressionismS Lrederick Uelius DEMH–DGFN 2ngland used Pfrican6Pmerican folk music >aul Uukas DEMO–DGFO Lrance prolific >ost69omanticist Jabriel Lauré DENO–DGHN Lrance master of Lrench art6song 7harles JriWes DEEN–DGHI 8nited ;tates most famous Pmerican impressionist Baurice 9avel DETO–DGFT Lrance works required virtuosi to play them Plbert 9oussel DEMG–DGFT Lrance bridged into Lrench 3eoclassicism

STEP ONE:SELECT A PIECE

• Download Style Synopsis from Blackboard

• Find a style that interests or intrigues you

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0123042056723089: ;0:<2 ;:3=>;4;ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM

?ese are composers who continued to write in the style of the 9omantic period into the 0wentieth 7entury@ ;omeA notably ;trauss and ;choenbergA began to experiment with expressionism and the intense chromaticism which led to atonality@

Name Lived Nationality Notes

Bax Cruch DEFE–DGHI Jerman wrote in CrahmsK style Lerruccio Cusoni DEMM–DGHN 4taly composed primarily for piano Bario 7astelnuovo60edesco DEGO–DGME 4taly wrote for guitarA also film music Justav Bahler DEMI–DGDD Pustria wrote few worksQ mainly conducted 5ans >fitzner DEMG–DGNG 9ussia self6described Ranti6modernistS Jiacomo >uccini DEOE–DGHN 4taly composer of La Bohème, Tosca Bax 9eger DETF–DGDM Jerman often wrote fuguesA variations Prnold ;choenberg DETN–DGOD Pustria became serialist in DGHD 9ichard ;trauss DEMN–DGNG Jerman known for operas and tone poems

RUSSIAN POST-ROMANTICISM

?ese composers tended to be nationalistic and used folk music in their compositions@ Cecause of the treaty between 9ussia and Lrance at the beginning of the century to defend one another from Jermany and PustriaA the two countries enjoyed a cultural exchange of ideas@

Name Lived Nationality Notes

Plexander Jlazunov DEMO–DGFM 9ussia nationalistA taught ;hostakovich Umitri Vabelevsky DGIN–DGET 9ussia composed for young musicians Pram Vhachaturian DGIF–DGTE Prmenia influenced by Prmenian folk music 3ikolai Biaskovsky DEED–DGOI 9ussia Rfather of the ;oviet symphonyS ;ergei 9achmaninoW DETF–DGNF 9ussia one of the finest pianists of his day 3ikolai 9oslavetz DEEI–DGNN 9ussia modernistQ banned in DGFI Plexander ;criabin DETH–DGDO 9ussia became atonalist in DGIE

IMPRESSIONISM AND FRENCH POST-ROMANTICISM

4mpressionism was one of the first truly 0wentieth67entury stylesA and beyond Uebussy and 9avel most composition was a balance between the newer techniques of 4mpressionism and what was simply a Lrench treatment of >ost6romanticism@

Name Lived Nationality Notes

<ili Coulanger DEGF–DGDE Lrance won >rix de 9ome at DGA died at HN 3adia Coulanger DEET–DGTG Lrance taught ;travinskyA 7opland 7ecile 7haminade DEOT–DGNN Lrance wrote character piecesA salon songs 7laude Uebussy DEMH–DGDE Lrance hated the term RimpressionismS Lrederick Uelius DEMH–DGFN 2ngland used Pfrican6Pmerican folk music >aul Uukas DEMO–DGFO Lrance prolific >ost69omanticist Jabriel Lauré DENO–DGHN Lrance master of Lrench art6song 7harles JriWes DEEN–DGHI 8nited ;tates most famous Pmerican impressionist Baurice 9avel DETO–DGFT Lrance works required virtuosi to play them Plbert 9oussel DEMG–DGFT Lrance bridged into Lrench 3eoclassicism

STEP ONE:SELECT A PIECE

• Download Style Synopsis from Blackboard

• Find a style that interests or intrigues you

• Investigate the composers listed underneath that style

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0123042056723089: ;0:<2 ;:3=>;4;ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM

?ese are composers who continued to write in the style of the 9omantic period into the 0wentieth 7entury@ ;omeA notably ;trauss and ;choenbergA began to experiment with expressionism and the intense chromaticism which led to atonality@

Name Lived Nationality Notes

Bax Cruch DEFE–DGHI Jerman wrote in CrahmsK style Lerruccio Cusoni DEMM–DGHN 4taly composed primarily for piano Bario 7astelnuovo60edesco DEGO–DGME 4taly wrote for guitarA also film music Justav Bahler DEMI–DGDD Pustria wrote few worksQ mainly conducted 5ans >fitzner DEMG–DGNG 9ussia self6described Ranti6modernistS Jiacomo >uccini DEOE–DGHN 4taly composer of La Bohème, Tosca Bax 9eger DETF–DGDM Jerman often wrote fuguesA variations Prnold ;choenberg DETN–DGOD Pustria became serialist in DGHD 9ichard ;trauss DEMN–DGNG Jerman known for operas and tone poems

RUSSIAN POST-ROMANTICISM

?ese composers tended to be nationalistic and used folk music in their compositions@ Cecause of the treaty between 9ussia and Lrance at the beginning of the century to defend one another from Jermany and PustriaA the two countries enjoyed a cultural exchange of ideas@

Name Lived Nationality Notes

Plexander Jlazunov DEMO–DGFM 9ussia nationalistA taught ;hostakovich Umitri Vabelevsky DGIN–DGET 9ussia composed for young musicians Pram Vhachaturian DGIF–DGTE Prmenia influenced by Prmenian folk music 3ikolai Biaskovsky DEED–DGOI 9ussia Rfather of the ;oviet symphonyS ;ergei 9achmaninoW DETF–DGNF 9ussia one of the finest pianists of his day 3ikolai 9oslavetz DEEI–DGNN 9ussia modernistQ banned in DGFI Plexander ;criabin DETH–DGDO 9ussia became atonalist in DGIE

IMPRESSIONISM AND FRENCH POST-ROMANTICISM

4mpressionism was one of the first truly 0wentieth67entury stylesA and beyond Uebussy and 9avel most composition was a balance between the newer techniques of 4mpressionism and what was simply a Lrench treatment of >ost6romanticism@

Name Lived Nationality Notes

<ili Coulanger DEGF–DGDE Lrance won >rix de 9ome at DGA died at HN 3adia Coulanger DEET–DGTG Lrance taught ;travinskyA 7opland 7ecile 7haminade DEOT–DGNN Lrance wrote character piecesA salon songs 7laude Uebussy DEMH–DGDE Lrance hated the term RimpressionismS Lrederick Uelius DEMH–DGFN 2ngland used Pfrican6Pmerican folk music >aul Uukas DEMO–DGFO Lrance prolific >ost69omanticist Jabriel Lauré DENO–DGHN Lrance master of Lrench art6song 7harles JriWes DEEN–DGHI 8nited ;tates most famous Pmerican impressionist Baurice 9avel DETO–DGFT Lrance works required virtuosi to play them Plbert 9oussel DEMG–DGFT Lrance bridged into Lrench 3eoclassicism

STEP ONE:SELECT A PIECE

• Download Style Synopsis from Blackboard

• Find a style that interests or intrigues you

• Investigate the composers listed underneath that style

• Find a composition that interests or intrigues you

!"# $%&: !"#'( )*+,-. '/

0123042056723089: ;0:<2 ;:3=>;4;ITALIAN, GERMAN & AUSTRIAN POST-ROMANTICISM

?ese are composers who continued to write in the style of the 9omantic period into the 0wentieth 7entury@ ;omeA notably ;trauss and ;choenbergA began to experiment with expressionism and the intense chromaticism which led to atonality@

Name Lived Nationality Notes

Bax Cruch DEFE–DGHI Jerman wrote in CrahmsK style Lerruccio Cusoni DEMM–DGHN 4taly composed primarily for piano Bario 7astelnuovo60edesco DEGO–DGME 4taly wrote for guitarA also film music Justav Bahler DEMI–DGDD Pustria wrote few worksQ mainly conducted 5ans >fitzner DEMG–DGNG 9ussia self6described Ranti6modernistS Jiacomo >uccini DEOE–DGHN 4taly composer of La Bohème, Tosca Bax 9eger DETF–DGDM Jerman often wrote fuguesA variations Prnold ;choenberg DETN–DGOD Pustria became serialist in DGHD 9ichard ;trauss DEMN–DGNG Jerman known for operas and tone poems

RUSSIAN POST-ROMANTICISM

?ese composers tended to be nationalistic and used folk music in their compositions@ Cecause of the treaty between 9ussia and Lrance at the beginning of the century to defend one another from Jermany and PustriaA the two countries enjoyed a cultural exchange of ideas@

Name Lived Nationality Notes

Plexander Jlazunov DEMO–DGFM 9ussia nationalistA taught ;hostakovich Umitri Vabelevsky DGIN–DGET 9ussia composed for young musicians Pram Vhachaturian DGIF–DGTE Prmenia influenced by Prmenian folk music 3ikolai Biaskovsky DEED–DGOI 9ussia Rfather of the ;oviet symphonyS ;ergei 9achmaninoW DETF–DGNF 9ussia one of the finest pianists of his day 3ikolai 9oslavetz DEEI–DGNN 9ussia modernistQ banned in DGFI Plexander ;criabin DETH–DGDO 9ussia became atonalist in DGIE

IMPRESSIONISM AND FRENCH POST-ROMANTICISM

4mpressionism was one of the first truly 0wentieth67entury stylesA and beyond Uebussy and 9avel most composition was a balance between the newer techniques of 4mpressionism and what was simply a Lrench treatment of >ost6romanticism@

Name Lived Nationality Notes

<ili Coulanger DEGF–DGDE Lrance won >rix de 9ome at DGA died at HN 3adia Coulanger DEET–DGTG Lrance taught ;travinskyA 7opland 7ecile 7haminade DEOT–DGNN Lrance wrote character piecesA salon songs 7laude Uebussy DEMH–DGDE Lrance hated the term RimpressionismS Lrederick Uelius DEMH–DGFN 2ngland used Pfrican6Pmerican folk music >aul Uukas DEMO–DGFO Lrance prolific >ost69omanticist Jabriel Lauré DENO–DGHN Lrance master of Lrench art6song 7harles JriWes DEEN–DGHI 8nited ;tates most famous Pmerican impressionist Baurice 9avel DETO–DGFT Lrance works required virtuosi to play them Plbert 9oussel DEMG–DGFT Lrance bridged into Lrench 3eoclassicism

STEP ONE:SELECT A PIECE

• Download Style Synopsis from Blackboard

• Find a style that interests or intrigues you

• Investigate the composers listed underneath that style

• Find a composition that interests or intrigues you

• Locate a score and recording

STEP TWO:PRELIMINARY RESEARCH

STEP TWO:PRELIMINARY RESEARCH

☑ Is this a topic with which you will enjoy spending a fair amount of time this semester?

STEP TWO:PRELIMINARY RESEARCH

☑ Is this a topic with which you will enjoy spending a fair amount of time this semester?

☑ Is there enough research out there to support a decent-sized composition-centric paper? (at least 15 sources)

STEP TWO:PRELIMINARY RESEARCH

☑ Is this a topic with which you will enjoy spending a fair amount of time this semester?

☑ Is there enough research out there to support a decent-sized composition-centric paper? (at least 15 sources)

☑ Are the resources reasonably easy to get your hands on?

STEP TWO:PRELIMINARY RESEARCH

If your preliminary research makes youhesitant to use the composition or composer,

make a different selection and repeat the process

STEP THREE:SECURE YOUR SELECTION

STEP THREE:SECURE YOUR SELECTION

• Inform me by e-mail before 5:00 pm on January 31

STEP THREE:SECURE YOUR SELECTION

• Inform me by e-mail before 5:00 pm on January 31

• Pieces are reserved on a “first come, first served” basis

STEP FOUR:CRAFT YOUR THESIS

STEP FOUR:CRAFT YOUR THESIS

• Your thesis is an idea about your piece that you are going to support with your paper

STEP FOUR:CRAFT YOUR THESIS

• Your thesis is an idea about your piece that you are going to support with your paper

• It does not need to be an incredible discovery that changes humanity

STEP FOUR:CRAFT YOUR THESIS

• Your thesis is an idea about your piece that you are going to support with your paper

• It does not need to be an incredible discovery that changes humanity

• It does not even need to be something you would defend with every part of your being

STEP FOUR:CRAFT YOUR THESIS

• Your thesis is an idea about your piece that you are going to support with your paper

• It does not need to be an incredible discovery that changes humanity

• It does not even need to be something you would defend with every part of your being

• Sometimes the “outside the box” theses make the best papers

STEP FOUR:CRAFT YOUR THESIS

To determine your thesis,do general research

and ask questions with an open mind

MAKE YOUR PAPER AWESOME

0 25 5075

100

% Awesome

Using a thesis

Not using a thesis

NOT STUPID

STEP FOUR:CRAFT YOUR THESIS

• Possibilities for theses include:

STEP FOUR:CRAFT YOUR THESIS

• Possibilities for theses include:

• Something that makes the composition unique

STEP FOUR:CRAFT YOUR THESIS

• Possibilities for theses include:

• Something that makes the composition unique

• How the composition represents a particular style or technique

STEP FOUR:CRAFT YOUR THESIS

• Possibilities for theses include:

• Something that makes the composition unique

• How the composition represents a particular style or technique

• How the composition is different than others by the same composer

STEP FOUR:CRAFT YOUR THESIS

• Possibilities for theses include:

• Something that makes the composition unique

• How the composition represents a particular style or technique

• How the composition is different than others by the same composer

• An analysis of the composer’s language using the composition as an example

OUTSIDE THE BOX

SURE, IT’S A STRETCH

“The large-scale form of Penderecki’s Threnody for

the Victims of Hiroshima can be seen as an extreme

variation of Monteverdi’s typical motet structure.”

But it’s the crazy ones that make an impression

WHOA THERE

“Iannis Xenakis’ Concret PH, when properly amplified, can be used to accurately predict weather

patterns in the North Atlantic Ocean.”

I said outside the box, not completely off the plantation

STEP FIVE:COLLECT RESEARCH

STEP FIVE:COLLECT RESEARCH

• Your goal for this step is to collect as many sources as you can that pertain, even obliquely, to your thesis statement

STEP FIVE:COLLECT RESEARCH

• Your goal for this step is to collect as many sources as you can that pertain, even obliquely, to your thesis statement

• If you don’t have your thesis statement figured out just yet, work hard to hone in on it as you research

STEP FIVE:COLLECT RESEARCH

• Your goal for this step is to collect as many sources as you can that pertain, even obliquely, to your thesis statement

• If you don’t have your thesis statement figured out just yet, work hard to hone in on it as you research

• It is vitally important to take copious notes as you research

STEP FIVE:COLLECT RESEARCH

Taking notes as you research will make your life much, much easier when it comes time to assemble and write your final paper

CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167.Owned by UNC Music Library.

158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music."

158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"

STEP FIVE:COLLECT RESEARCH

As you identify sources — even before you get your hands on them — record as much bibliographic information as you can

CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167.Owned by UNC Music Library.

158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music."

158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"

STEP FIVE:COLLECT RESEARCH

I give each of the sources a code, which I use as shorthand in footnotes as I write the draft

I then replace the codes with actual citations after I finish writing

CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167.Owned by UNC Music Library.

158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music."

158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"

STEP FIVE:COLLECT RESEARCH

As part of my research time, I go through the list of sources and check to see the item’s availability

CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167.Owned by UNC Music Library.

158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music."

158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"

STEP FIVE:COLLECT RESEARCH

As I read (or skim) the sources, I record information that might be useful for my paper, making sure to carefully note page numbers so I can make proper citations

CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167.Owned by UNC Music Library.

158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music."

158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"

STEP FIVE:COLLECT RESEARCH

If you have a laptop, bring it to the library and keep notes in a word processing document

If not, consider using e-mail or Google Docs

CLA1 John Clapham, "Martinů's Instrumental Style," The Music Review, xxiv/2 (May 1963), 158–167.Owned by UNC Music Library.

158: "On numerous occasions both publicly and in private Martinů attempted to clarify his attitude to his compositions, and many of the documents, in the form of programme notes, articles and statements made in letters, together with his diaries, an unpublished autobiographical sketch written in 1941, and recorded extracts from conversations with his intimate friend and biographer, Milos Safranek, provide much valuable material, which it would be folly to ignore when attempting to arrive at a serious evaluation of his music."

158: "He believed in restraint and in striving for true beauty, and in doing so avoiding straining the nerves with so much sound that it becomes nothing more than noise. He considered it would be wrong to allow the brass and percussion to add their full weight to the orchestra....Rhetorical gestures were not to his liking....in climaxes he was satisfied with a ff, possibly with a sfz added...For emphasis at focal points he superimposed triads or dominant seventh chords... As Martinů stated, 'a work of art must not transcend the limits of its possibility in expression.'"

STEP SIX:CONSTRUCT AN OUTLINE

STEP SEVEN:WRITE YOUR PAPER

STEP EIGHT:PROOFREAD AND EDIT

TYPES OF SOURCES

TYPES OF SOURCES

TYPES OF SOURCES

• Books

TYPES OF SOURCES

• Books

• Reference works

TYPES OF SOURCES

• Books

• Reference works

• Textbooks

TYPES OF SOURCES

• Books

• Reference works

• Textbooks

• Biographies

TYPES OF SOURCES

• Books

• Reference works

• Textbooks

• Biographies

• Analytical books

TYPES OF SOURCES

TYPES OF SOURCES

• Articles

TYPES OF SOURCES

• Articles

• About the composer

TYPES OF SOURCES

• Articles

• About the composer

• About the piece

TYPES OF SOURCES

• Articles

• About the composer

• About the piece

• About techniques, etc.

TYPES OF SOURCES

• Articles

• About the composer

• About the piece

• About techniques, etc.

• Performance reviews

TYPES OF SOURCES

TYPES OF SOURCES

• Web sites

TYPES OF SOURCES

• Web sites

• Musical scores

TYPES OF SOURCES

• Web sites

• Musical scores

• Recordings and liner notes

TYPES OF SOURCES

• Web sites

• Musical scores

• Recordings and liner notes

• Personal correspondences and interviews

FINDING ANDACQUIRING SOURCES

BIBLIOGRAPHY MININGThe easiest way to find sources

Your best first step:

The New Grove Dictionaryof Music and Musicians

FINDING ANDACQUIRING SOURCES

The entry on the composer of your piece is an excellent place to begin learning about your composer and his or her style

FINDING ANDACQUIRING SOURCES

...but what can be even more useful is the list of sources in the bibliography.

FINDING ANDACQUIRING SOURCES

The bibliography might contain books about the composer, about his or her works, or about the compositional style...

FINDING ANDACQUIRING SOURCES

...it may also contain articles in scholarly journals...

FINDING ANDACQUIRING SOURCES

... some of which may be in languages other than English.

FINDING ANDACQUIRING SOURCES

Two very useful databases are available on the Music Library Web Site under “Music Research Resources”

FINDING ANDACQUIRING SOURCES

RILM(Répertoire International de Littérature Musicale)

FINDING ANDACQUIRING SOURCES

RILM(Répertoire International de Littérature Musicale)

• Lists articles, books and dissertations

FINDING ANDACQUIRING SOURCES

RILM(Répertoire International de Littérature Musicale)

• Lists articles, books and dissertations

• Tends toward scholarly articles

FINDING ANDACQUIRING SOURCES

RILM(Répertoire International de Littérature Musicale)

• Lists articles, books and dissertations

• Tends toward scholarly articles

• Not as current

FINDING ANDACQUIRING SOURCES

IIMP(International Index to Music Periodicals)

FINDING ANDACQUIRING SOURCES

IIMP(International Index to Music Periodicals)

• Lists only articles

FINDING ANDACQUIRING SOURCES

IIMP(International Index to Music Periodicals)

• Lists only articles

• Includes scholarly articles and popular pieces like record reviews

FINDING ANDACQUIRING SOURCES

IIMP(International Index to Music Periodicals)

• Lists only articles

• Includes scholarly articles and popular pieces like record reviews

• Current

CLICK “BOOKS & MORE”to find books, scores, and recordings

FINDING ANDACQUIRING SOURCES

Use a “Subject” search on your composerusing the format “lastname firstname”

(e.g., martinu bohuslav)to find sources by and about your composer

THE MUSIC LIBRARYIS AWESOME

But it only has a fraction of what’s out there to find

PROSPECTORThere’s research in them thar hills

PROSPECTOR

PROSPECTOR

• An alliance of major Colorado libraries (as well as a few from neighboring states)

PROSPECTOR

• An alliance of major Colorado libraries (as well as a few from neighboring states)

• The system has a very efficient system of sharing materials

PROSPECTOR

• An alliance of major Colorado libraries (as well as a few from neighboring states)

• The system has a very efficient system of sharing materials

• To use, do a search in The Source and click the “Repeat in Prospector” button on the results screen

PROSPECTOR

• An alliance of major Colorado libraries (as well as a few from neighboring states)

• The system has a very efficient system of sharing materials

• To use, do a search in The Source and click the “Repeat in Prospector” button on the results screen

• Follow the commands to have the item sent to you; most items arrive within three business days

INTERLIBRARY LOANWorks best when skies are clear

INTERLIBRARY LOAN

INTERLIBRARY LOAN

• A system similar to Prospector, but which includes thousands of libraries worldwide

INTERLIBRARY LOAN

• A system similar to Prospector, but which includes thousands of libraries worldwide

• Much slower (2 weeks to 2 months) and less reliable

INTERLIBRARY LOAN

• A system similar to Prospector, but which includes thousands of libraries worldwide

• Much slower (2 weeks to 2 months) and less reliable

• To find sources you want to order, use WorldCat (available under Music Research Resources)

INTERLIBRARY LOAN

• A system similar to Prospector, but which includes thousands of libraries worldwide

• Much slower (2 weeks to 2 months) and less reliable

• To find sources you want to order, use WorldCat (available under Music Research Resources)

• To order sources, use the Interlibrary Loan Request Form (found by clicking “Interlibrary Loan” from the Music Library Web Site main page)

It is vital to identify sources early so you can allow time for Interlibrary Loan items to arrive

RIGHT NEXT DOORTHE MUSIC LIBRARY IS

BEGIN YOUR RESEARCH TODAY

MUS 215 · MUSIC THEORY IVTHE UNIVERSITY OF NORTHERN COLORADO