Students who sign up for my Music Analysis class might think it is just another music theory class. That is, were it not for the stories. They all have heard the stories from students who had taken my class about how hard it is. The papers, the endless papers. What can I say? It is true that I expect much from my students. And it is also true that my class does require a short paper to be written almost every week. But how better can I reach into my student's minds to understand what they are thinking? How better can my students arrive at their own clear understanding than by putting their thoughts to paper? I teach music. But it is through music that I strive to teach my students clarity of expression and clarity of thought. To express oneself clearly is not easy, as my students quickly find out. I review their assignments skeptically, trying to match their printed words with the music we analyzed or the ideas “I think” they are trying to convey. I tell my students that I don't expect them to become expert music theorists, but I do want them to be able to write in as accurate and persuasive fashion as possible (something they will surely need to do when applying for a job). As for my student's papers, they must go beyond generalities. A student may write “Mozart's Minuet K. 355 has interesting harmonies.” To which I respond: “Okay, I agree, but prove it, give me examples.” Another student might assert “Mozart's melody is exciting.” “Again good, but it's not enough. Tell me what you mean.” Like a good lawyer presenting his case, a student must justify his or her assertions with proof. For example, we go back to the statement “Mozart's Minuet K. 355 has interesting harmonies.” This could be followed with: “Jarring dissonance can be heard in measures 5, 7, 9, and in many other places.” Or for the example, “Mozart's melody is exciting,” a student may follow up by offering: “ Mozart uses many wide leaps in his theme.” Again, now the student is proving some substance. But even with a good assertion and proof to back it up, my students' job isn't over yet. There is one more step to go. A good analyst must take the information and try to answer the most illusive question of all –“why?” Why did Mozart use a certain harmony or melody? These questions require informed speculation and since we do not know for sure, sometimes the word “perhaps” is useful here. “Perhaps Mozart used dissonant harmonies for added emotion.” Or “perhaps Mozart used lots of leaps to contrast or balance with a smoother passage heard before.” How interesting I find these classes to be when my students and I can get beyond the question of “what” and address questions of “why?” Music is wonderful for doing this. So is art or cinema, or literature. So here's a little homework assignment for you (don't worry, no paper is necessary). The next time you go to hear a piece of music, see a work of art, or see a movie, or even watch a commercial on television, ask yourself the question of “why?” Why was this written the way it was written? “What is the real message behind the words or the musical sounds or the images you are seeing?” I teach my students to be honest and to trust their ears. Here is the Mozart selection my students are working on. What does it say to you”
