Research Paper Writing

Music 2200

Part 1 – Research

• have a topic
• read general sources that give bibliographic information – i.e. Grove
• try to make connections between sources to generate original ideas
• analysis of music (not mere description)

Sources

• make sure to use quality sources

• peer reviewed journals
• Grove Online (or in the old-fashioned book form)
• General history books (i.e. Grout/Palisca)
• Books, biographies (monographs)
• Contemporary reviews

• Things to look for

• Research cites their own sources – i.e. authors don’t make sweeping general claims and not back them up
• Extensive bibliography
• Source is cited in other forms
• Look for most recent publications on subject

• Where to look

• For Books – YorkU Library Catalogue – keyword searches
• Bibliographies of Grove
• For Articles - Music Index Online (or just plain music index)/ RILM

Part 2 – Writing

Step 1 – Construct a THESIS

• A thesis is an argument. A research paper needs original ideas. It is not a summary of what has been written about a composer/piece of music. It is not a description of what you hear in the music.
• A successful research paper proves a point.
• Your thesis must be an original idea. You may disagree with what others have said, you may agree, shedding new light on a subject.

Step 2 – Support your argument

• Use the work done by previous scholars as support.
• Use musical analysis.
• Think of this as LEGAL EVIDENCE.

Step 3 – Organization

• Use arguments as logical building blocks.

Step 4 – Editing

• Let someone else read your work.
• Use spell-checks/grammar-checks.
• Make sure you are using proper formatting. – MLA, Chicago Manual of Style – you can find these in the library.

Research Paper Example

The Lydian Mode as a Divine Entity in Beethoven’s “Heiliger Dankgesang”

Mike Anklewicz

Thesis:

Beethoven associates the church modes with holiness. Contrasts of major sections and Lydian sections.

Evidence:

P1 – Beethoven studied species counterpoint with Albrechtsberger.

(P1A) –Beethoven knew about Reichardt – “dignity . . . boldness of . . . melodies

in the ancient church modes”.

P2 – Korsyn – shows unity in constrasts but doesn’t show spirituality.

Lydian sections show evidence of B.’s knowledge of Organ chorales

P3 - Schenker – not really in Lydian – B’s fails at writing in Lydian mode.

I disagree.

P4 - Brandenburg speculates that B had read Zarlino – Zarlino describes mode;

Pipe organ/comparison to Sullivan’s descriptions.

P5 - Original idea alert! Beethoven was being deliberately ambiguous in use

of mode. Diatonicism – reflection of divine.

P6 - Musical analysis – Using Brandeburg’s analysis; Own analysis of CF;

Against Zarlino. Ex. 1.

P7 - More musical analysis – Ex. 2

P8 - Neither 1 st or 2 nd Lydian sections end in Lydian mode. OIA! False C

Major resolutions of G7 chords to prepare listener transition for Dmaj.

More musical analysis. B. Eludes CMaj by continuing on after G7-C

P9 - OIA! Announces Lydian in 5 th section. B. avoids G in cello part. 8 of

11 G’s are used in imitative counterpoint. Ending of mvt. is in Lydian,

using G’s and G7 to create tension to F major chord.

P10 - OIA! Retropect – function of G7 chord – not cadence – ex. 3 – force

listener to hear beyond the G7-C “cadence”. Shift to D major not

completely unexpected.

P11 - OIA! Avoid G7 – no expectation of return to Dmaj. Parallel functions.

No G7 – allows us to hear F as goal, rather than subdom. of F.

P12 - Analysis – Uses starting notes of F & C – important notes of Lydian.

Disagree with Chua.

P13 - Final section – fugal texture, strongly suggests F major. Ex. 5

P14 - Cadential figure – C pedal @ end (Ex. 6). Listener accepts resolution on

F, rather than needing a dominant chord (tritone of E-Bb). Ex. 7. –

Outlines charact. 4 th of mode, and logical extension of CF.

P15 - Failure of scholars to find closure.

P16 - Ex. 8 – harmonic motion of D maj connects to ending section (ex. 7)

P17 - Unconvincing Lydian in 1 st 2 sections are deliberate. Disagree with Chua

Conclusion:

Beethoven is writing his most spiritual music, and the final section is where he really uses the Lydian mode in it’s most true fashion. “mit Innigster Empfindung” (with innermost feeling). Marks each part upon entry in final section.