Piorkowski – The Evolution of The Guitar

First, speak about the evolution and standardization of the 6-string guitar in Europe. Then, during
the Biedermeier period (especially in Vienna), expound on how musicians came to utilize the
guitar for accompanying voice in lieder.

Davis - Modern philosophy and music

Please read the following:
Malcolm Budd, Music and the Emotions: the Philosophical Theories (London: Routledge
&. Kegan Paul, 1985), chapters VII and VIII
Peter Kivy, "Mattheson as Philosopher of Art," from The Fine Art of Repetition; "The
Beauty of it All" and "And Nevertheless it Moves" from Sound Sentiment
Roger Scruton, Beauty (Oxford: Oxford UP, 2009)

Focus on the following:

1. How have philosopher’s defined "beauty"? Is musical beauty different from other types
of beauty?
2. Does music express emotion? Does it express anything? If so, how?
3. What is the relationship between theories of beauty and theories of expression?

Each of these authors critique the work of others even as they promote theories of their own. Be
prepared to summarize for the committee the positive theses of Budd, Kivy, and Scruton, then
defend what you believe are the strengths and weaknesses of each philosopher. Feel free to
pursue any of the other philosophers discussed in these writings to help you formulate your own
aesthetic vision.

Root – The Classical Guitar Sonata

Using contemporary and older sonata theories, be able to explain in what ways the Sor and
Guilliani sonatas are or are not well-crafted sonatas. Based on sonata theories, are these pieces
indeed types of sonatas? What kind of sonatas are they? Are they "inadequate" in some way?

Keep in mind, that part of analyzing a classical piece involves understanding the thematic type of
each theme in the work (period, sentence, some kind of hybrid theme, etc.). You should also
know all the harmonies in the work. Be prepared to answer questions about these things if asked.

For Sonata Analysis see:

James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types and
Deformations in the Late-Eighteenth-Century Sonata.

See also
Edward T. Cone. Edward T. Cone, “ The Picture Gallery: Form and Style,” in Musical Form and
Musical Performance, 77. The important quote is here:
“The sonata principle requires that important statements made in a key other than the tonic must
either
be re-stated in the tonic, or must be brought into closer relation with the tonic, before the
movement ends.”
Edward T. Cone, “ The Picture Gallery: Form and Style,” in Musical Form and Musical
Performance, 77.

For thematic structure (sentences, periods, hybrid themes, compound periods, etc), see
William Caplin, Analyzing Classical Form (New York: Oxford University Press, 2013).