Well, after countless - pointless I might add - hours of my time (as well as appropriating that of my husband) I can finally do something here. It would have been INCREDIBLY helpful to know of the ftp problem that Jennifer pointed out, beforehand. Lets just say that it would be prudent to keep all sharp, pointy objects away from the MUS701 gang....
I feel at a loss to suggest repertoire for study when I don't even know the criteria for looking at a piece (any explanation about what we are going to do this term in the way of stylistic analysis would be desirable). I agree with Simon: it's the methods of analysis that can yield up more insights here than determining what Bach cantata or other would be best for perusal.
However, I disagree with the idea of excluding orchestral works from our seminar. Why would we do this? The difficulty of getting scores? The difficulty of reading them? I think that the difficulty of getting set up to communicate for this course was/is a Herculean task compared to looking at a little orchestral music. Joseph Kerman perceptively challenged Schenker's analysis of the last movement of Beethoven 9th and I can't think of a better place to start for a discussion of Schenker, Beethoven (the canon) - with an orchestral work.
And Brian, I too am asking the question of how to connect analysis and aesthetics and found (once again) Joseph Kerman helpful. The pages that we had to read for Mus 700 are helpful in this regard (pp. 16-18) as is his entire chapter "Analysis, Theory, and New Music" of Contemplating Music: Challenges to Musicology.
For what it's worth here is my wish list:
Schönberg - Five Orchestral Pieces, Op. 16 (movements 1 and 5 are easily available; I'd be only to happy to photocopy this for the class)
I like Melissa's suggestion of Ockeghem, very cool. How about the Kyrie of Missa Caput or a rondeau such as "D'ung Aultre Amer"?
Jenn's suggestion of Stockhausen's "Stimmung" interests me as well.
I like Brian's suggestion of liking my suggestion!
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