Weeks 1–4: Schenkerian Analysis Module
Topics: Ursatz, linear progressions, voice leading, foreground/middleground/background
Activities: Analytical exercises, discussion of Schenker’s and Salzer’s graphs
Readings: Schenker’s Free Composition (translated by Ernst Oster); Salzer’s Structural Hearing (Vol. I)
Repertoire: Bach’s Inventions, Haydn’s Piano Sonatas, Mozart’s slow movements

Weeks 5–8: Application and Score Reduction
Topics: Harmonic syntax, part-writing, model sequences, bass-line motion
Activities: Score reduction, graph drawing, peer review
Readings: Schachter’s analytical essays; Peter Smith on motivic parallelism
Repertoire: Beethoven’s Piano Sonatas (Op. 2, Op. 10, Op. 31), Schubert’s Impromptus

Week 9: Midterm Assignment
Task: Reproduce a complete Schenkerian graph from an existing analysis, and create a reduction from a new excerpt
Submission: Foreground and middleground with annotation

Weeks 10–13: Topics and Formal Functions
Topics: Dance topics, singing styles, Sturm und Drang, galant vs learned
Readings: Ratner’s Classic Music, Caplin’s Classical Form, Monelle’s The Sense of Music (topics only)
Activities: Listening, score study, topic identification, formal map drafting
Repertoire: Haydn’s Op. 76 Quartets, Mozart K. 488, Beethoven’s Op. 18 and Op. 59

Weeks 14–16: Sonata Theory and Integrated Approaches
Topics: Exposition types, MC and EEC, rotational layout, P-theme and S-theme distinctions
Readings: Hepokoski & Darcy, Elements of Sonata Theory (selected chapters)
Activities: Group discussion, form-functional labeling, graphic integration with topics
Repertoire: Beethoven Op. 31 No. 2, Mozart K. 333, Schubert D. 784

Week 17: Review and Poster Preparation
Activities: Individual meetings, peer review, workshop on poster content and visuals

Week 18: Final Poster Session
Activities: In-class presentation of analytical posters, feedback, discussion
Requirement: Poster must include analytical roadmaps, music examples, diagrams, QR audio links, and explanatory text