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I wasn't going to post about this, but Editor Kitty inspired me. I've been frustrated in the past by the quality of my students' writing, particularly in the domain of analytical papers (in contrast, say, to more historical or biographical papers). So this semester in my post-tonal theory class, I'm going to do my best to teach them how to write an analytical paper as we learn about post-tonal music. I intend to devote about a half an hour a week to teaching writing skills. Here is the plan I've attached to the syllabus. Note: the course is cross-listed as graduate (MUTH 5316) and undergraduate (MUTH 3316).
One of the subtexts of this course is instruction in writing an analytical paper. Over the course of the semester we will look at some of the more troublesome aspects of writing analytical papers. Below are some guidelines and due dates.
The first step is to choose a piece to analyze. I would prefer you choose a piece that you know well, preferably one for your instrument. In the case of a larger work, you might select a movement of the piece or a discrete section. You will then need to develop a thesis statement that will shape your paper. What is it that you intend to show in the paper? Why should the reader be interested in your research? Your choice of work along with a thesis statement is due February 2, 2010.
What (if anything) have others written about your piece? There are a variety of ways to discover pertinent research on your topic. Perhaps someone has written about another piece by the same composer using a methodology similar to yours. Perhaps someone has written about a different work by a different composer, but employs an analytical approach that you think is relevant. Biographical information is typically not relevant in analytical papers, but a brief biography might be warranted for an unfamiliar composer. A bibliography detailing the sources you intend to use in your paper is due on February 9, 2010. The bibliography must be formatted according to the guidelines found in the most recent edition of the Chicago Manual of Style. You can find abridged guidelines at http://www.chicagomanualofstyle.org/tools_citationguide.html
Examples (musical and otherwise) and quotations are two key components of an analytical paper. We will spend some class time discussing how to use examples and quotations correctly and effectively.
Editing and proofreading are among the most important skills for aspiring writers to develop. To that end, you will bring a substantially complete draft to class on March 4, 2010 and it will be reviewed by your classmates. Spell-check and related programs are a good first step, but nothing can replace the careful eyes of a live human being.
The final paper is actually due near the middle of the semester on March 23, 2010. My intention is to limit procrastination and to avoid the mountain of work (for you and I) that tends to accompany the end of the semester. Guidelines for formatting are:
• Typed, 1.5- or double-spaced, in a legible, 10- or 12- point font.
• 1”-1.5” margins all around
• Examples in the body of the paper
• Works cited list at the end (note: there is a difference between a works cited page and a bibliography—we’ll discuss it)
There are different content and length guidelines for MUTH 3316 and 5316:
For MUTH 3316 (Undergraduates)
• 6-8 pages
• Roughly five sources (NO internet sources, except in special cases; exceptions include print works that can be found online, i.e., through JSTOR or Oxford Music Online)
For MUTH 5316 (Graduates)
• 10-12 pages
• Roughly ten sources (NO internet sources, except in special cases; exceptions include print works that can be found online, i.e., through JSTOR or Oxford Music Online)
One of the most important and often overlooked writing skills is the ability to write for different audiences. After you have received your graded and corrected papers, we will discuss how to translate your scholarly work into something intended for more general readership—in this case, program notes. The program notes will be considerably shorter than your paper (2-3 pages; same formatting guidelines) and should be accessible to anyone who might come to a concert on which the work would be performed. The program notes are due April 20, 2010.
Finally, since some of you may aspire to a career in academia, presentations at professional meetings will be an important part of your job. We will talk about how to distill your work into a proposal for a conference. Typically, these are intended for expert readership, and are usually around three to five pages. Often, you will be asked to submit an abstract in addition to (or in lieu of) a proposal. Abstracts typically have a 250-word limit, making it difficult to condense fifteen pages of work into a paragraph. The proposal and abstract are due May 4, 2010.