M502. First paper assignment
Write an analytical essay of 750 words on "Der Herr ist mein Hirt" SWV 33 from the Psalmen Davids.
Your paper is due in class on Thursday, 24 January.
Text and translation are below. A recording is available at http://server1.variations2.indiana.edu/cgi-bin/access?VAA0151. Scores are available here: SGA NSA
This composition appears in the eight principal partbooks and the basso continuo partbook. Cleffing in the original vocal parts is G2 C1 C3 C4/C1 C3 C4 F4.
Make an analytical point about the musical structure and organization of the work; it may be easiest to do this in relation to the organization of the text.
Please do not write about Schütz, Psalms, the Psalmen Davids, music history in general, or the history of this piece. Start right in with the composition, and stick to an analytical topic about it. Do not simply describe colorful word/music relationships--make a point about the overall musical construction of the piece. You need not delve into the theological significance of the text.
In your preliminary analysis, consider the composer's use of forces, division of text, cadential and other musical divisions, degree of text repetition, musical textures--in other words, specific musical features of the piece. Whatever you choose (and choose one--do not try to write about everything), make a point that asserts that Schütz did something in particular with a specific result or effect. Do not simply state that certain things happen in the piece.
Some possible ways to begin (first sentences):
In Schütz's "Der Herr ist mein Hirt" SWV 33 from the Psalmen Davids, the composer uses [particular musical techniques] to get [particular musical/textual result].
or
In Schütz's "Der Herr ist mein Hirt" SWV 33 from the Psalmen Davids, Schütz faces the problem of X. He solves this by doing Y with result Z
or
The text of Schütz's "Der Herr ist mein Hirt" SWV 33 from the Psalmen Davids suggests X. But instead the composer does Y to get the result Z.
Note that all of these examples start directly with the piece, not with abstractions or generalities; that they name the piece; that they assert something specific and say what the consequences; and that they make Schütz the agent (actor). There are other ways to begin, of course, but make sure your opening is as clear.
Before printing your final draft, go through the guidelines below again and see whether you have observed them. Fix things that need fixing.
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Der Herr ist mein Hirt; mir wird nichts mangeln. Er weidet mich auf einer günen Auen und führet mich zum frischen Wasser. Er erquicket meine Seele; er führtet mich auf rechter Straße um seines Namens willen. Und ob ich schon wandelt im finsteren Tal des Todes, fürcht ich kein Unglück; denn du bist bei mir, dein Stecken und Stab trösten mich. Du bereitest vor mir einen Tisch gegen meine Feinde. Du salbest mein Haupt mit Öle, und schenkest mir voll ein. Gutes und Barmherzigkeit werden mir folgen mein Leben lang, und werde bleiben im Haus des Herren immerdar. |
The LORD is my shepherd; I shall not want. He makes me to lie down in green pastures: he leads me beside the still waters. He restores my soul: he leads me in the paths of righteousness for his name's sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil: for you are with me; your rod and your staff they comfort me. You prepare a table before me in the presence of my enemies: you anoint my head with oil; my cup runs over. Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the LORD for ever. |
Here are some guidelines for writing analytical papers:
1. Make a point. Find something you want to say about the material, state it in the first paragraph, and stick to it. Make sure you end up in the same place that you start.
2. Organize your paper around your point. Present musical evidence to support it. Exclude extraneous material, however fascinating.
3. Write in well-organized paragraphs that have clear roles in your argument. Make certain that each paragraph has an evident topic and contributes to your argument. State the point of your paragraph at its beginning, not at the end as punch line.
4. Start with the assigned music, do some analysis, and then find a point. Go back and round up the evidence that supports your point, find more if necessary, and discard everything else.
5. Make an outline and write from it. When you have completed a draft, re-outline it from the text to see whether its logic is still clear.
6. Do not narrate or simply describe music—make an analytical point about it. Use a diagram if you need to convey the order of events in a piece. Do not supply musical detail until you have first explained why it is worth noticing. Find some way to organize other than going through the piece in measure-number order.
7. In an analytical paper, avoid the temptation of writing about music history or the composer's life, or of giving a capsule history of the genre, or of making sweeping claims about music in general. Write about the piece at hand from the start.
8. Write in musical terms—avoid subjective or purely descriptive words. Write in plain English, though; don't clutter the paper with unnecessary jargon. Do not write about the process (about analyzing, noticing, or "this paper") or that things are interesting or notable; write directly about the piece. Make the composer the subject of many of your sentences.
9. Edit. Read your paper aloud. Choose every word carefully. Jettison each unnecessary word. Stick to the assigned length.
10. Proofread.
11. Use abbreviations (m. 6, mm. 45-48) when citing particular places in the piece.
12. Give your paper an interesting title. Do not be cute, or clever, or cryptic; be interesting.
13. Print the paper double-spaced with one-inch margins in a simple font. Do not put extra blank lines between paragraphs. Do not justify the right margin--leave it ragged. Put your name, the date and the course number at the top of the first page; do not use a title page or a report cover. Number the pages.