Writing Tips
Dear Class:
Please note the web site below which gives information on the writing assistance program here at Peabody, including writing tutors who are available, free of charge, to assist you in your paper-writing adventures.
Please feel free to peruse the related links, and don't hesitate to email me with any questions or concerns you may have about writing or analysis.
Some useful links
Below is a link on writing about music, from Dartmouth. While it may not be 100% tailor-made to our class, it may still offer some relevant and helpful information and ideas.
http://www.dartmouth.edu/~writing/materials/student/humanities/music.shtml
Below is another writing link, this from our own Liberal Arts page, and drawn from materials from the JHU writing program.
On writing a comparative analysis paper
Preparations for your Comparative Paper- One possible approach
1) Just get the music in your ear.
You should begin getting to know these works well, if you haven't already. Listen to them multiple times. Try different recordings if you don't like what you hear in one. If you're a pianist, play through them as well, to the best of your ability.
2) Start gathering information about what you have heard
Basic information to assemble might include large-scale design, including key areas and principal ideas. You should also take note of any particular compositional techniques you notice, whether involving counterpoint, variation, motivic development, or even simple contrast. Consider secondary parameters as well (things like dynamics, texture, register, etc). Do these play a role, and if so, how? What about phrase structure? The nature of the melodic line? General harmonic language [types of chords used and types of progressions]? Harmonic rhythm? Pianistic technique/articulation/tempo- do any of these factors seem particularly significant? Does the movement have a climax? If so, where does it occur and how is it created?
3) Step back and try to see what seems important.
Now that you have both gotten to know the pieces in your ear, and you've assembled a bunch of information about both of them, you need to step back and decide what seems important. What really stands out to you in your findings? It can sometimes be helpful to think about what seems to be the essential character of the pieces in question, and then try to determine how the composer created this. Mendelssohn's famous quote that music is more specific than words can apply here (even though you'll be using words in your paper). The idea is that music isn't just "sad" or "triumphant" or "calm", but that it's particular character is created through a number of specific choices made by the composer. These may involve the work's form, or harmonic language, or texture, or type of melodic or motivic material. Try to think about how some of these different choices may work together to support an overall affect or sense of shape.
4) Think comparison/contrast.
Think about the two works you're considering. How are they similar? (You can even make a list if you're a list-making personality.) How are they distinct? Try to think about this contrast in ways beyond the most straightforward. In other words, sometimes things which seem similar on the surface can have quite different things happening underneath. Conversely, things which seem very different can share surprising similarities. Try to look for these types of comparison/contrasts- either surprising similarities, or non-obvious distinctions, as these can be the most interesting findings.
5) Plan your strategy.
Once you think you've found a way to talk about these two works (either by focusing, for example, on a surprising similarity or unique distinction, or whatever point you want to concentrate on), you need to plan your argument. Whatever your large point is, it should be supported by specifics. It can be useful to make an outline, even if it's just a thesis, a few large supporting reasons, and possibly even support for those reasons. For example, your thesis [main point] might be supported by, say, harmonic, textural, and structural choices. Those would be your 3 main sub-areas. Then each of these might subdivide as well- with harmony breaking down into large-scale key areas, local harmonic language [chords and progressions], and harmonic rhythm. Texture might not subdivide very much, but be treated as one idea. Form might break down into large-scale form and structure within the large divisions. Remember, this is only one of infinite possibilities.
6) Write your paper, allowing time for editing.
If English writing is difficult for you, please don't hesitate to get assistance. You can go to the Writing Center (information on this can be found through Academic Affairs, Dean Soskin's Office, on the Second Floor of this building). It's friendly and free of charge! (See the web link at the bottom of this page for more information.)
7) Edit and proofread, and don't forget- if you used any outside sources at all, be sure to acknowledge them in footnotes or a bibliography.
8) Remember that I don't grade based on the beauty of your writing, but on the thoughtfulness, strength, and clarity of your ideas.
