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A Suggested Outline for an Analysis Paper

Part I: Background

1. This can provide historical background to the composition of the work in question. It needn’t be terribly involved, but at the same time there may be historical aspects that have bearing on the composition of the work. Most of this can be done with a quick trip to the library; look into a few sources, including reference works like Grove’s.

Part II: Themes and Motives

1. This is a good place to cover motivic resonances in the work (if any). It is also a good place to mention any unusual aspects to the melodies (i.e., sometimes themes will have unusual constructions or features.) If the composer has created the work from a few small ‘seed’ motives, this is where you might want to give at least an introductory coverage.

Part III: More Detailed Analysis

1. Exposition
   1. General Remarks — unusual features, etc.
      1. Note that you should always start with your most general coverage right at the beginning, which can include the location of primary, transitional, secondary, and closing themes. This applies to just about every section: start in a more general manner, and then in subsequent paragraphs become more detailed. This allows your reader to ‘opt out’ of the more detailed coverage while still benefitting from reading your work.
   2. Primary Group
   3. Transition
   4. Secondary Group
   5. Closing Group and/or Transitions
2. Development
   1. General Structure
   2. Each “key plane” section
   3. Retransition
   4. ‘Hinge’ into the Recap
3. Recapitulation
   1. General Remarks
   2. Important differences between Recap and Expo
4. Coda (if any)
   1.  

Part IV: Conclusion

Bibliography 

1. The bibliography should cover only those works which you’ve actually consulted; do not create a general-purpose ‘reference’ biography. It’s very important to give clear citations of every work you consult. You may wind up taking the rap for a mistaken analysis that isn’t your fault, otherwise...