Music Analysis 2
Subject is not scheduled Not scheduled
|100EHA2||Z||2||2 hours (45 min) of instruction per week, 29 to 39 hours of self-study||English||summer|
Name of lecturer(s)
Learning outcomes of the course unit
The course aim is the greatest glimpse into a music text. An understanding of a musical organism from a vertical and horizontal, as well as from a perspective of detail and as a whole. The relationship of musical and extra-musical components of the studied compositions (text, theatre action). Linkages to other types of arts, philosophy. Comparative analysis of characteristic features of national music presented by the attending students.
For non-musicians alternatives according to their specialization (form within their media).
The communication language is English.
Mode of study
Analyses of compositions by reading scores (form, harmony, counterpoint, structure, instrumentation and other characteristic elements in a composition). Subsequent listening to composition recordings with a score. Discussion of the presented analysis, work on diagrams.
Prerequisites and co-requisites
Required is a basic knowledge of form, harmony and counterpoint.
At the beginning of the course the instructor prepares a number of example analyses to explain in detail the issues of the course.
In the second half of the semester students bring analyses of composers of their own culture. Use of similar elements in diferent context is compared. Once in the semester, each student presents his own complete analysis of a composition chosen in cooperation with the instructor.
Recommended or required reading
LaRue, Jan. Guidelines for style analysis : expanded second edition with models for style analysis, a companion text. Michigan : Harmonie Park Press, 2011.
Owen, Harold. Modal and tonal counterpoint : from Josquin to Stravinsky. New York : Schirmer, 1992.
Tymoczko, Dmitri. A Geometry of music : harmony and counterpoint in the extended common practice. New York : Oxford University Press, 2011.
Krenek, Ernst. Zwölfton-Kontrapunkt-Studien. Mainz : Schott, 1952.
Pratt, George. The dynamics of harmony : principles & practice. Oxford : Oxford University Press, 1996
Schönberg, Arnold. Theory of Harmony : Harmonielehre. New York : Philosophical Library, 1948
Caplin, William Earl. Classical form : a theory of formal functions for the instrumental music of Haydn, Mozart and Beethoven. Oxford : Oxford University Press, 1998
Assessment methods and criteria
Credit is awarded based on: activity in the course, development and presentation of the semester's written work. In the second semester along with a presentation in class, an analysis is submitted in written form.
The overall evaluation is comprised of 60% for activity in the course and 40% for the written course work.
No schedule has been prepared for this course