Skip to main content

Course content

Methodology of Music Analysis

Code:
201048
Higher education institution:
Academy of Music
ECTS credits:
10.0
Load:
46(L) + 44(S)
Course contractors:

Associate Professor Sanja Kiš Žuvela, PhD (L, S)

Course description:
The course aims to theoretically establish and practically examine the relationship between different historical and contemporary approaches to music analysis, to consider the repercussions of analytical interventions on speculative and performance interpretation of music, and to raise awareness of the function of analysis in musicological work. Through lectures, practical written and oral analytical exercises with presentations, critical readings of analytical texts, and exercises in analytical listening to music, students should acquire the prerequisites for independent theoretical and practical work in this field. First semester Week 1 (3 hours of lectures): introduction to music analysis; concepts: analysis, approach, method, methodology; overview of contemporary approaches to music analysis Week 2 (3 hours of lectures): Difference between normative-theoretical and scientific-musicological analysis; musical work as an object of analysis: norm - concretion - individuation and analysis as description - explanation - interpretation; Eggebrecht 1999b Week 3 (2 hours of lectures, 1 hour of seminar): beginnings: from the Carolingian synthesis to the Notre Dame school; music and rhetoric; Listenius, Dressler, Burmeister (Musica poetica, analysis of Lass' motet) Week 4 (1 hour of lectures, 2 hours of seminars): rhetorical analysis according to Burmeister; examples from Croatian musical history Week 5 (2 hours of lectures, 1 hour of seminars): comparative analysis of rhetorical figures in literature and music; Lippius: Synopsis Musicae novae: rhetoric and harmony; Mattheson 1739: rhetorical figures; disposition; analysis of Marcello's aria Week 6 (2 hours of lectures, 1 hour of seminars): compositional technical models and topoi; Fladt 2005; analysis of selected examples Week 7 (1 hour of lectures, 2 hours of seminars): interrogatio & lamento: historical overview and analysis of selected examples Week 8 (1 hour of lectures, 2 hours of seminars): referentiality and narrative in the works of the Viennese classicists; Momigny's (1806) analysis of Mozart's String Quartet in D minor, K 421/417b, 1st century); Week 9 (3 hours of seminar): exercises on selected examples Week 10 (2 hours of lecture, 1 hour of seminar): Hermeneutical approaches in the 19th century (Bent 1994); Elterlein's analysis of Beethoven's Sonata in F minor, op. 57 Week 11 (3 hours of lecture): Schumann's analysis of Berlioz's Symphony No. 57 Week 12 (3 hours of seminar): analytical workshop - hermeneutical approaches Week 13 (3 hours of lecture): introduction to the study of musical forms and theories of sonata form: prehistory of the form (Mattheson, Niedt, Scheibe, Quantz; Riepel, Koch); emergence of the concept, names and first definitions; theories of sonata form in the 19th century (Momigny, Hoffmann, Reicha, Marx, Czerny, Naumann, Richter, Leichtentritt) 14th week (3 hours of seminar): application of the developed theories of form to selected examples 15th week (2 hours of lecture, 1 hour of seminar): theories of sonata form: 20th century (Tovey, Schenker, Ratner, Barford, Mellers, Cone, Rosen) Second semester 16th week (3 hours of seminar): application of the developed theories of sonata form 17th week (3 hours of lecture): functional theories of form: Ratz (1951), Caplin (1998, 2005) 18th week (1 hour of lecture, 2 hours of seminar): the sonata theory by Hepokoski and Darcy (2006); the relationship between Caplin and Hepokoski; analytical exercises 19th week (1 hour of lecture, 2 hours of seminar): theories of classical forms and the science of musical forms: concluding discussion. Week 20 (2 hours of lectures, 1 hour of seminar): beginnings of the science of harmony; Rameau; analysis of Rameau's motet Laboravi clamans (1722); analytical exercises Week 21 (2 hours of lectures, 1 hour of seminar): science of harmony and methods of harmonic analysis: C. Ph. E. Bach, Kirnberger, G. Weber; theory of degrees in Croatian literature; Riemann (1893), echoes of function theory in Croatian literature; analytical exercises Week 22 (1 hour of lectures, 2 hours of seminar): Tonnetz, neo-Riemannian approaches; discussion of the science of harmony; analytical exercises Week 23 (3 hours of lectures): Schenkerian analysis; generative theory of tonal music (Lehrdahl & Jackendoff 1983) Week 24 (3 hours of seminar): Schenkerian analysis: critical readings (Schenker's analysis of Beethoven's 9th Symphony in D minor, Op. 125); presentation of homework 25th week (2 hours of lectures, 1 hour of seminar): comparison of Hoffmann's analysis (review) of Beethoven's Symphony No. 5 in C minor, Op. 67 and Webster's approach to the analysis of Haydn's Symphony in F sharp minor, Hob. 45 (Webster 1991) 26th week (2 hours of lectures, 1 hour of seminar): analysis of atonal music (Forte 1973; Schuijer 2008; Gligo 1987) 27th week (3 hours of lectures): analysis through performance (Cook 1999; 2013); Sonic Visualizer; sound analysis: iAnalysis, eAnalysis (Couprie) 28th week (1 hour of lectures, 2 hours of seminar): analysis through performance, analysis for performance, analysis of performance; Utz 2016; Swinkin 2016 29th week (3 hours of seminar): on the problems of music analysis; Kerman 1980; Eggebrecht 1999a Week 30 (3 seminar hours): Adorno 1989; final discussion Requirements for taking the exam: regular class attendance, class participation, completion of regular homework assignments, and timely reporting on completed assignments. All homework assignments must be graded positively. The oral exam at the end of the academic year includes a discussion of the required literature, texts, and topics covered in class. The exam grade consists of the grade of homework (50%), regular class attendance and class activity (30%), and the grade from the oral exam (20%).
Mandatory literature:

1. Eggebrecht, Hans Heinrich (1999a): O metodi glazbene analize, Muzika, 3, 4, 25-44. Eggebrecht, Hans Heinrich (1999b). Musik verstehen, Wilhelmshaven: Noetzel Verlag. (134f - preporuke za analizu glazbe) Fladt, Hartmut (2005). Satztechnische Topoi, ZGMTH, 2, 2-3, 186 - 195. Cook, Nicholas (1999). Analysing Performance and Performing Analysis, u: Cook, N.; Everist, M. (ur.): Rethinking Music, Oxford & NY: OUP, 239-261. Kerman, Joseph (1980). How We Got into Analysis, and How to Get Out. Critical Inquiry, 7, 311-331. Adorno, Theodor W. (1989): O problemu glazbene analize, Zvuk, 3, 29-40. 1 (MA) Stefanija, Leon (2008): Metode analize glazbe: Povijesno-teorijski ocrt, Zagreb: Hrvatsko muzikološko društvo. Bent, Ian D.; Pople, Anthony (2001). Analysis, Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/grovemusic /view/10.1093/gmo/9781561592630.001.0001/ omo-9781561592630-e-0000041862. + tekstovi ili fragmenti odabranih tekstova koji će se obraditi na nastavi

Recommended literature:

2. Agawu, Kofi V. (2009). Music as Discourse: Seminotic Adventures in Romantic Music. New York: OUP. Agawu, Kofi V. (1991). Playing with SIgns: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press. Atken, Hugh (1997). The piece as a whole. Studies of holistic musical analysis. Westport, CT: Praeger Publishers. Allanbrook, Wye J. (1993). Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni. Chicago: University of Chicago Press. Bartel, Dietrich (1997). Musica poetica: Musical-rhetorical figures in German Baroque music: Lincoln: University of Nebraska Press. Beck, Hermann (1974). Methoden der Werkanalyse in Musikgeschichte und Gegenwart. Wilhelmshaven: Heinrichhofen Verlag. Bent, Ian D. (1994). Music Analysis in the 19th Century: Volume I: Fugue, Form and Style; Volume II: Hermeneutic Approaches. Cambridge: CUP. Bergé, Pieter (ur., 2011). Musical Form, Forms & Formenlehre: Three methodological approaches. Leuven: Leuven University Press. Caplin, William (1998). Classical Form: A theory of formal functions for the instrumental music of Haydn, Mozart and Beethoven. NY & Oxford: OUP. Caplin, William (2005). On the Relation of Musical Topoi to Formal Function, Eighteenth-Century Music 2/1, 113-124. Cone, Edward T. (1968). Musical Form and Musical Performance. New York: Norton. Cook, Nicholas (2013). Beyond the Score: Music as Performance. Oxford: OUP. Danuser, Hermann (ed.) (1992): Musikalische Interpretation, Laaber: Laaber. Diergarten, Felix (2014). Musikalische Analyse: Begriffe, Geschichten, Methoden. Laaber: Laaber. Gligo, Nikša (1987). Problemi Nove glazbe 20. stoljeća: teorijske osnove i kriteriji vrednovanja. Zagreb: MIC. Grimalt, Joan (2019). Poučavanje glazbenoga značenja, Theoria 20, 11-29. Forte, Allen (1973). The Structure of Atonal Music. New Haven: Yale University Press. Hatten, Robert (2004). Interpreting Musical Gestures, Topics and Tropes. Bloomington: Indiana University Press. Hepokoski, James & Darcy, Warren (2006). Elements of Sonata Theory. Norms, Types and Deformations in the Late- Eighteenth Century. New York: OUP. Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker. New York: Schirmer Books. Kiš Žuvela, Sanja (2011). Zlatni rez i Fibonaccijev niz u glazbi 20. stoljeća. Zagreb: Hrvatsko društvo glazbenih teoretičara. Kühn, Clemens (1993). Analyse lernen. Kassel etc.: Bärenreiter. Kühn, Clemens (1998). Kompositionsgeschichte in kommentierten Beispielen. Kassel: Bärenreiter, 251-254. Leichtentritt, Hugo (1951). Musical Form. Cambridge MA: Harvard University Press. Lerdahl, Fred & Jackendoff, Ray (1983). A Generative Theory of Tonal Music. Cambridge, MA: MIT Press. Lewin, David (1987). Generalized Musical Intervals and Transformations. New Haven: Yale University Press. Ligeti, György (1958). Pierre Boulez. Entscheidung und Automatik in der Structure 1a. Die Reihe 4: Junge Komponisten, 38-63 // (1960). Pierre Boulez: Decision and Automaticism in Structure 1a, translated by Leo Black. Die Reihe [English edition] 4: Young Composers, 36-62. Marx, Adolph B. (1894). Introduction to the Interpretation of Beethoven Piano Works. Chicago: Clayton W. Summy. Mattheson, Johann (1739). Der volkommene Cappellmeister. Hamburg: Christian Herold. Mirka, Danuta (2014). The Oxford Handbook to Topic Theory. Oxford & NY: OUP. de Momigny, Jérôme-Joseph (1806). Cours complet dharmonie et de composition. Paris: de Momigny. Monelle, Raymond (2006). The Musical Topic: Hunt, Military and Pastoral. Bloomington: Indiana University Press. Nattiez, Jean-Jacques & Dunsby, Jonathan (2000). Linguistic Models and Analysis of Musical Structures, Rivista italiana di musicologia, 35, 1/2, 379- 410. Nowak, Adolf (2015). Musikalische Logik - Prinzipien und Modelle musikalischen Denkens in ihren geschichtlichen Kontexten. Hildesheim: Georg Olms Verlag. Ratner, Leonard G. (1980). Classic Music: Expression, Form, and Style. New York: Schirmer. Ratner, Leonard G. (1991). Topical Content in Mozarts Keyboard Sonatas. Early Music 19, 615-619. Ratz, Erwin (1951). Einführung in die musikalische Formenlehre. Über Formprinzipien in den Inventionen und Fugen Johann Sebastian Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens. Wien: Österreichischer Bundesverlag Reicha, Antoine (1826). Traité d haute composition musicale. Paris: Zetter. Riemann, Hugo (1893). Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde. London: Augener. Rink, John (ur., 1995). The Practice of Performance: Studies in Musical Interpretation. Cambridge: CUP. Rink, John (2002). Analysis and (or?) perfeormance. U: Rink, J. (ur.). Musical Performance: A Guide to Understanding. Cambridge: CUP, 35-58. Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven. NY: Norton. Rosen, Charles (1988). Sonata Forms. NY: Norton. Schenker, Heinrich (1935). Der freie Satz (Neue musikalische Theorien und Phantasien III). Wien: Universal Edition. Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and its Contexts. Rochester: University of Rochester Press.

Learning outcomes:

1. knowledge of most important historical and contemporary approaches to music analysis

2. ability to distinguish between the normative-theoretical and scientific music analysis

3. detailed knowledge of scientific approaches to music analysis

4. awareness of the importance and the role of music analysis from composer's, performer's, musicologist's and listener's perspective

5. ability of autonomous application of the methods elaborated in the classroom

6. ability to develop own analytical approaches

7. ability to distinguish, classify and evaluate various performative poetics

8. awareness of the seminal source texts in the field of music analysis

9. ability of critical reading of source texts in the field of music analysis

10. ability to articulate own analytical findings in written and/or oral form

Course in study programme:
Code Name of study Level of study Semester Required/Elective
94 Music Theory integrated undergraduate and graduate 3 required
95 Musicology integrated undergraduate and graduate 3 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 3 required
123 Music Pedagogy integrated undergraduate and graduate 3 required
94 Music Theory integrated undergraduate and graduate 4 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 4 required
123 Music Pedagogy integrated undergraduate and graduate 4 required
94 Music Theory integrated undergraduate and graduate 5 required
95 Musicology integrated undergraduate and graduate 5 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 5 required
123 Music Pedagogy integrated undergraduate and graduate 5 required
94 Music Theory integrated undergraduate and graduate 6 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 6 required
123 Music Pedagogy integrated undergraduate and graduate 6 required
91 Composition integrated undergraduate and graduate 7 required
92 Applied Composition integrated undergraduate and graduate 7 required
93 Electronic Composition integrated undergraduate and graduate 7 required
94 Music Theory integrated undergraduate and graduate 7 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 7 required
123 Music Pedagogy integrated undergraduate and graduate 7 required
91 Composition integrated undergraduate and graduate 8 required
92 Applied Composition integrated undergraduate and graduate 8 required
93 Electronic Composition integrated undergraduate and graduate 8 required
94 Music Theory integrated undergraduate and graduate 8 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 8 required
123 Music Pedagogy integrated undergraduate and graduate 8 required
91 Composition integrated undergraduate and graduate 9 required
92 Applied Composition integrated undergraduate and graduate 9 required
93 Electronic Composition integrated undergraduate and graduate 9 required
94 Music Theory integrated undergraduate and graduate 9 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 9 required
100 Conducting integrated undergraduate and graduate 9 required
101 Choral Conducting integrated undergraduate and graduate 9 required
123 Music Pedagogy integrated undergraduate and graduate 9 required
91 Composition integrated undergraduate and graduate 10 required
92 Applied Composition integrated undergraduate and graduate 10 required
93 Electronic Composition integrated undergraduate and graduate 10 required
94 Music Theory integrated undergraduate and graduate 10 required
98 Musicology (Double Major) and Pedagogy integrated undergraduate and graduate 10 required
100 Conducting integrated undergraduate and graduate 10 required
101 Choral Conducting integrated undergraduate and graduate 10 required
123 Music Pedagogy integrated undergraduate and graduate 10 required

* the course is not taught in that semester

Legend

  • S - Seminar
  • L - Lecture