Blokboek Jaar 1 Semester 2 ENG

7/25/2019 Blokboek Jaar 1 Semester 2 ENG

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Conservatory of Maastricht

Course Book Analysis year 1 semester 2

Maastricht Academy of Music

Music Programme, Classical

Music Theory, AnalysisCourse Book Unit Ib

First year of study, semester 2

Academic year 2!"#2!$

%ersion& Feb' 2!"

()er)ie* of themes in the core curriculum

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The curriculum is subdivided into units of subject matter that will be discussed(simultaneously) in Analysis ( AN) and Harmony ( HRM).In total, there are 6 units of 17 wees each, s!read over three years of study . "ithinthis subdivision, the subjects fall into two cate#ories$ %ate#ory A, subjects concernin#form and structure and cate#ory &, subjects addressin# the musical material'

Year 1I' +eneral introductoryA. Important concepts in thematic analysis and sentence structure.

Various forms, such as ornamental variation, harmonic variation, ‘ostinato’variation and others.

B. Introduction to scales and series: pentatonics, hexatonics, diatonics.iscusses !asic techni"ues from traditional harmonic theory: connections oftriads in root position and #rst inversion as $ell as distin%uishin% and applyin%‘&rnamentations’: suspensions and retardations, passin% notes, auxiliary notesand anticipation.

II' -.e/uential0 forms diatonics 12A. 'orms !ased on se"uential succession (movements are simply placed after one

another, either additional or contrastin%, $ithout a ‘development’). Importantforms are: rondo, minuet, scher*o, ‘ada%io forms’, am!i%uous forms, suite, son%forms (!inary+ternary) and derivations of these.

B. ‘Basic techni"ues’ from traditional harmonic theory are developed further:‘contrapuntal’ chords, modal mixture (e.%. !orro$in% from the minor), !asicsecondary dominants and modulations.

Year III' .onata chromatics 1!A. -hematic dialectics in the ‘sonata form’ principles ‘locer ’ and ‘fest /inear

analysis.B. /eadin% notes alterations chromatic and enharmonic modulations chainstructures.

I% Fugue3 e4tension of tonality chromaticism 12A. 'u%al formsB. iscusses ho$ the techni"ues a!ove (chromaticism) lead to:

1) 'loatin% tonality (culmination$ abundance of leadin# notes, modulations)) 0onfunctional connections (reaction$ *ettin# rid of the #lue, avoidin#leadin# notes, dealin# with sevenths freely, etc')2) ‘3r$eiterte’ tonality (alternative$ e+tendin#, stretchin# the tonality')

Year 2%' T*entieth century techni/ues& 1di)ided into 5 lines of de)elo6mentA. -he structural role of the four parameters aleatoric music determinacy versus

indeterminacy ‘open’ forms variation as a motive, style as a motive etc.B. Alternative series, ‘tropes’, serial techni"ues 4essiaen series system of axes

!itonality octatonics cluster techni"ues, etc.

%I Analysis and 7esearch skills in T*entieth Century com6ositiontechni/ues

Individual pro5ect. 6esearch into and analysis of a composition of the t$entieth7entury, $hich results in a paper and a presentation containin% live played

musical fra%ments.

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Content

!' .tudy /uestions and research for Analysis''''''''''''''''''''''''''''''''''''8

2' 9ist of o6tions for 6resentations&''''''''''''''''''''''''''''''''''''''''''''''''28

5' Practice test''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''2"

8' Methodical structure'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''2$

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!' .tudy /uestions and research for Analysis'

Please note: The examples mentioned in the questions have only

been added partially. I you !annot "nd an example# you $ill have to

loo% it up in the library.

9esson ! 9ecture

Introduction .e/uential Forms

!ace for notes$

!' The *ord se/uential means:'

2' ;4am6les of se/uential forms are& .uite, Menuet, .cher<o, Ternaryform, 7ondo, aleatoric (6en structures'

5' =istorical Introduction on Menuet and .cher<o

8' Pre6are lesson 2

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9esson 2

8tructure: Minuet

-+am!les$

9. aydn (1;21<=>): ?iano sonata o! @VI: 2, 4enuetto

4. 6avel (1<;1>2): /e tom!eau de 7ouperin, 4enuet

!' 'irst looC at and listen to the example !y aydn. ivide the music inphrases and use letter names. o you reco%nise the classical structure of the

4enuetD

2' 0o$ looC at the example of 6avel. etermine the form of the piece usin% astructural dia%ram.A structural dia%ram consists of a division into sentences and a name inletters. ;46lain the names of the sentences !rieEy, indicatin% the mutualrelationships.

5' Is a !roader division possi!leD If so, indicate this in the structural dia%ram.Also name this division $ith letters.

8' Fhat is special a!out 6avel’s 4inuet, comparin% to the form of the classicalminuetD

4aterial: 7e6etition of 6assing notes, neighbour notes, sus6ensions

and antici6ations > u66er and lo*er au4iliary notes

-+am!le$

9.8. Bach (1G<1;=): 7horal no. G1 ‘cha.s mit mir

"' 0um!er the chords and name all melodi*ations in bar !#?.

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9esson 5

8tructure: .cher<o

3xamples:

/. van Beethoven (1;;=1<;): Vioolsonate nr. op. 'rHhlin% (1<=1),8cher*o

!' etermine the form of the piece usin% a structural dia%ram.A structural dia%ram consists of a division into sentences and a name inletters. ;46lain the names of the sentences !rieEy, indicatin% the mutual

relationships.


5' o you reco%nise the classical structure and character of the 8cher*oD3xplain.

4aterial: Modulations 1diatonic and chromatic

-+am!le$

9.8. Bach (1G<1;=): 7horal no. G; ‘o #iebst du nun

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8' Analyse the harmonies in the example and name all ornamentations(passin% note, nei%h!our note, suspension, anticipation) in bar !#@.

"' Indicate the places $here modulations occur. o$ do modulations comea!outD

Bars !#!" are for self#study'

$' /ooC for the chords shared !y the Ceys 3 Eat ma5or and ' ma5or, and !y theCeys c sharp minor and e minor. (-hese are possi!le pivot chords)

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9esson 8

8tructure: ameless com6ound forms

3xamples:

?. indemith (1<>1>G2): 0ine 3n%lish 8on%s, &n hearin% ‘-he last6ose of the 8ummer’ (1>).

!' etermine the form of the piece usin% a structural dia%ram. ;46lain thenames of the sentences !rieEy, indicatin% the mutual relationships.


5' Is there a themeD In $hich !ars can you #nd the themeD escri!e its form.

4aterial: Introduction to .econdary ominants

-+am!le$

8' -he secondary dominants are marCed in the example (-). etermine atleast t$o characteristics of secondary dominants.

"' In the example, num!er the harmonies and name all ornamentations.

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9esson "

8tructure: 7ondo forms

-+am!le$

9.8. Bach (1G<1;=): Violin concerto BFV 1= in 3 ma5or, alle%ro assai

!' etermine the main form of the piece (refrains and couplets).

2' escri!e the form of the refrain.

5' etermine the Cey of each couplet.

8' If possi!le, maCe a #ner division of the rondo indicate the sentencestructure and letter names. ;46lain the names of the sentences !rieEy,indicatin% the mutual relationships.

"' /ooC for information a!out rondo forms. 0o$ %ive the 6ondo in the examplea more speci#c name.

4aterial: Continuation of .econdary ominants

-+am!le$

'. ramJrrommer (1;>1<21): 7larinet concerto in 3 Eat ma5or, Alle%ro

$' 0um!er the de%rees and inversions in the example. 1In bar $, read g at,

not f shar6D

E' /ooC at the secondary dominants $hich chords have !een used assecondary dominantsD

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9esson $

8tructure: 7ondo forms

-+am!le$

/. van Beethoven (1;;=1<;): 8onata &p. ; in 3 Eat ma5or, 6ondo

!' etermine the main form of the piece.

2' Fhat is the main Cey of each partD

5' Kive this 6ondo a more speci#c name. 3xplain.


"' 4aCe a #ner division of the rondo indicate the sentence structure and letternames. ;46lain the names of the sentences !rieEy, indicatin% the mutualrelationships.

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9es E

8tructuur: 7ondo forms

-+am!le$

F.A. 4o*art (1;G1;>1): 3ntfHhrun% aus dem 8erail, ‘a, $ie $ill ichtriumphieren’

Act 2 nr. 1>

!' etermine the main form of the piece.

2' Fhat is the main Cey of each partD

5' Kive this 6ondo a more speci#c name. 3xplain.


"' 4aCe a #ner division of the rondo indicate the sentence structure and letternames. ;46lain the names of the sentences !rieEy, indicatin% the mutualrelationships.

4aterial: Modulation nd .econdary ominants

/oorbeeld$

/. van Beethoven (1;;=1<;): ‘Ich lie!e dich’ Fo& 12

.ee ne4t 6age for the scoreD

$' Frite !ar num!ers.

E' Analyse the harmony from !ar 1=.

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9es ?

8tructuur: Ternary Form

/oorbeeld$

3. Krie% (1<21>=;): /yrische 8tHcCe 0arch of the warfs op. nr. 2

!' ivide the music in phrases and use letter names.

2' 4aCe a !roader division and also use letter names.

5' Fhat are the main tonalities per sectionD

8' Frite the harmonies in !ar ;1;<.

"' Indicate the most important motives in this composition.

$' o$ does the composer create contrasts !et$een the A section and the Bsection of this compositionD

4aterial: Modulation nd .econdary ominants

/oorbeeld$

/. van Beethoven: ‘Ich lie!e dich’ Fo& 12

E' Analyse the harmony from !ar 1=.

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9es @

8tructuur: Ternary Form

/oorbeeld$

V. Bellini (1<=11<2): 'rom opera 0orma ‘7asta iva’

!' ivide the music in phrases and use letter names.

2' 4aCe a !roader division and also use letter names.

5' Fhat are the main tonalities per sectionD

8' Indicate the most important motives in this composition.

"' o$ does the composer create contrasts !et$een the A section and the Bsection of this compositionD $' Analyse the harmony of !ar 2>.

4ateriaal: Moll ur

/oorbeeld$

7. 6einecCe (1<1>1=): Ballade voor Euit en orCest + piano

E' Analyse the harmony in !oth the fra%ments !elo$.

!' 1in A at maGor

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2'

9esson !

8tructure: %ariable and (6en structures

-+am!le$

'. 3van%elisti (1>G1><=): Aleatorio !er 2uartetto darchi (tracC >, 1=)

K. Fhitehead: VI

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!' 6ead + 3xplain the le%ends as much as possi!le.

2' Fhat is decisive for the formD

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5' Fhile listenin% to the t$o diLerent versions of 3van%elisti, determine $hatis played in M.

4aterial: ea6olitan =armony

-+am!le$

/. van Beethoven (1;;=1<;): 0ondscheinsonate &p. ; no.

/isten to the example.

8' Analy*e the harmonies and name the ornamentations in: bar !#"

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9esson !!

4aterial: .ummary

-+am!le$

-. Al!inoni (1G;11;1): Ada#io (8ee next pa%eN)

!' Analyse the harmonies and name the melodical ornaments up to the!racCet.

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9esson !!, !2, !5 and !8

Presentations'

3ach student $ill present his or her o$n piece in 1= minutes. 7hoose a piece from the list or maCe your o$n su%%estion $ith the teacher.

4aCe enou%h copies, so that everyone can follo$ your presentation. -hinC of bar numbers and short notes, perhaps in color.

Pur6ose of this analysis is to get more insight in larger forms' 1Fore4am6le& a 6iano 6iece needs to ha)e 8#" 6ages minimum

Analy*e the lar%e form and the small form (phrases) $ith a schedule andletter names.

'ind the tonalities and sho$ their relations: e.%. 3 ma5or to c sharp minormeans that the piece modulates from the tonic to the parallel.

Analy*e the most important -heme(s). iscuss phrasin% structure, possi!le?eriods or evelopment structures, the character and the most importantmotives. 0um!er all the harmonies in the -heme. ?lay them all !y heart on the piano. It is not allo$ed to !rin% the score orsheet paper to the piano, only the de%rees may serve as memory support.

7ompare the !i% sections to each other descri!e contrasts or similarities. ?ay special attention to the development of motives. Inte%rate them inexplanation of the letter names.

# To illustrate your analysis, you *ill 6lay 6arts of the 6iece yourself oruse a recording'

9es !"

Pre#test

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2' 9ist of o6tions for 6resentations&

(6tional Com6ositions for 6resentations7.F. von KlucC: &rfeo O 3uridice: 7he faro sen*a 3uridici

K. Pndel: 4essiah: 6e5oice %reatly, ‘& dau%hter of Qion’

F.A. 4o*art: 8onate voor piano in ' %root V 22, Ada%io/iederen, !v An 7hloR, A!endemp#ndun%6ondo in V Anh. 1< voor Euit en pianoIdomeneo: ‘0ettuno s’onari’0o**e di 'i%aro: 0on piu andrai

A. /ort*in%: er FaLenschmied: ‘4an $ird 5a einmal nur %e!oren’

9. aydn: 9ahres*eiten 7hor des /andvolCs

8onate o! @VI:> in 3s %root Ada%io?ianotrio o!. @V: ‘Kypsy’ eel 2/o spe*iale: Act 7olla presente scrittura privata

7. 6einecCe: Sndine, Interme**o Alle%retto vivace

/. van Beethoven: 8onate voor piano op. nr. 6ondo8onate voor piano op. ; deel 2 Alle%ro8onate voor piano op. 21 nr. 2 8cher*o8onate voor piano op. >= deel 0icht *u %esch$ind8onate nr. voor viool in ' %root op. ‘'rHhlin%’, 6ondo

6ondo voor piano in 7 %root op. nr. 16ondo voor piano in K %root op. nr. Kassenhauertrio voor pn, vl+Cl en vc op. 11 nr. : Ada%io

K. 6ossini: /’Italiana in Al%eri: ‘/an%uir per una !ella’ Act 1 nr.

6. 8chumann: 8ymfonie nr. 1, 8cher*o (pianouitreCsel)Ada%io en Alle%ro voor hoorn (of cello of viola) en piano

A. voraC: 8ymfonie nr. > 8cher*o'. ?oulenc: 8onate voor 'luit, 7antilene'. 7hopin: 8cher*o nr. 1 in !, nr. in !es

3. Krie%: /yrische 8tHcCe: "eddin# at Troldhau#en ,op. G nr. G,/anished ays op. ; nr. 1

. 3isler: /iederen

. 8chostaCovitsch: 7ellosonate op. = deel 8cher*o

B. ummel: 8onatine fHr -rompete, deel 1 Be$e%t8onatine fHr Violine, 'inale

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5' Practice test'

0ame: TTTTTTTTTTTTTTTTTTTTTTTTTTTT

/ecturer -A: TTTTTTTTTTTTTTTTTTTTTTTT

9' )an Beetho)en& .onate o6' @ deel 2 icht <u gesch*ind

!' etermine the main form of the piece. Sse letter names and motivate yourans$er.

. Indicate the tonalities of the main parts in the score.

2. 0o$ divide the music into phrases and descri!e the phrasin% structureprecisely.

. If possi!le, %ive the name of this form.

. Analyse the harmony form !ar 11G.

G. Indicate the main motive in each main section.

;. 0um!er the harmonies of the cadence in !ar 1;;1<= and mention the

name of the cadence.

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8' Methodical structure

• Unit obGecti)es for Analysis

Analysis 1AIn the third unit, structural analysis deals $ith the se"uential forms, such asthe minuet, scher*o, rondo, ternary form and various nameless forms. urin%material analysis, diatonics $ill !e discussed a%ain, this time focusin% onmodulation and secondary dominants.

;)aluations and Tests

Analysis 1A3valuation of this su!5ect contains t$o elements:

Presentation &$ee% '( tm '* o +,'-) -his is an analysis of a chosen composition, $hich $ill !e presented forthe class usin% live played musical fra%ments. -he presentation lastsmax. = min. -he analysis contains elements that have !een discussedin the lessons and the teacher $ill %rade it $ith a num!er !et$een 1 and1=. -he $ei%ht of this %rade is 1.

ritten Test &$ee% +': Tuesday +( May +,'- rom '-.,, til '/.,,h)

At the end of the semester there $ill !e a $ritten test a!out the topics of this course unit. -he student must sho$ his a!ility to analyse a %ivencomposition and he needs to use the proper terminolo%y $ritin% hisans$ers. -he teacher $ill %rade the test $ith a num!er !et$een 1 and1=. -he $ei%ht of this %rade is .

Hno*ledge and skills *e *ill ha)e mastered after

this unitD

(nly the e4tension of kno*ledge and skills after the rstunit is described here'

• Bein% a!le to name scales and simple harmonies from literature. U-riads,seventh chords in all inversions, secondary dominants and diatonicmodulations $ith pivot chords

• 6eco%nisin% and analysin% 8e"uential forms $ith the use of formschemes. U4inuet, 8cher*o, -ernary 'orm, 6ondo nameless forms.

Blokboek Jaar 1 Semester 2 ENG

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