Music Theory 2A S

Lectures consist of analysis of musical works, covering:
• analysing and refreshing the definitions of concepts and methods of form and harmony analysis;
• analysing the connections and co-dependence of musical components and formal structure;
• learning about different compositional approaches and styles in 17th, 18th and 19th Century music.
• following the development of the instruments and principles of instrumentation in the period before 1900;
• acquiring and furthering the knowledge of the main form related topics:
o suite;
o theme and variations;
o rondo;
o sonata form.

Seminary is divided in two sections:
1. Ear training. Main topics are:
• Rhythm and metre, simple rhythms.
• Pitches (major in minor scales, leading-tone, intervals in a melodic and harmonic context, lower voice, chromatic scale, sequences, pentatonic scale, other scale types).
• Textures with multiple voices (types of textures, cadences, modulations).
• Recognising style characteristic, forms and other musical parameters in works from various periods by ear.

2. Compositional features of the sonata movement of the Classical period and Schubert's piano sonatas. Emphasis is placed on music analysis. The content includes:

Harmony between 1770 and 1810 (Haydn, Mozart, Beethoven)
• The form generating role of harmonic progressions
• Modulation
• Modulation in the second theme
• Modulation withing the development section
• Altered chords
• The harmony of slow introduction sections

Harmony metween 1800 and 1828 (Beethoven, Schubert)
• Triads related by the interval of a third
• Leadingtone relationships

Musical analysis of selected examples of a sonata movement (Mozart, Beethoven, Schubert)
• Learning about the compositional principles of the sonata movement
• Learning about the individual compositional solutions from selected composers

Tutorial – counterpoint and theory of early music:
• Two-part counterpoint: melody, counterpoint exercises in all of the species, two-part counterpoint in mixed values, two-part canon.
• Ancient music theory: ancient music theory and philosophy, system in ancient music theory, division of monochord, Harmonicists and Aristoxenous – approaching musical practice, Greek theorists of imperial era, basic characteristics of ancient melodies.

L. Vrhunc, Glasbeni stavek: Oblikoslovje, Ljubljana 2009, 22010, 32011, 42016. COBISS.SI-ID – 286379008

D. de la Motte, Nauk o harmoniji, Ljubljana 2003. COBISS.SI-ID – 124977152

D. Despić, Harmonska analiza, Beograd 1970. COBISS.SI-ID - 1925890

D. de la Motte, Musikalische Analyse. Kassel 1968. COBISS.SI-ID – 13608960

C. Kühn, Analyse lernen. Kassel 1994. COBISS.SI-ID – 71923968

C. Rosen, The classical style, London 1971. COBISS.SI-ID - 16378210

C. Rosen, Beethoven’s piano sonatas: a short companion, London 2002. COBISS.SI-ID - 43035490

R. Schlottere-Trainer, Musik und musikalischer Satz. Regensburg 1991. COBISS.SI-ID – 17737058

C. Abromont, Petit précis du Commentaire d’écoute, Paris 2010. COBISS.SI-ID - 46942306

J. Osredkar, Kontrapunkt, Ljubljana 2016. COBISS.SI-ID - 299313

P. Schubert, Modal Counterpoint, Renaissance Style, Oxford, 2008.

T. Christensen (ur.), The Cambridge History of Western Music Theory, Cambridge 2002. COBISS.SI-ID - 34445922

T. J. Mathiesen, Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages, Lincoln 1999.

A. Barker, Greek Musical Writings II: Harmonic and Acoustic Theory, Cambridge 1989. COBISS.SI-ID - 1004122