Analysis of Compositional Forms

Conservatorio of Music "G. Verdi"
The course puts together two previous subjects, “Teorie e tecniche dell’armonia” (Theory and Techniques of Harmony) and “Analisi delle Forme Compositive” (Analysis of Compositional Forms) and is structured around three sections, for a total of 52 hours of lessons.
  • A) The first part deals with music of Classic Age with an introduction to prolongation and elaboration techniques according to schenkerian perspectives with simple exercises of harmonic reduction. At the same time we study the Sonata Form essentially according to W. Caplin’s theory.
  • B) The 2nd part deals with aspects of the so called “Second Practice” of Tonality (Kinderman & Krebs) on Nineteenth-century Music (Schubert, Chopin, Liszt, etc.) with an introduction to the neo-Riemannian theory and its analytical techniques;
  • C) The 3rd parts is a brief introduction to Post-Tonal theory and Set Theory, with easy analytical examples on Music by Bartok, Webern, etc.
  • Awareness of linear approaches to tonal music and about prolongation practice in linking chords;
  • Discovery of new relationships and new analytical objects in Romantic and Late Romantic Music;
  • Linking between the so called “Second Practice of Tonality” and some Twentieth-Century theoretical devices (Set- Theory)

Further information

  • assessment
    Other (Written test with questions about the subjects of the course. The student passes the test if has reached 18 points on a total of 30.)
  • level
  • Completed Semester
    First and Second Semester
  • How many semesters does the course last?
  • hours per week
  • Link of the course
  • Target group of course
    Instrumentalists, beginner
    Music theory students, beginner
  • credits
  • Type of Course
  • Degree Level
  • e-learning-elements
  • Course
  • students #
    6-15 students
  • Hours per year
    • Some sections from “Drabkin-Pasticci-Pozzi, Analisi Schenkeriana”, LIM, 1995 and Tom Pankhurst, Schenker Guide, Routledge 2008;
    • Antonio Grande, Lezioni sulla Forma Sonata, UniversItalia, 2015
    • Mason Laura Felicity, Essential Neo-Riemannian Theory for Today’s Musician, University of Tennessee, 2013
    • Grande Antonio, Introduzione alla Teoria Neo-Riemanniana, Dispensa ad uso degli Studenti, Conservatorio di Como, 2016
    • Cohn Richard, Introduction to Neo-Riemannian Theory: A survey and Historical Perspective, Journal of Music Theory, 42-2, 1998
  • evaluation grid
  • evaluation grid
    and document


Antonio Grande

current position

Professor of Music Analysis


Conservatorio of Music "G. Verdi"

Be a part of our european project !

This European project (KA 203 Strategic Partnership) created by Salvatore Gioveni promotes cross-border collaboration in the field of Music Theory through sharing knowledge and transferring pedagogical innovation. It thus responds to a lack of centralised source and framework to deepen reflection by means of cross-disciplinary study at European and international level.

There is a significant wealth of educational practices from one country to another in this sector, especially in terms of harmonic musical notation and analysis. However, HMEI's are facing the nonexistence of a European network for pedagogical staff in Music Theory so far. To improve the situation, the project will among other things develop several intellectual outputs such as Online Platform (IO 1), an EU Bibliography (IO 2), a Repository Courses (IO 3), a Multilingual Glossary (IO 4) and an Exchange Online Learning Platform.

Besides the Conservatoire royal de Bruxelles as leader and manager of the project, the following partner institutions are involved: Music Academy S. Moniuszki Gdańsk (Gdańsk, Poland), F. Liszt Academy of Music Budapest (Budapest, Hungary), Estonian Academy for Music and Theatre (Tallinn, Estonia), HfMTh "Felix Mendelssohn Bartholdy" (Leipzig, Germany).

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