Analysis of Compositional Forms

Istituto Superiore di Studi Musicali "P. Mascagni"
The course is divided into two parts: in first one several analytical methodologies are teached (segmentation, formal , thematic, semiologic, rethoric, statistic, schenkerian analysis), and in second one these tools are applied to musical forms from Renaissance to first Romantic period.
N/A
Very often this course is the first one in which students are requested to perform a music analysis. At the end of the course they should be able to segment and to retrieve main formal and structural elements, and their relations, in a piece of repertoire from Madrigals to main forms of Baroque, Classical and Romantic periods.

Further information

  • assessment
    Other (About 50% for a written analysis, and 50% for oral examination)
  • level
    Beginner, Intermediate
  • Completed Semester
    First and Second Semester
  • How many semesters does the course last?
    2
  • hours per week
    1
  • Link of the course
    https://sites.google.com/site/fdsdbmascagni/
  • Target group of course
    Instrumentalists, beginner
    Instrumentalists, advanced
  • credits
    6
  • Type of Course
    Lecture
  • Degree Level
    Bachelor
  • e-learning-elements
    N/A
  • Course
    Select
  • students #
    more than 25 students
  • Hours per year
    60
  • BIBLIOGRAPHY
    • Fabio Cifariello Ciardi, Appunti per un modello generale di segmentazione melodica, in «Rivista di Analisi e Teoria Musicale», Anno 2002/1, pp. 75-112 (38 pp.)
    • Ian Bent, Analisi Musicale, Torino, EDT 1991: pp. 100-111 (12 pp.); pp. 120-122 (3 pp.); pp. 145-157 (13 pp.); pp. 215-249 (35 pp.) → tot. 63 pp.
    • William Drabkin, Susanna Pasticci, Egidio Pozzi, Analisi schenkeriana, Lucca, LIM 1995: pp. 25-71 (47 pp.)
    • Arnold Schoenberg, Elementi di composizione musicale, Milano, Suvini Zerboni 1969
    • Giulio Bas, Trattato di forma musicale, Milano, Ricordi 1978
    • Riccardo Nielsen, Le forme musicali, Bologna, Bongiovanni, 1961
    • Charles Rosen, Le forme sonata, Milano, Feltrinelli 1986
    • William Caplin, Classical Form, New York, Oxford University, Press 1998
  • ONLINE CATALOGUE
    WITH CONTENTS
  • evaluation grid
  • evaluation grid
    and document

Teacher(s)

Fabio De Sanctis De Benedictis

Contact
current position

Professor of Music Analysis and of Fundamentals of Composition

Institution

Istituto Superiore di Studi Musicali "P. Mascagni"

ITALY
LIVORNO

https://www.consli.it

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).

Submit a course Submit a book

Our partners

©| 2024