Harmony/Analysis/Solfege 2

Conservatorium van Amsterdam
Written harmony and counterpoint work; analysis of musical works from ca. 1600 to 2000.
Succeed the first year of the course (Bachelor 1)
  • Ability to analyze musical scores of moderate - advanced complexity
  • Compare analytical approaches to a single piece
  • Write harmony exercises using chromatic vocabulary
  • Write advanced counterpoint exercises in the "combined species"
  • Dictate harmonies / melodies of moderate-advanced complexity
  • Analyze form without a score
  • Sing melodies involving complex rhythms and chromaticism
  • Perform rhythm using a Karnatic-rhythmic approach

Further information

  • assessment
    Other (Portfolio of counterpoint/harmony exercises; two written analysis papers + final analysis presentation; solfege / ear-training exams)
  • level
    Beginner, Intermediate, Advanced
  • Completed Semester
    Two semesters
  • How many semesters does the course last?
  • hours per week
  • Link of the course
  • Target group of course
    Instrumentalists, beginner
    Instrumentalists, advanced
    Music theory students, beginner
    Music theory students, advanced
  • credits
  • Type of Course
    Lecture, Seminar, Practice
  • Degree Level
  • e-learning-elements
    Online video's
  • Course
  • students #
    6-15 students
  • Hours per year
    • Schachter, Carl et al. 2010. Harmony and Voice-leading, 4th edition. New York: Schirmer. HVL
    • Salzer, Felix and Carl Schachter. 1989. Counterpoint in Composition. New York: Oxford University Press. CIC
    • Reina, Rafael. 2015. Applying Karnatic Rhythmical Techniques to Western Music. Farnham: Ashgate. KRT
  • evaluation grid
  • evaluation grid
    and document


John Koslovsky


current position

Theory teacher and affiliate researcher


Conservatorium van Amsterdam



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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