Methodology of Music Analysis

Muzička Akademija Sveučilišta u Zagrebu / University of Zagreb Academy of Music
The aim of this course is theoretical determination and practical examination of relationships between different historical and contemporary approaches to music analysis, observation of the repercussions of analytical procedures for speculative and performative interpretation of music and raising awareness of the role of music analysis in musicological work. The lectures, practical written and oral analytical exercises with presentations, critical readings of analytical texts and exercises in analytical listening should provide the students with necessary tools for independent theoretical and practical activity in the field.
The course is mandatory for students of musicology; music theory students can enroll the course as an elective subject
  • Knowledge of most important historical and contemporary approaches to music analysis
  • Ability to distinguish between the normative-theoretical and scientific music analysis
  • Detailed knowledge of scientific approaches to music analysis
  • Awareness of the importance and the role of music analysis from composer's, performer's, musicologist's and listener's perspective
  • Ability of autonomous application of the methods elaborated in the classroom
  • Ability to develop own analytical approaches
  • Ability to distinguish, classify and evaluate various performative poetics
  • Awareness of the seminal source texts in the field of music analysis
  • Ability of critical reading of source texts in the field of music analysis
  • Ability to articulate own analytical findings in written and/or oral form

Further information

  • assessment
    Comprehensive exam CE
  • level
  • Completed Semester
    4th semester (mandatory course) and later (elective course)
  • How many semesters does the course last?
  • hours per week
    90 minutes
  • Link of the course
  • Target group of course
    Music theory students, advanced
    Other (Musicology students)
  • credits
    5 ECTS per semester (10 ECTS total)
  • Type of Course
    Lecture, Seminar, Practice
  • Degree Level
    Bachelor, Master
  • e-learning-elements
  • Course
  • students #
    3-6 student
  • Hours per year
    Mandatory literature: 1. Eggebrecht, Hans Heinrich (1999a): O metodi glazbene analize, Muzika, 3, 4, 25-44. Eggebrecht, Hans Heinrich (1999b). Musik verstehen, Wilhelmshaven: Noetzel Verlag. (134f - preporuke za analizu glazbe) Fladt, Hartmut (2005). Satztechnische Topoi, ZGMTH, 2, 2-3, 186 - 195. Cook, Nicholas (1999). Analysing Performance and Performing Analysis, u: Cook, N.; Everist, M. (ur.): Rethinking Music, Oxford & NY: OUP, 239-261. Kerman, Joseph (1980). How We Got into Analysis, and How to Get Out. Critical Inquiry, 7, 311-331. Adorno, Theodor W. (1989): O problemu glazbene analize, Zvuk, 3, 29-40. 1 (MA) Stefanija, Leon (2008): Metode analize glazbe: Povijesno-teorijski ocrt, Zagreb: Hrvatsko muzikološko društvo. Bent, Ian D.; Pople, Anthony (2001). Analysis, Grove Music Online, Oxford Music Online, /view/10.1093/gmo/9781561592630.001.0001/ omo-9781561592630-e-0000041862. other texts used in the course Recommended literature: Agawu, Kofi V. (2009). Music as Discourse: Seminotic Adventures in Romantic Music. New York: OUP. Agawu, Kofi V. (1991). Playing with SIgns: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press. Atken, Hugh (1997). The piece as a whole. Studies of holistic musical analysis. Westport, CT: Praeger Publishers. Allanbrook, Wye J. (1993). Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni. Chicago: University of Chicago Press. Bartel, Dietrich (1997). Musica poetica: Musical-rhetorical figures in German Baroque music: Lincoln: University of Nebraska Press. Beck, Hermann (1974). Methoden der Werkanalyse in Musikgeschichte und Gegenwart. Wilhelmshaven: Heinrichhofen Verlag. Bent, Ian D. (1994). Music Analysis in the 19th Century: Volume I: Fugue, Form and Style; Volume II: Hermeneutic Approaches. Cambridge: CUP. Bergé, Pieter (ur., 2011). Musical Form, Forms & Formenlehre: Three methodological approaches. Leuven: Leuven University Press. Caplin, William (1998). Classical Form: A theory of formal functions for the instrumental music of Haydn, Mozart and Beethoven. NY & Oxford: OUP. Caplin, William (2005). On the Relation of Musical Topoi to Formal Function, Eighteenth-Century Music 2/1, 113-124. Cone, Edward T. (1968). Musical Form and Musical Performance. New York: Norton. Cook, Nicholas (2013). Beyond the Score: Music as Performance. Oxford: OUP. Danuser, Hermann (ed.) (1992): Musikalische Interpretation, Laaber: Laaber. Diergarten, Felix (2014). Musikalische Analyse: Begriffe, Geschichten, Methoden. Laaber: Laaber. Gligo, Nikša (1987). Problemi Nove glazbe 20. stoljeća: teorijske osnove i kriteriji vrednovanja. Zagreb: MIC. Grimalt, Joan (2019). Poučavanje glazbenoga značenja, Theoria 20, 11-29. Forte, Allen (1973). The Structure of Atonal Music. New Haven: Yale University Press. Hatten, Robert (2004). Interpreting Musical Gestures, Topics and Tropes. Bloomington: Indiana University Press. Hepokoski, James & Darcy, Warren (2006). Elements of Sonata Theory. Norms, Types and Deformations in the Late- Eighteenth Century. New York: OUP. Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker. New York: Schirmer Books. Kiš Žuvela, Sanja (2011). Zlatni rez i Fibonaccijev niz u glazbi 20. stoljeća. Zagreb: Hrvatsko društvo glazbenih teoretičara. Kühn, Clemens (1993). Analyse lernen. Kassel etc.: Bärenreiter. Kühn, Clemens (1998). Kompositionsgeschichte in kommentierten Beispielen. Kassel: Bärenreiter, 251-254. Leichtentritt, Hugo (1951). Musical Form. Cambridge MA: Harvard University Press. Lerdahl, Fred & Jackendoff, Ray (1983). A Generative Theory of Tonal Music. Cambridge, MA: MIT Press. Lewin, David (1987). Generalized Musical Intervals and Transformations. New Haven: Yale University Press. Ligeti, György (1958). Pierre Boulez. Entscheidung und Automatik in der Structure 1a. Die Reihe 4: Junge Komponisten, 38-63 // (1960). Pierre Boulez: Decision and Automaticism in Structure 1a, translated by Leo Black. Die Reihe [English edition] 4: Young Composers, 36-62. Marx, Adolph B. (1894). Introduction to the Interpretation of Beethoven Piano Works. Chicago: Clayton W. Summy. Mattheson, Johann (1739). Der volkommene Cappellmeister. Hamburg: Christian Herold. Mirka, Danuta (2014). The Oxford Handbook to Topic Theory. Oxford & NY: OUP. de Momigny, Jérôme-Joseph (1806). Cours complet dharmonie et de composition. Paris: de Momigny. Monelle, Raymond (2006). The Musical Topic: Hunt, Military and Pastoral. Bloomington: Indiana University Press. Nattiez, Jean-Jacques & Dunsby, Jonathan (2000). Linguistic Models and Analysis of Musical Structures, Rivista italiana di musicologia, 35, 1/2, 379- 410. Nowak, Adolf (2015). Musikalische Logik - Prinzipien und Modelle musikalischen Denkens in ihren geschichtlichen Kontexten. Hildesheim: Georg Olms Verlag. Ratner, Leonard G. (1980). Classic Music: Expression, Form, and Style. New York: Schirmer. Ratner, Leonard G. (1991). Topical Content in Mozarts Keyboard Sonatas. Early Music 19, 615-619. Ratz, Erwin (1951). Einführung in die musikalische Formenlehre. Über Formprinzipien in den Inventionen und Fugen Johann Sebastian Bachs und ihre Bedeutung für die Kompositionstechnik Beethovens. Wien: Österreichischer Bundesverlag Reicha, Antoine (1826). Traité d haute composition musicale. Paris: Zetter. Riemann, Hugo (1893). Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde. London: Augener. Rink, John (ur., 1995). The Practice of Performance: Studies in Musical Interpretation. Cambridge: CUP. Rink, John (2002). Analysis and (or?) perfeormance. U: Rink, J. (ur.). Musical Performance: A Guide to Understanding. Cambridge: CUP, 35-58. Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven. NY: Norton. Rosen, Charles (1988). Sonata Forms. NY: Norton. Schenker, Heinrich (1935). Der freie Satz (Neue musikalische Theorien und Phantasien III). Wien: Universal Edition. Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and its Contexts. Rochester: University of Rochester Press.
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Sanja Kiš Žuvela

current position

Assistant Professor


Muzička Akademija Sveučilišta u Zagrebu / University of Zagreb Academy of Music


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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