Music analysis (602)

Conservatoire royal de Bruxelles
  • Deepening of the study of the tonal grammar and of the forms in more complex works;
  • Analysis of more elaborate works, possibly made of more than one movement, from the baroque, classical and/or romantic period;
  • Deepened study of the classics of the first half of the 20th century;
  • “Lied” Forms;
  • Classical structure in its whole;
  • The different sorts of Lieder;
  • The cyclic form in F. Schubert’s works;
  • The ancient modes;
  • The Passacaglia;
  • Béla Bartok, writing principles developed by Erno Lendvai;
  • The neo-classical period of Igor Stravinsky;
  • Study Methods:
  • Listening analyzes, theoretical presentations and perspectives illustrated by specific analyzes of major works (* 2,6,4);
  • Analysis works by individual or collective thinkings aimed to develop the interpersonal skills needed in workshops (*2,3,5).
* In reference to the “Cadre de Compétences Musique”
Successfully complete the first level of this course (Music analysis 601).
  • Stimulate the student’s artistic intellect through a better understanding of the Music, regardless of the period, the style, the form and the genre, which would allow them to analyse a piece in a way that would help them perform better (*2,3,6);
  • Give the student as many analytical tools as possible which will be essential throughout their learning experience. This will help them acquire the autonomy needed for a personal way of analysing music matching their needs (*1,3,6);
  • Develop an active listening of musical works (*2,3);
  • Create an interdisciplinary connection between the different courses of the student’s first year of the first cycle. This would help expand the student’s interests in other musical fields, in perfect synergy with the artistic and pedagogical project of the Conservatoire (*4,5,6);
  • Analyse and pertinently interpret data in order to come up with artistical propositions, and to express critical judgement which contains insights on social, artistical and aesthetic matters (*2,3,4,6).
* In references to the “Cadre de Compétences Musique”

Further information

  • assessment
    Exam with grade E
  • level
  • Completed 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
    No E-Learning
  • Course
  • students #
    more than 25 students
  • Hours per year
    Non-exhaustive list of analysed works:
    L. van Beethoven, Sonate pour piano op. 7
    L. van Beethoven, Quatuor à cordes en Sib Majeur op. 18/6
    L. van Beethoven, Sonate pour piano op. 13 « Pathétique
    L. van Beethoven, Quatuor à cordes en Mib Majeur op. 74 (« Harpe »)
    L. van Beethoven, Sonate pour piano op. 10 n° 1
    W. A. Mozart, Quatuor à clavier en Sol mineur K.V. 478
    W. A. Mozart, Quintette avec clarinette en La Majeur, K.V. 581
    L. van Beethoven, Symphonie n° 8 op. 93
    F. Schubert, some Lieder
    G. Mahler, Kindertotenlieder
    F. Schubert, Fantaisie en Ut Majeur pour piano (« Wanderer fantasie »), D. 760
    C. Debussy, Nocturnes pour orchestre
    J. S. Bach, Messe en Si mineur BWV 232
    D. Shostakovich, Concerto pour violon n° 1 en La mineur, op. 77
    H. I. F. von Biber, Passacaille en Sol mineur pour violon solo
    B. Bartok, Musique pour instruments à cordes, percussions et célesta
    B. Bartok, Sonate pour deux pianos et percussions
    I. Stravinsky, Concerto en Ré pour violon et orchestre
    A. Schnittke, Concerto grosso n° 1 pour 2 violons, clavecin, piano préparé et orchestre à cordes
  • evaluation grid
  • evaluation grid
    and document


Edwin Clapuyt

current position

Professor, full-time faculty


Conservatoire royal de Bruxelles


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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