Theorie, Analyse und Praxis kompositorischer Techniken

University of Music and Performing Arts Graz
As an introduction to the extensive field of music theory, in the first semester we deal with three basic repertoires from different analytical perspectives: 1. Arcangelo Corelli: Trio Sonatas op. 1-4, Grave movements Using analytical and practical piano exercises, we will work out the style of Corelli's trio sonatas. A Grave movement in the style of Corelli must be composed and/or performed on the piano by the end of the semester. 2. Johann Sebastian Bach: The Well-Tempered Clavier, Volume 1 Based on a basso continuo and model reduction of the musical text, brief analyses of a "double work" (prelude and fugue) from Bach's Well-Tempered Clavier, Volume 1, should be developed, whereby the targeted use of secondary literature should also be practiced. The analyses must be presented in the seminar and worked out as a short written version (at least 5 pages of text) with musical examples, footnotes and bibliography. 3. Ludwig van Beethoven, Form Analysis of Selected Piano Sonatas The first movement of an early Beethoven piano sonata (op. 2.2; op. 2.3; op. 7; op. 10.1; op. 10.2; op. 10.3; op. 14.1; op. 14.2) is to be analyzed motivically, thematically and harmonically and described using appropriate terms from current theories of form (Diergarten & Neuwirth, Caplin, Hepokoski & Darcy). The basis should be a simple tabular representation of the formal process and an annotated score. No text needs to be worked out.
course for first semester in BA program; no input requirements
The students have basic knowledge of compositional techniques (baroque and classical style) in theory, analysis and practice. Mastery of different analysis techniques, independent reflection and discussion of the relevant primary and secondary literature enable the students to work on music-theoretical works, composition studies, stylistic exercises and independent compositions.

Further information

  • assessment
    Semester grade S
  • level
  • Completed Semester
    must be completed in the first semester BA Music Theory Major
  • How many semesters does the course last?
    2 (second semester has a different topic area)
  • hours per week
    90 mins per week
  • Link of the course
  • Target group of course
    Music theory students, beginner
  • credits
  • Type of Course
  • Degree Level
  • e-learning-elements
    Dropbox repository with scores, audio, and literature
  • Course
  • students #
    3-6 student
  • Hours per year
    21 hours (à 60 mins)
    Corelli Berardi, Angelo (1687), Documenti armonici, Bologna. Berardi, Angelo (1689), Miscellanea musicali, Bologna. Bononcini, Giovanni Maria (1673), Musico prattico, Bologna. Gasparini, Francesco (1708), L’armonico pratico al cimbalo, Bologna. Penna, Lorenzo (1684), Li primi albori musicali, Bologna. Allsop, Peter (1992), The Italian ›Trio‹ Sonata. From its Origins until Corelli, Oxford: Clarendon Press. Allsop, Peter (2009), Arcangelo Corelli und seine Zeit, Laaber: Laaber. Edler, Florian (2006), Der Dur‐Moll‐Kontrast in der italienischen Triosonate, in: ZGMTH 3/3, 307–326; Marx, Hans Joachim (2000), Corelli, Arcangelo, in: MGG2, Personenteil, Bd. 3, Kassel/Stuttgart, 1573–1598. Menke, Johannes (2006), Kontrapunkt im 17. Jahrhundert – ein Lehrgang, ZGMTH 3/3 (2006), 341–353; Menke, Johannes (2011), Die Familie der cadenza doppia, in: ZGMTH 8/3 (2011), 389–405; Menke, Johannes (2014), The Skill of Musick. Handleitungen zum Komponieren in der Historischen Satzlehre an der Schola Cantorum Basiliensis, in: Basler Jahrbuch für historische Musikpraxis 2010, Winterthur, 149–167. Olivieri, Guido/Vanscheeuwijck, Marc (2015, Hrsg.), Arcomelo 2013: Studi nel terzo centenario della morte di Arcangelo Corelli (1653–1713), Lucca: LIM. Pavanello, Agnese (2015, Hrsg.): Corelli als Modell. Studien zum 300. Todestag von Arcangelo Corelli (1653–1713) (Basler Jahrbuch für Historische Musikpraxis 37), Winterthur: Amadeus. Bach Arnecke, Jörn (2010): Dispositio, Elaboratio und Decoratio – Aspekte des Fugenthemas bei Johann Sebastian Bach. ZGMTH 7/2, 165–178. Deppert, Heinrich: Grundsätze zum Studium der Kompositionstechnik in den Fugen von Johann Sebastian Bach. 1. Teil, in: ZGMTH 5/2–3 (2008), 287–312; Dreyfus, Laurence: Bach and the Patterns of Invention. Cambridge, Mass. [u.a.] : Harvard University Press 1996. Dürr, Alfred, Johann Sebastian Bach, Das Wohltemperierte Klavier. Kassel: Bärenreiter 1998, 62020. Ledbetter, David: Bach’s Well‐tempered Clavier. The 48 Preludes and Fugues, New Haven 2002. Keller, Hermann: Das Wohltemperierte Klavier von Johann Sebastian Bach. Werk und Wiedergabe [1961], München: dtv 1987. Neidhöfer, Christoph /Schubert, Peter: Baroque Counterpoint, Upper Saddle River, NJ: Pearson Prentice Hall 2006. Rampe, Siegbert (Hrsg.): Bach. Das Wohltemperierte Klavier I – Tradition, Entstehung, Funktion, Analyse. Ulrich Siegele zum 70. Geburtstag, München: Katzbichler 2002. Rampe, Siegbert: Bach‐Handbuch, Bd. 4. Bachs Klavier‐ und Orgelwerke, Laaber: Laaber 2007. Siegele, Ulrich: Johann Sebastian Bach komponiert Zeit. Tempo und Dauer in seiner Musik, Bd. 3: Wohltemperiertes Klavier I und II, Hamburg 2017. Beethoven Caplin, William E.: Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, New York: Oxford University Press 1998. Diergarten, Felix/Markus Neuwirth, Formenlehre, Laaber 2018. Hepokoski, James/Darcy, Warren: Elements of Sonata Theory. Norms, Types, and Deformations in the Late Eighteenth‐ Century Sonata, Oxford/New York: Oxford University Press 2006. Ratz, Erwin: Einführung in die musikalische Formenlehre, Wien: Universal Edition 31973. Rosen, Charles: Der klassische Stil [1971], Kassel: Bärenreiter 1983.
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Christian Utz

current position

University Professor


University of Music and Performing Arts Graz


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.

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