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

Beginner
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

https://online.kug.ac.at/KUGonline/ee/ui/ca2/app/desktop/#/slc.tm.cp/student/courses/1101937?$ctx=design=ca;lang=de&$scrollTo=toc_overview
Target group of course

Music theory students, beginner
credits

8
Type of Course

Seminar
Degree Level

Bachelor
e-learning-elements

Dropbox repository with scores, audio, and literature
Course

Mandatory
students #

3-6 student
Hours per year

21 hours (à 60 mins)
BIBLIOGRAPHY

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; http://www.gmth.de/zeitschrift/artikel/237.aspx 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; http://www.gmth.de/zeitschrift/artikel/239.aspx Menke, Johannes (2011), Die Familie der cadenza doppia, in: ZGMTH 8/3 (2011), 389–405; http://www.gmth.de/zeitschrift/artikel/654.aspx 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. https://doi.org/10.31751/535 Deppert, Heinrich: Grundsätze zum Studium der Kompositionstechnik in den Fugen von Johann Sebastian Bach. 1. Teil, in: ZGMTH 5/2–3 (2008), 287–312; http://www.gmth.de/zeitschrift/artikel/304.aspx 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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