Curricular Unit: Musical
Analysis II
Code: LCM004
ECTS: 2
Cientific Area: Musical Sciences
Learning Outcomes
This curricular unit aims to provide students with the
knowledge required for the in-depth understanding of the fundamental principles
of tonal language. Students should also acquire knowledge that allows them to
identify and structurally analyze most of the formal archetypes of Baroque and
Classicism.
Upon successful completion of this curricular unit, students should:
> Be able to analyze the harmony in works from the Baroque and Classical periods;
> Be able to use the correct terminology to identify musical forms, chords, tonal functions, cadences and modulations;
> Be able to perform their own analysis of a movement in sonata form or a piece from the studied styles.
Syllabus
Second semester
> Voice-leading in four-voices harmony (continued);
> Chromatic chords, such as: secondary dominants and the German, French, Italian and Neapolitan sixths (continued);
> Formal Baroque and Classicism archetypes: sonata form (continued); variations.
Teaching Methodologies
> Each term consists of fourteen one and a half hour-long sessions. A list of repertory will be previously sent to students. Students, in each session, analyze one or two works (or parts of works): only one work when they advance in the theoretical learning of the syllabus, two works when they practice the application of these principles in the analysis of the scores.
Bibliography
Adler, Samuel (2002). The Study of Orchestration. Nova Iorque: W. W. Norton & Company
Aldwell, Edward and Schachter, Carl (2003). Harmony and Voice-Leading (3ª ed). Belmont, CA: Schirmer
Bochmann, Christopher (2003). A Linguagem Harmónica do Tonalismo. Lisboa: Juventude Musical Portuguesa
Bochmann, Christopher (2006). A Linguagem Harmónica do Tonalismo. Análises e Exercícios. Lisboa: Juventude Musical Portuguesa
Butterworth, Anna (1999). Harmony in Practice. London: Associated Board
Caplin, William (1998). Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven. Nova Iorque: Oxford University Press
Clendinning, Jane Piper and West Marvin, Elisabeth (2011). The Musician’s Guide to Theory and Analysis, 2nd ed. New York: W. W. Norton
Cook, Nicholas (1994). A Guide to Musical Analysis, 2ª ed. Oxford: Oxford University Press
Dunsby, Jonathan and Whittall, Arnold (1987). Music Analysis in Theory and Practice. London: Faber
Hepokoski, James and Darcy, Warren (2011) Elements of Sonata Theory: Norms, Types and Deformations in the Late Eighteenth-Century Sonata. Oxford: Oxford University Press
Rosen, Charles (1988). Sonata Forms. Nova Iorque: W. W. Norton & Company
Rosen, Charles (1998). The Classical Style – Haydn, Mozart Beethoven. Nova Iorque: W. W. Norton & Company
Schoenberg, Arnold (1967). Fundamentals of Musical Composition, ed. Gerald Strang and Leonard Stein. London: Faber and Faber
Teaching Staff
Emanuel Frazão