Music Analysis 3 (MUSI10089)
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This course requires musical literacy, a basic understanding of 18th-20th Century Western art music, and some familiarity with basic analytical terms. **Spaces on Music courses are limited in 2022/23, and so enrolment cannot be guaranteed for any visiting student**
This course provides an advanced course of study in the analysis of Western art music through a series of workshop/seminars, leading to a portfolio submission of an Analytical Study on a work (or works) of the student's choice. The course forms a continuation from the late 18th-century focus of the pre-Honours Music Analysis 1/2. The repertoire covered in seminars will be predominantly from the 19th and 20th centuries, and showcase a variety of important compositional techniques and analytical methods that will equip students with the skills to undertake their own analysis of other music.
The course forms a continuation from the late 18th-century focus of the pre-Honours Analysis 1/2. The repertoire covered in seminars will be predominantly from the 19th and 20th centuries, but may extend from approximately the 17th century to the present day depending on participants' wishes in later stages of the course. The choice of music for the portfolio submission will be decided in consultation and with the advice of the course organiser, and may come from a wider historical time period if appropriate. The course is designed simultaneously to introduce students to valuable musical works and to showcase a variety of important compositional techniques and analytical methods that will equip students with the skills to undertake their own analysis of other music - a type of analytical toolbox that may be drawn on selectively and critically. Repertoire covered may include pieces or excerpts of pieces by Beethoven, Schubert, Mendelssohn, R. Schumann, C. Wieck/Schumann, Chopin, Berlioz, Wagner, Brahms, Tchaikovsky, Rimsky Korsakov, Grieg, Dvorák, Elgar, Mahler, Debussy, Scriabin, Sibelius, Schoenberg, Webern, Berg, Bartók. Techniques considered may include: Sonata Theory and deformation; Thematic analysis and developing variation; Neo-Riemannian analysis; Schenkerian analysis and tonal schemata; phrase rhythm; metric dissonance; neo-modality and scalar modulation; pitch-set theory; serialism.
Written Exam 0%, Coursework 100%, Practical Exam 0%
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