Musical Analysis
Code: 100662 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| Musicology | OB | 2 |
Contact
- Name:
- Francisco Javier Daufi Rodergas
- Email:
- xavier.daufi@uab.cat
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
The 1st year courses “Llenguatge musical I” and “Llenguatge musical II” should have been succesfully passed before enrolling in this course.
Objectives and Contextualisation
The aim of this course is to provide students with basic tools that allow them to deconstruct musical compositions, dividing them into more or less independent parts, as well as finding the relationships between them, and thus understanding how musical compositions are built.
Competences
- Critically analyse musical works from any of the points of view of the discipline of musicology.
- Demonstrate a sufficient level of knowledge of historical and current musical language and theory, including the rudiments of harmony and counterpoint, to be able to correctly approach the study of composition.
- Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
- Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
- Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.
Learning Outcomes
- Assimilate rudiments of msuical langauge (reading, harmony, counterpoint, msucial forms) in their current perspective.
- Discern the objective of musical analysis.
- Draw conclusions for musical interpretation from the application of different analytical methods.
- Draw hermaneutic conclusions from the analysis of scores, applying different analytical methods.
- Establish links between musical analysis and other musicological disciplines, with the aim of understanding the complementary character of the auxiliary discipline.
- Identify the most pertinent methodologies to use according to the objectives to be demonstrated or found through musical analysis.
- Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
- Make correct use of the methods of musical analysis.
- Make correct use of the terminology of each analytical system.
- Prepare oral presentations on an analytical question and adapt them to the level and expectations of the audience or group.
- Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
- Recognise the main analytical models and their application in musical works.
- Relate the different analystical methods to their principal or secondary scientific and philosophical substrata.
- Submitting works in accordance with both individual and small group demands and personal styles.
- Summarising acquired knowledge about the origin and transformations experienced in its several fields of study.
- Understand the propedeutic use of musical analysis, especially in its semiological appraoch.
- Use basic vocabularyand tools to describe and transmit knowledge acquired through effective oral presentations of musicological content adapted to the audience.
Content
1. Practical sessions
2. An Introduction to Musical Analysis and Analysis Methodologies I
3. Analysis Methodologies II
4. Genre and Style
5. Form and Structure
6. The Suite
7. The Classical Minuet
8. The Rondo
9. Dodecaphonic Theory
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Knowledge test class | 5 | 0.2 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Master class | 40 | 1.6 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Type: Supervised | |||
| Practical sessions | 15 | 0.6 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Type: Autonomous | |||
| Carrying out work | 26 | 1.04 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Individual practice | 26 | 1.04 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Study and reading articles | 26 | 1.04 | 1, 16, 11, 2, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
Theoretical classes will be combined with several practical activities that can be individual or collective.
Various musical works will be analyzed in class and text commentary related to the contents of the subject will be carried out.
ON THE USE OF AI TECHNOLOGIES IN THIS SUBJECT
The use of AI technologies in this subject will be permitted exclusively for bibliographic research, text correction, and translation. Students must explicitly identify any sections generated using AI tools, specifying which tools were used and providing a critical reflection on their impact on both the process and the final outcome of the activity.
Failure to maintain transparency in AI use will be regarded as academic dishonesty and may result in significant grade reductions, as well as more severe sanctions in serious cases.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Group task | 40% | 9 | 0.36 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Written test 1 | 30% | 1.5 | 0.06 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
| Written test 2 | 30% | 1.5 | 0.06 | 1, 16, 11, 2, 5, 4, 3, 6, 7, 10, 14, 12, 13, 15, 8, 9, 17 |
Assessment: This course will be assessed on the basis of two written exams, 30% each (one in the middle and the other at the end of the term), and a written group essay (40%).
For the calculation of the final grade, students will have to complete and pass all three activities with the grade of 5 or higher.
Once the qualifications are published, a date and place will be announced for the students to revise their assignments and grades. Revisions will only be in person and at the scheduled time.
Reassessment: Those students who fail some of the compulsory activities will have the opportunity of a re-evaluation exam. It will be necessary, however, to have obtianed a grade of 5 or more for the written essay.
Those students who have only participated in one of the three compulsory assessment activities will be considered as “not assessable”.
Single assessment
There is no possibility of single assessment in this subject.
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.
Bibliography
Agawu, K. (2004). How we got out of analysis, and how to get back in. Music Analysis, 23, 267–286.
Audissino, E. (2017). Film/Music Analysis. A Film Studies Approach. Southampton: Palgrave Macmillan.
Beach, David; McClelland, Ryan. (2012). Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition. New York; Abingdon, Oxon: Routledge.
Bent, I. D.; Pople, A. (2001). “Analysis”. The New Grove Dictionary of Music and Musicians. London: Macmillan Publishers.
Cámara, E. (2003). “Metodologías de Análisis”. Etnomusicología. Madrid: Instituto Complutense de Ciencias Musicales.
Casetti, F., & di Chio, F. (1991). Cómo analizar un film. Barcelona: Paidós.
Chion, M. (1993). La audiovisión: Introducción a un análisis conjunto de la imagen y el sonido. Barcelona: Paidós.
Cook, N. (1994). A Guide to Musical Analysis. Oxford: Oxford University Press.
Cook, N.; Everist, M. (eds.) (2001). Rethinking Music. New York: Oxford University Press.
Daniélou, A. (2010). The Ragas of Northern Indian Music. New Delhi: Munshiram Manoharlal.
Duffin, R. W. (2008). How Equal Temperament Ruined Harmony (and Why You Should Care). New York: W. W. Norton & Company.
Forte, Allen (Apr. 1959). "Schenker Conception of Musical Structure". Journal of Music Tehory, Vol. 3, No. 1, pp. 1-30.
Forte, A.; Gilbert, S. E. (2003). Análisis musical. Introducción al anàlisis Schenkeriano. Barcelona: Idea Books.
Grimalt, J. (2014). Música i sentits. Introducció a la significació musical. Barcelona: Dux.
Kalinak, K. (1992). Settling the score: music and the classical Hollywood film. Madison: The University of Wisconsin Press.
Katz, Adele T. (Jul 1935). "Heinrich Schenker's Methode of Analysis". The Musical Quarterly, Vol. 21, No. 3, pp. 311-329.
Kerman, J. (1980). How We Got into Analysis, and How to Get out. Critical Inquiry, 7, No. 2, 311–331.
Kühn, C. (1998). Tratado de la forma musical. Barcelona: SpanPress Universitaria.
Kühn, C. (2003). Historia de la composición musical. Barcelona: Idea Books.
LaRue, J. (2007). Análisis del estilo musical. Madrid: Mundimúsica.
Lerdahl, F.; Jackendoff, R. (2003). Teoría generativa de la música tonal. Madrid: Akal.
Lester, J. (2005). Enfoques analíticos de la música del siglo XX. Madrid: Akal.
Messiaen, O. (1993). Técnica de mi lenguaje musical. París: Alphonse Leduc.
Meyer, L. B. (2020). La emoción y el significado en la música. Madrid: Alianza Editorial.
Moore, A. F. (Ed.). (2009). Analyzing Popular Music. New York: Cambridge University Press.
Moorefield, V. (2005). The Producer as Composer. Shaping the Sounds of Popular Music. Cambridge, Massachussets: The MIT Press.
Piston, Walter. (1992). Armonía. Barcelona: Labor.
Piston, Walter (1998). Contrapunto. Flamingo: SpanPress Universitaria.
Sobrino, Ramón (2005). "Análisi musical. De las metodologías del análisis al análisis de las metodologías". Revista de Musicología, XXVIII, pp. 667-696.
Straus, Joseph N. (1991). "A Primar for Atonal Set Theory". College Music Symposium, Vol. 31, pp. 1-26.
Supper, M. (2004). Música electrónica y música con ordenador. Historia, estética, métodos, sistemas. Madrid: Alianza.
Tagg, P. (2013). Music's Meanings. A Modern Musicology for Non-Musos. New York: The Mass Media Music Scholars' Press.
Online publications on Music Theory
Music Theory online. A Journal of the Society of Music Theory: https://mtosmt.org/
The Journal of Music and Meaning: https://m,usicandmeaning.net/
Software
If needed, it will be indicated in class.
Groups and Languages
Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (PAUL) Classroom practices | 1 | Catalan | second semester | morning-mixed |
| (TE) Theory | 1 | Catalan | second semester | morning-mixed |