MSC 323 Form and Analysis I
Review of the theme structures: Periods, sentences, hybrids and compound structures. Transition. Subordinate theme. Development. Recapitulation. Coda. Slow movement forms. Minuet and trio. Variation forms. Rondo forms. Concerto. Review of the “vagrant” chords. Neapolitan chord as a tonal region and the usage of augmented sixth chords in modulation. Mozart K.454, K.421. Beethoven, Op.18, No1. The equal divisions of the octave and the octatonic scale. The tonal balance in Beethoven’s works: Op.13, Op. 53, Op. 57, Op. 110. Three key exposition and Schubert’s Death and the Maiden, String Quartet in d minor. The emphasis of flat tonal regions in the romantic period. Schubert Symphony No.8, movement I. Credit units: 3 ECTS Credit units: 6, Prerequisite: MSC 272.
MSC 324 Form and Analysis II
Sonata form and Brahms’ music, Symphony No.4, movement I. Voice leading in Brahms’ intermezzos. Augmented triad in Liszt’s piano pieces. Idea of topologic transformation and Liszt’s piano sonata in b minor. Review of the octatonic scale. Wagner’s Tristan Prelude. Hugo Wolf’s “Im Frühling”. Stravinsky’s Symphony of Psalms, Concerto in D. Defining the differences of tonality and modality. Discussions on the perfect fourth interval. Mussorgsky’s Sunless, In the Crowd. Debussy’s Sarabande from “Pour le piano” (1894-1901). Defining poly-tonality, poly-modality. Bartok’s Harvard Lectures. Examples form Bartok’s Microcosmos. Credit units: 3 ECTS Credit units: 6, Prerequisite: MSC 323.