KUTZTOWN UNIVERSITY
KUTZTOWN, PENNSYLVANIA
DEPARTMENT OF MUSIC
COLLEGE OF VISUAL AND PERFORMING ARTS
MUS 330 ANALYSIS OF MUSIC: STYLISTIC AND STRUCTURAL
Approved by Department: October 2, 2007
I. Course Description
This course studies the stylistic and structural development of Western Music from the Baroque
Period to the present day. Emphasis is placed upon formal and harmonic analysis and the related
aesthetic purpose of the development of architectural structuring.
Prerequisite: Harmony and Theory III
3 Semester hours
3 Clock hours
II. Course Rationale
The growth of Western music is manifested in the evolution of both harmony and form.
Harmonic analysis as learned in the core harmony and theory courses provides insight into
harmonic evolution, but musical education is not complete without the study of formal structure
in music, culminating in the ability to aurally identify the various forms used in Western music,
and to provide critical commentary and analysis of these structures.
III. Course Objectives
Upon completion of this course students will be able to:
1. identify the harmonic basis of musical architectural structuring, and demonstrate an
understanding of the formal aspects of music, both in a general sense and as is specifically
evident in the works studied in class.
2. recognize the thematic development of musical materials, both melodic and rhythmic, and
identify by listening and by score study all of the musical forms studied in class.
3. analyze the composite structures of both small and large musical forms including, but not
limited to, binary, ternary, strophic, sonata, rondo, minuet and trio, theme and variations,
passacaglia, chaconne, and fugue.
4. demonstrate an understanding of the aesthetic meaning of music through structural
perception, and correlate the factors of period, composer, nationality, medium, and style.
IV. Assessment
Assessment of each student's level of accomplishment with reference to the course objectives
will be based upon a subset of the following:
1. Regular assignments in analyzing music for overall structure, melody, harmony, texture, and
expressive devices.
2. Research projects and/or student papers with in-class presentations.
3. Examinations and quizzes.
V. Course Outline
1. Fundamental Melodic Elements
a. Figure and motive
b. Theme
c. Phrase
d. Period
e. Cadences
2. Song Forms
a. Two-part
b. Three-part
c. Expansions
3. Single-movement forms
a. Song form with trio
b. Rondo
c. Variation
d. Sonata
4. Contrapuntal forms
a. Imitative contrapuntal forms
b. Ostinato forms
c. Other single-movement forms
5. Multi-movement and multi-sectional forms
a. Sonata
b. Suite
c. Concerto
d. Overture
e. Free forms and programmatic music
6. Recent trends
VI. Instructional Resources
Benjamin, Thomas. Music for Analysis. Hopewell, New Jersey, Houghton Mifflin Company,
1984.
Bent, Ian. Music Analysis in the Nineteenth Century, Vol. 2: Hermeneutic Approaches.
Cambridge University Press, 1994.
Berry, Wallace. Musical Structure and Performance. New Haven: Yale University Press, 1989.
Burkholder, J. Peter; Donald Jay Grout, and Claude V. Palisca. A History of Western Music,
Seventh Edition. W. W. Norton & Company, 2005.
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music
of Haydn, Mozart, and Beethoven. Oxford University Press, USA; New Ed edition, 2000.
Clendinning, Jane Piper and Elizabeth West Marvin, The Musician’s Guide to Theory and
Analysis. W. W. Norton & Company: 2004.
Cone, Edward T. Musical Form and Musical Performance. W. W. Norton & Company, 1968.
Cook, Nicholas. A Guide to Musical Analysis. Norton Publishers :1992
Dunsby, Jonathan. Music Anaylsis in Theory and Practice. New Haven: Yale University Press,
1989.
Forte, Allen, and Steven Gilbert. Introduction to Schenkerian Analysis: Form and Content in
Tonal Music. W. W. Norton & Company: 1982.
Fux, Johann J. (Alfred Mann, Trans. and Ed.). The Study of Counterpoint: From Johann J.
Fux’s "Gradus ad Parnassum." W. W. Norton & Company: 1965.
Gauldin, Robert. Harmonic Practice in Tonal Music, 5th ed. W. W. Norton & Company: 2004.
Glyn, Margaret Henrietta. The Evolution of Musical Form. Library Reprints, 2001.
Hanning, Barbara Russano. Concise History of Western Music, 3rd ed. W. W. Norton and
Company, 2006.
Kamien, Roger. The Norton Scores, 5th ed. New York: W. W. Norton and Company, 1990.
Lester, Joel. Analytic Approaches to Twentieth-Century Music. W. W. Norton & Company:
1989
Mathes, James R. The Analysis of Musical Form. Prentice Hall, 2007.
Neumeyer, David. Schenkerian Analysis. Englewood Cliffs, New Jersey: Prentice Hall, 1992.
Pople, Anthony, Ed. Theory, Analysis and Meaning in Music. NY: Cambridge University
Press, 1995.
Prout, Ebenezer. Musical Form. University Press of the Pacific, 2005.
Rosen, Charles. Sonata Forms, Second Edition. W. W. Norton & Company: 1988.
Reynolds, Christopher Alan. Motives for Allusion: Context and Content in 19th Century Music.
Cambridge: Harvard University press, 2003.
Schoenberg, Arnold. Structural Functions of Harmony, Revised Edition. W. W. Norton &
Company: 1969.
Spring, Glenn; Hutcheson, Jere. Musical Form and Analysis. Madison, Wisconsin: Brown and
Benchmark, 1995.
Stephenson, Ken. What to Listen for in Rock: A Stylistic Analysis. New Haven: Yale
University Press, 2002
Straus, Joseph. Introduction to Post-Tonal Theory, 2nd ed. Prentice-Hall, 2000.
Spitzer, Michael. Metaphor and Musical Thought. University of Chicago Press, 2005
Swain, Joseph. Musical Languages. W. W. Norton & Company: 1997.