Musical Theory and Analysis - 1600 to 1750


a) To obtain knowledge to establish the historical, musical and aesthetical background of a body of repertoire
representative of the most meaningful musical genres of the Baroque era.
b) To master analytic processes of the musical structures of the period;
c) To recognize genres and musical forms of different dimensions and complexity;
d) To understand melodic and harmonic structures as well as horizontal and vertical organization in Baroque
musical works;
e) To know how to produce accurate descriptions and how to make schemes of formal and harmonic structures in complex musical works.

General characterization





Responsible teacher

Available soon


Weekly - 4

Total - Available soon

Teaching language





Bent, I. & Drabkin, W. (1990). Analysis. London: Macmillan Press.

Cook, N. (1992). A Guide to Musical Analysis. London: J. M. Dent.

Hutchings, A. (1978). The Baroque Concerto. London: Faber and Faber.
Larue, J. (1970). Guidelines for Style Analysis. New York: Norton.
Sadie, S. (Ed.) (2001). The New Grove Dictionary of Music Musicians, London: Macmillan, s. v.: \"Analysis\", \"Aria\", \"Canon\", \"Cantata\", \"Chorale\", \"Concert\", \"Fugue\", \"Motet\", \"Opera\".
Taruskin, R. (2010). The Oxford History of Western Music, vol. 2: Music in the Seventeenth and Eighteenth Centuries. Oxford: Oxford University Press.

Teaching method

Theoretical and practical subject (40% + 60%). In the theoretical classes the teacher will present the repertoire and expose the historical and technical foundations of the subjects. The practical classes imply that students will do a preparatory personal work over the music scores; they will be invited to comment musical auditions and films and to discuss the musical analysis of the repertoire. They will be asked to prepare small written assignments and oral presentations during the semester. NB: the repertoire will be defined in the first class.

Evaluation method

Two written tests (45% + 45%). Written assignments and oral presentations (10%).

Subject matter

1. Methodology of the analysis of the Baroque repertoire: historic context, musical languages, working
strategies, technical questions.
2. Instrumental genres: a) keyboard: ricercare, tento, fugue, canon, prelude, choralprelude, toccata, fantasy, sonata, suite; b) orchestral: concerto grosso; soloist concerto; symphony; suite.
3. Vocal genres: motet; madrigal; ariadacapo.
4. Vocal/instrumental genres: sacred concerto; chamber cantata; religious cantata, oratorio, passion; opera.
5. Particular aspects of the association of sections, movements or genres in the Baroque era: prelude and
fugue; overture; recitative and aria; sonata.
6. The interpretation and performance of Baroque music: issues.


Programs where the course is taught: