Music composition analysis

Author: Zhu Jingxiu
Publisher: Henan University Press
内容简介:
Music work analysis is a compulsory course for music majors in colleges and universities. This course is based on traditional formal studies, focusing primarily on the analysis and explanation of various formal structures. At the same time, it strives for a comprehensive and systematic analysis of the musical language, content, and style of the works. Therefore, it differs from traditional formal studies (formal analysis) and also from the interdisciplinary music analysis emerging in Western countries in the 20th century. It is a comprehensive course in compositional techniques theory.
As far as the author knows, in addition to professional music schools, many ordinary universities in China still have not offered music work analysis courses so far. The reasons for this are twofold: First, compared to other music theory courses, music work analysis is more practical and comprehensive. It involves the practical application of knowledge learned in previous courses such as music theory, harmony, counterpoint, and orchestration. Therefore, some students with relatively weak music theory foundations may easily feel intimidated. Second, there is a lack of qualified professional teachers. However, it is well-known that all music students must engage with various types of musical works, regardless of whether they are performing or singing, as deep understanding of musical works is essential. Thus, the importance of music work analysis courses is also evident. If students study this course systematically, following the arranged sequence, in an orderly and progressive manner, mastering the fundamental knowledge of music work analysis will not be difficult.
Music work analysis is a compulsory course for music majors in colleges and universities. This course is based on traditional formal studies, focusing primarily on the analysis and explanation of various formal structures. At the same time, it strives for a comprehensive and systematic analysis of the musical language, content, and style of the works. Therefore, it differs from traditional formal studies (formal analysis) and also from the interdisciplinary music analysis emerging in Western countries in the 20th century. It is a comprehensive course in compositional techniques theory.
As far as the author knows, in addition to professional music schools, many ordinary universities in China still have not offered music work analysis courses so far. The reasons for this are twofold: First, compared to other music theory courses, music work analysis is more practical and comprehensive. It involves the practical application of knowledge learned in previous courses such as music theory, harmony, counterpoint, and orchestration. Therefore, some students with relatively weak music theory foundations may easily feel intimidated. Second, there is a lack of qualified professional teachers. However, it is well-known that all music students must engage with various types of musical works, regardless of whether they are performing or singing, as deep understanding of musical works is essential. Thus, the importance of music work analysis courses is also evident. If students study this course systematically, following the arranged sequence, in an orderly and progressive manner, mastering the fundamental knowledge of music work analysis will not be difficult.
The arrangement of this book follows various formal types as its framework, progressing from simple to complex. The first three chapters provide a brief overview of the foundational knowledge necessary for music work analysis. While they occupy a small proportion in terms of content, they are essential for analyzing musical works. Therefore, they should be given special attention. The musical examples selected in this book are chosen not only for their typicality but also for their accessibility. At the same time, a small number of orchestral works (piano reductions) are included to ensure the diversity of the materials.
Music works cannot exist without sound, and therefore, music work analysis cannot do without auditory analysis and perception. Auditory analysis, score analysis, and background material analysis of works are necessary steps for in-depth music work analysis. During the study of music work analysis, auditory analysis and score analysis must be combined, and frequent reference should be made to achieve the goal of improving practical analysis and perception skills.
This book is suitable for teaching in music majors of ordinary universities and also for self-study use by a broad range of music enthusiasts.
目录:
Preface to the Series "Teaching Materials for Music Majors in Higher Education"
Introduction
Chapter 1 Introduction
1. Overview
2. The Relationship Between Content and Form
3. The Meaning of Musical Work Content
4. The Purpose and Methods of Formal Analysis
Chapter 2 Basic Expressive Means of Music
1. Overview
2. Melodic Line
3. Rhythm and Meter
4. Mode and Key
5. Tempo, Dynamics, and Timbre
6. Harmony and Texture
Preface to the Series "Teaching Materials for Music Majors in Higher Education"
Introduction
Chapter 1 Introduction
1. Overview
2. The Relationship Between Content and Form
3. The Meaning of Musical Work Content
4. The Purpose and Methods of Formal Analysis
Chapter 2 Basic Expressive Means of Music
1. Overview
2. Melodic Line
3. Rhythm and Meter
4. Mode and Key
5. Tempo, Dynamics, and Timbre
6. Harmony and Texture
Chapter 3 The Development of Musical Ideas and Structural Functions
1. Musical Ideas, Melodies, and Themes
2. Musical Materials and Methods of Theme Development
3. Structural Principles of Formal Development
4. Structural Types of Musical Statements
Chapter 4 Musical Phrases and Binary Form
1. Overview
2. The Detailed Structure of Musical Phrases
3. Types of Musical Phrases
4. Binary Form
Chapter 5 Single-Compound Binary Form
1. Overview
2. Compound Binary Form with Recurrence
3. Compound Binary Form without Recurrence
4. Ancient Binary Form
Chapter 6 Single-Compound Ternary Form
1. Overview
2. Classification of Single-Compound Ternary Form
3. Exposition and Middle Section
4. Recapitulation
Chapter 7 Multi-Section Structures
Chapter 8 Compound Ternary Form
1. Overview
2. Exposition and Recapitulation
3. Three-Part Middle Section
4. Thematic Middle Section
5. Complexity of Compound Ternary Form
Appendix: Binary Form
Chapter 9 Rondo Form
1. Overview
2. Single-Theme Rondo Form
3. Rondo Form with Contrasting Themes
4. Rondo Form with Suite-like Characteristics
5. Rondo Form Starting with an Interlude
Chapter 10 Variation Form
1. Overview
2. Variation Form with Fixed Bass and Fixed Melody
3. Ornamentation Variation
4. Free Variation
5. Double Variation Form
Chapter 11 Sonata Form
1. Overview
2. Exposition of Sonata Form
3. Development of Sonata Form
4. Recapitulation of Sonata Form
5. Introduction and Coda of Sonata Form
6. Variations of Sonata Form
7. Case Analysis
Chapter 12 Sonata-Rondo Form
1. Overview
2. Exposition of Sonata-Rondo Form
Chapter 13 Suite Form
Appendix: Supplementary Musical Examples
Afterword