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Overview of offered courses

Ioannis Fulias, Assistant Professor

DISCIPLINE: “Systematic Musicology: Music Theory (18th-19th centuries)”


Theory and practice of tonal music (harmony and structure) Ι & ΙΙ

The aim of this two-semester course is to lead freshmen to develop a scientifically and historically founded perspective that will allow them to understand and experience the most important harmonic and structural procedures of tonal music through the examination of representative works from the baroque, the classic and the romantic eras. Among the main theoretical and analytical issues that are being studied in this course are the concepts of music phrase, cadence and harmonic functions, tonicization and modulation, harmonic and structural rhythm, the reductive analytical method, the procedures of repetition, variation, development and contrast, as well as the structural types of sentence, period and some hybrids between them, along with the “small” ternary and binary models of organisation for a section of a broader music piece.


Form in European music Ι & ΙΙ”

The subject matters of this course are divided into two semesters. In the first one, a variety of canons, fugues, choral preludes, variations (both strophic and double / alternating ones), minuet and scherzo forms, as well as the main “rondo” forms (large ternary and binary / rotational form, rondo and rondeau) are being studied, before the binary forms of the baroque suite dances, the sonata forms of the classic and romantic eras, the mixed rondo-sonata, rondeau-sonata and sonata-rondo forms, as well as the aria da capo, ritornello and the later sonata-concerto forms are being investigated in the second semester. The selected repertory of music ranges from the early 17th century until the middle 20th century and focuses on some of the most representative (mainly instrumental, but also a few vocal) compositions of the baroque, classic and romantic eras. Aim of the course is to assist students to acquire a solid knowledge of the basic music forms that have been applied by the composers in several major music genres during the aforementioned eras, from both systematic and historical perspectives.


Music analysis I: Basic principles of composition in the classic-romantic era”

This course has a rather practical orientation and aims to demonstrate through selected music examples how the common harmonic functions are combined with the processes of repetition, variation, development and contrast, which can be applied on the motivic-thematic material for the construction of individual music phrases and larger structural entities. More specifically, with the assistance of extracts from piano works by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert, the allocation of the four essential harmonic functions in a complete phrase is examined and various methods of harmonic expansion, tonicization and modulation, ways of implementation of the three types of cadence (the perfect authentic, the imperfect authentic, and the half cadence), as well as the real functional role of the other – supposed – cadences (the deceptive and the plagal ones) are studied. Moreover, at a structural level, not only normative but also deviant cases of sentence and period, as well as a variety of binary and ternary structures (which sometimes even include “hybrid” structural patterns) are investigated.


Seminar: The chamber music for strings of Felix Mendelssohn-Bartholdy”

The seminar is addressed to students who are interested in music theory and analysis on the classic and romantic repertoire. More specifically, subject of this seminar will be the chamber works for any string ensembles of Felix Mendelssohn-Bartholdy, i.e. the string quartets (opera 12, 13, 44 nos. 1-3, 80, and 81), the string quintets (opera 18 and 87) and the octet for strings (opus 20), in relation also to theories on music form from late 18th and early 19th centuries and beyond.