Morphology and analysis: Sonata Forms - Compositional, Theoretical and Analytical Approaches

Course Information
TitleΜορφολογία και ανάλυση: Μορφές σονάτας -συνθετικές, θεωρητικές και αναλυτικές προσεγγίσεις / Morphology and analysis: Sonata Forms - Compositional, Theoretical and Analytical Approaches
FacultyFine Arts
SchoolMusic Studies
Cycle / Level1st / Undergraduate
Teaching PeriodSpring
Course ID160001547

Class Information
Academic Year2016 – 2017
Class PeriodSpring
Faculty Instructors
Weekly Hours3
Total Hours39
Class ID
Course Type 2016-2020
  • Scientific Area
Course Type 2011-2015
Specific Foundation / Core
Mode of Delivery
  • Face to face
Digital Course Content
Language of Instruction
  • Greek (Instruction, Examination)
Required Courses
  • ΥΟ5001 Harmonic and Formal Analysis I (ex.)
  • ΥΣ3000 Introduction to music analysis and morphology
Learning Outcomes
The main aim of the course is the student to understand the significance of this formal design within three contexts: the historic, the aesthetic and the theoretic / analytic. Other aims: to analyze as many works as possible, so as to gain familiarity with the formal ingredients of sonata form ‘mould’ as well as the divergences from this. To apply this knowledge in unknown for him / her sonata forms.
General Competences
  • Apply knowledge in practice
  • Retrieve, analyse and synthesise data and information, with the use of necessary technologies
  • Work autonomously
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
Sonata form has been the most important vehicle of the idea of ‘absolute’ music and functioned as the archetypal formal design from the 18th to the 21st century. The present course provides a historical overview of this formal design based on close analysis of representative musical works. More specifically, the versatile compositional approach to the form is unearthed through the analysis of at least twenty movements in sonata form. Moreover, the theoretical perceptions of the form (and the aesthetic connotations of these perceptions) are discussed with reference to texts from the 19th century onwards, while an introduction to the contemporary analytical discourse on the form is also amongst the aims of the course.
Educational Material Types
  • Notes
  • Slide presentations
  • Audio
  • Multimedia
  • Interactive excersises
  • Book
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Communication with Students
Internet and powerpoint. Use of the piano, E-mail for the conact with the students.
Course Organization
Reading Assigment39
Student Assessment
Understanding of the historical process of the sonata forms. Development of skills in order to analyze sonata forms other than that we have analyze in the class. Understanding of the analytical and aesthetic contexts of any sonata form.
Student Assessment methods
  • Written Exam with Short Answer Questions (Summative)
  • Written Exam with Extended Answer Questions (Summative)
Additional bibliography for study
Σημειώσεις του διδάσκοντα. J. Hepokoski, W. Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Οξφόρδη, Νέα Υόρκη, 2006) C. Rosen, Sonata Forms (Νέα Υόρκη και Λονδίνο, 1980, 2/1988) C. Rosen, The Classical Style: Haydn, Mozart, Beethoven (London, 1971, 2/1972) J. Samson, Chopin, The Four Ballades (Cambridge,1992) D.F. Tovey, Essays in Musical Analysis (Λονδίνο, 1935–9) D.F. Tovey, A Companion to Beethoven’s Pianoforte Sonatas (Λονδίνο, 1935) James Webster, «Sonata form» στο λεξικό Grove Music Online Γιώργος Φιτσιώρης,Εισαγωγή στη Θεωρία και Ανάλυση της Τονικής Μουσικής (Αθήνα 2004) Ι. Φούλιας, «Οι μορφές σονάτας και η θεωρητική τους εξέλιξη: Θεωρητικοί του 18 ου αιώνος (Β΄)», περιοδικό Πολυφωνία, τ. 9 Φθινόπωρο 2006, Αθήνα, Εκδόσεις Κουλτούρα, σελ. 67-97 Ι. Φούλιας, «Οι μορφές σονάτας και η θεωρητική τους εξέλιξη: Θεωρητικοί του 19ου αιώνος (Β΄)», περιοδικό Πολυφωνία, τ. 12 Άνοιξη 2008, Αθήνα, Εκδόσεις Κουλτούρα, σελ. 8-37
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