Music performance and music analysis (Seminar)

Course Information
TitleΜουσική ερμηνεία και μουσική ανάλυση (Σεμινάριο) / Music performance and music analysis (Seminar)
FacultyFine Arts
SchoolMusic Studies
Cycle / Level1st / Undergraduate
Teaching PeriodSpring
Course ID600013904

Programme of Study: PPS Tmīmatos Mousikṓn Spoudṓn (2017-sīmera)

Registered students: 4
OrientationAttendance TypeSemesterYearECTS
Musicology / Music EducationElective Courses846
Music CompositionElective Courses846

Class Information
Academic Year2019 – 2020
Class PeriodSpring
Faculty Instructors
Weekly Hours4
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)
  • English (Instruction, Examination)
General Prerequisites
The knowledge of English is preferable. The practical knowledge of playing a musical instrument is indispensable.
Learning Outcomes
When the students will have completed this lesson, they should be able: -To understand the relationship between music theory and the performance of music. - To argue on their decisions on the performance of a particular musical work, on the grounds of analytical, aesthetic and historic observations. - To develop their abilities of critical use of recordings and videos in developing their own performance of a specific work of music.
General Competences
  • Apply knowledge in practice
  • Make decisions
  • Work autonomously
  • Work in an interdisciplinary team
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
Until recently, and today in many cases, the studies on musical performance have focused on practical parameters, such as dynamics, articulation, fingering, etc. In this lesson we develop an approach to the musical work that takes into account aspects and methods of music theory and analysis. Each student tackles a repertoire of works practically, but also theoretically (making observations on formal structure, pitch material, aesthetic aspects, etc.). Among the tools that are developed in this class is the critical evaluation of previous performances (in sound and/or video) of the work(s) in focus. In other words the present lesson mirrors the international musicological reflection, during the past three decades, on the study of the musical sound (and not only of the musical score). It aims at the development of the practical application of the analytical, aesthetic and historic theoretical knowledge within the preparation of a conscious and structurally consistent interpretation. The students discuss issues regarding their essays privately with the tutor during office hours.
Performance, interpretation, analysis, music theory
Educational Material Types
  • Notes
  • Audio
  • Multimedia
  • Interactive excersises
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Laboratory Teaching
  • Use of ICT in Communication with Students
Use of computer in order to see previous performances. Use of recording equipment in order to have material for self-critical approach to the performances by the students. Communication with the students via e-mail.
Course Organization
Reading Assigment391.3
Written assigments421.4
Music practice602
Student Assessment
The evaluation process includes two written papers on the relationship between music theory and the performance of the musical work that each student has chosen to perform, The performance is given in public recital at the end of the semester and is followed by a short discussion on the performer's decisions. The evaluation process is presented during the first lesson, and reference to it can be found in the notes that each student will receive.
Student Assessment methods
  • Written Assignment (Formative, Summative)
  • Performance / Staging (Formative, Summative)
  • Artistic Performance (Formative, Summative)
Additional bibliography for study
Berry, Wallace, 1989: Musical Structure and Performance, New Haven, Yale University Press. Bowen, José, 1999: "Finding the Music in Musicology: Performance History and Musical Works", στο Cook, Nicholas, Everist, Mark (επιμ.), Rethinking Music, New York, Oxford, Oxford University Press, 424-451. Butt, John, 2004: Playing with History, The Historical Approach to Musical Performance, Cambridge, Cambridge University Press. Cone, Edward T., 1968: Musical Form and Musical Performance, New York, W. W. Norton & Company. Cook, Nicholas, 2014: Beyond the Score, Music as Performance, Oxford, New York, Oxford University Press. Dunsby, Jonathan, 1995: Performing Music: Shared Concerns, Oxford, The Clarendon Press. Leech-Wilkinson, Daniel, 2009: The Changing Sound of Music: Approaches to Studying Recorded Musical Performances, London, Centre for the History and Analysis of Recorded Music ( Rink, John (επιμ.), 1995: The Practice of Performance: Studies in Musical Interpretation, Cambridge, Cambridge University Press. Rink, John (επιμ.), 2005: Musical Performance: A Guide to Understanding, Cambridge, Cambridge University Press. Taruskin, Richard, 1995: Text and Act, New York, Oxford, Oxford University Press.
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