Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Identify and define key terms related to motivic analysis, such as motive, theme, sequence, inversion, augmentation, and diminution, using examples from the reading materials.
Explain the processes of motivic development, including how motives can be altered through techniques like fragmentation, inversion, and extension.
Analyze musical excerpts to identify motives and their alterations. Describe how these motives are developed and transformed throughout the piece, discussing their contribution to the overall structure and expression of the music.
Compose a short piece or musical excerpt that incorporates a motive and demonstrates various techniques of motivic development.
Preparation for Class
Preparation for Class
Read:
Read:
Melodic Analysis: Motive, Melodic Alteration, and Fragment (Music Theory for the 21st Century Classroom)
"Motives" (Section 2 of Foundational Concepts for Phrase-Level Forms) (Open Music Theory)
Watch
Watch
Watching the video with Elizabeth Margulis to explore the cognitive role of repetition music. Then, select one or two videos from the reading (below).
Repetition & Musicality
(Elizabeth Margulis, SMT-V, 11 mins)
Repetition & Musicality
(Elizabeth Margulis, SMT-V, 11 mins)
Motivic Analysis of John Williams
(John Peterson, 5 mins)
Motivic Analysis of John Williams
(John Peterson, 5 mins)
Motivic Analysis: Beethoven Symphony 5, I
(John Peterson, 7 mins)
Motivic Analysis: Beethoven Symphony 5, I
(John Peterson, 7 mins)
Motivic Analysis: Aaron Burr, Sir from Hamilton
(John Peterson, 5 mins)
Motivic Analysis: Aaron Burr, Sir from Hamilton
(John Peterson, 5 mins)
Study Aids
Study Aids
Motivic Development Handout (Toby Rush)
In-Class Activities
In-Class Activities
Discussion
Discussion
Definitions: How would you define motive? What were some of the techniques for motivic development mentioned in the reading? Compose a motive and apply each of these techniques to the motive.
Motivic Development in Practice: Review the examples of motivic analysis presented in the “Watch” section above. Compare and contrast the different ways that motivic material is developed in each of these pieces.
Activities
Activities
Practice Worksheets: Practice identifying motives and motivic transformations:
Practice exercises (with solutions) and Worksheet (Music Theory for the 21st Century Classroom)
Repertoire for Practice
Repertoire for Practice
Eugène Dédé, Buenas Noches!, Op. 243 (1893)
Score: PDF
Note: Suitable for full harmonic analysis, with a review of large forms, phrase structure, modulation, and chromatic harmony.
Samuel Coleridge-Taylor, 4 African Dances, op. 58, no. 2 (1904)
Anthology: See the section on “Motivic Analysis” for additional examples for analysis.
Want to learn more?
Want to learn more?
Check out Christopher Doll's analysis of motivic relationships in Hans Zimmer's score for Inception and learn about diagetic and nondiegetic space in film.
Was it Diegetic, or Just a Dream? Music’s Paradoxical Place in the Film Inception
(Christopher Doll, SMT-V, 14 mins)
Practice
Practice
Musition: [levels]
Auralia: [levels]
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