The Melody Lab
Learning Objective
This course aims to lay a foundation for meaningful discussion of melodies from both structural and creative perspectives. Rather than claiming to dispel every mystery, it will equip participants with concepts for a meaningful exploration of melodies and strategies for their creation.
Course content
It is hard to think of a more important element of music than melody. It is the most salient and surely the most memorable component of a piece, and it exists in almost every culture. For many listeners, melody is virtually synonymous with music itself. Mozart called it ‘the essence of music’, and Haydn considered melody ‘the most difficult thing to produce’. Yet despite its significance, melody hasn’t evolved into a distinct discipline in music education, as harmony, counterpoint, and orchestration have. And perhaps that is for good reason: even for the educated composers there is something deeply intuitive, even enigmatic, in melody writing. As Aaron Copland put it, ‘Why a good melody should have the power to move us has thus far defied all analysis.’
We will begin by asking what is a melody? and survey some analytical frameworks for melodies, mostly inspired by perception and the sense of expectancy. Building on those, we will analyze melodies and discuss what makes each one unique.
Course Details
teacher | Amit Gur |
term | January-April 2026 |
participation | The Melody Lab is open to all master students – composers, performers, and theorists of every background – who want to explore, discuss, and create melodies. |
assessment | The insights we gain will be put into practice through a series of creative assignments, each offering a different approach for melody writing. |
bibliography | Ahlbäck, S. (2004). Melody beyond notes: A study of melody cognition. Doctoral dissertation, Götenborgs Universitet. |
Huron, D., & Margulis, E. H. (2010). Musical expectancy and thrills. Town: Publisher, 2010. | |
Krumhansl, C., 'Effects of perceptual organization and musical form on melodic expectancies', in Joint International Conference on Cognitive and Systematic Musicology, Berlin etc.: Springer, 1996, 294-320. | |
McAdams, S., Psychological constraints on form-bearing dimensions in music. Contemporary Music Review, 4/1 (1989), 181-198. | |
Meyer, L. B. (1973). Explaining music: Essays and explorations, Berkeley: University of California Press, 1973. | |
Narmour, E. (1990), The analysis and cognition of basic melodic structures: The implication-realization model. Chicago: University of Chicago Press, 1990. | |
credits | 5 |