Post by Joey Waters on Sept 20, 2015 3:33:26 GMT
101 Model Composition and Tonal Analysis I
This course is an introduction to the vertical and linear dimensions of tonal music. After a review of musical fundamentals, in which students will be expected to demonstrate facility and speed in naming and spelling basic tonal materials, the course will introduce traditional contrapuntal exercises, basic diatonic harmony, and the paradigmatic construction of formal phrase units. A major concern of this course is the relationship between harmonic, contrapuntal, and formal prototypes and actual pieces of music from the 15th – 20th Centuries.
Students who complete this course successfully will be able to:
1.Spell and recognize all major and minor scales, key signatures, intervals, triads, and seventh chords quickly and accurately.
2.Write syntactically correct species counterpoint in two voices, five species. Students will also recognize passing, neighboring, and suspension tones in the context of 15th-19th century music.
3.Compose brief chord progressions using tonic, dominant, and predominant harmonies; realize figured bass exercises in four voices; harmonize chorale-style melodies that do not modulate in four voices.
4.Recognize the relationship between contrapuntal/harmonic paradigms and actual compositions from the 15th-20th Centuries, through analysis of selected works and excerpts, and through expansion of harmonic/contrapuntal prototypes in model composition assignments. Students will be able to provide Roman numeral analysis and identify cadences in diatonic, non-modulating music in many genres.
5.Recognize small forms (sentences, periods, 12-bar blues) in tonal music, both visually and aurally.
6.Compose sentential and periodic melodies with simple accompaniment in late 18th-Century style.
102 Model Composition and Tonal Analysis II
In this course, the second semester of the undergraduate theory sequence, we will continue the study of tonal harmony and voice leading, both through written work and analysis. We will continue to focus mostly on diatonic harmony (chords available within the prevailing key); however, we will also begin to explore techniques of tonicization and modulation (moves to different keys). In the second half of the semester we will learn about binary form, and will work towards a composition project: every student will write a theme and variations set which will be performed by students in the class.
Students who complete this course successfully will be able to:
1.Compose chord progressions using all diatonic harmonies, diatonic harmonic sequences, and/or pivot-chord modulations to the dominant or relative major; realize figured bass exercises in four voices; harmonize a chorale-style melody that modulates to and from the dominant or relative major.
2.Recognize the above-listed harmonic devices within compositions from the 18th and 19th centuries.
3.Recognize small forms (binary, sectional variations, ternary) in tonal music, both visually and aurally.
4.Compose a well-formed binary movement for two voices in Classical style using the harmonic, contrapuntal and formal devices described above.
5.Derive a four-voice Chorale-style background for compositions in various styles.
This course is an introduction to the vertical and linear dimensions of tonal music. After a review of musical fundamentals, in which students will be expected to demonstrate facility and speed in naming and spelling basic tonal materials, the course will introduce traditional contrapuntal exercises, basic diatonic harmony, and the paradigmatic construction of formal phrase units. A major concern of this course is the relationship between harmonic, contrapuntal, and formal prototypes and actual pieces of music from the 15th – 20th Centuries.
Students who complete this course successfully will be able to:
1.Spell and recognize all major and minor scales, key signatures, intervals, triads, and seventh chords quickly and accurately.
2.Write syntactically correct species counterpoint in two voices, five species. Students will also recognize passing, neighboring, and suspension tones in the context of 15th-19th century music.
3.Compose brief chord progressions using tonic, dominant, and predominant harmonies; realize figured bass exercises in four voices; harmonize chorale-style melodies that do not modulate in four voices.
4.Recognize the relationship between contrapuntal/harmonic paradigms and actual compositions from the 15th-20th Centuries, through analysis of selected works and excerpts, and through expansion of harmonic/contrapuntal prototypes in model composition assignments. Students will be able to provide Roman numeral analysis and identify cadences in diatonic, non-modulating music in many genres.
5.Recognize small forms (sentences, periods, 12-bar blues) in tonal music, both visually and aurally.
6.Compose sentential and periodic melodies with simple accompaniment in late 18th-Century style.
102 Model Composition and Tonal Analysis II
In this course, the second semester of the undergraduate theory sequence, we will continue the study of tonal harmony and voice leading, both through written work and analysis. We will continue to focus mostly on diatonic harmony (chords available within the prevailing key); however, we will also begin to explore techniques of tonicization and modulation (moves to different keys). In the second half of the semester we will learn about binary form, and will work towards a composition project: every student will write a theme and variations set which will be performed by students in the class.
Students who complete this course successfully will be able to:
1.Compose chord progressions using all diatonic harmonies, diatonic harmonic sequences, and/or pivot-chord modulations to the dominant or relative major; realize figured bass exercises in four voices; harmonize a chorale-style melody that modulates to and from the dominant or relative major.
2.Recognize the above-listed harmonic devices within compositions from the 18th and 19th centuries.
3.Recognize small forms (binary, sectional variations, ternary) in tonal music, both visually and aurally.
4.Compose a well-formed binary movement for two voices in Classical style using the harmonic, contrapuntal and formal devices described above.
5.Derive a four-voice Chorale-style background for compositions in various styles.
