S
CHEDULE OF
T
OPICS AND
A
SSIGNMENTS
Any changes to the following schedule will be announced in class or via E-mail
.
The following schedule of assignments will assist you in meeting the stated objectives and outcomes of this course. Applying the theoretical concepts to exercises, analyses,
and creative work is central to our focus in theory class, but these applications should be equally applied outside of class in your performance studies: always remember
that theory is never separate from practice!
Date
Topics
Readings Due
In-Class Activities
Assignments Due
The listed readings and online tutorials should be completed before each respective class period; they will be the foundation for our daily in-class activities.
Please bring your textbook (TXT) and workbook (WKBK) to every class session, even if a specific activity is not listed for that date.
[R] indicates in-class repertoire study or listening
Assignments listed in this column will be collected and graded.
Point values for each assignment are indicated in boldface type (eg. 5, 10, 20, 25)
W 8 Sep Welcome and Introduction to the Course; working with Finale® notation software
TXT: Preface, pp. ix-xi Seven-Minute Write: Introduction Finale® demonstration
F 10 Sep Framing the Musical Vocabulary TXT: Ch. 1, pp. 3-8
WEB: http://www.teoria.com/index.html (Teoría
website: view the sub-sections titled Reading Musical Notes, AnExample, Accidentals, Key Signatures, and
Keyboard Notes under the Reading Music section)
TXT: 1.1, 1.2, 1.3, 1.4 (pp. 21-22)
M 13 Sep Shapes and Figures: What does musical notation communicate?
TXT: Ch. 1, pp. 8-20
WEB: http://www.teoria.com/index.html (Teoría
website: view the remaining rhythm and meter sub-sections of the ReadingMusic section)
Melodic Telephone WKBK: 1.G (p. 3)
WKBK: 1.A (only mm. 1-2 for each instrument), 1.B (evens), 1.C (evens), 1.D (evens), and 1.E (evens)
20
W 15 Sep Organizing the Passage of Time: Simple, Compound, and Asymmetric Meter Signatures
TXT: Review Ch. 1, pp. 3-20 TXT: 1.5, 1.6, 1.8 (pp. 22-24) WKBK: 1.F (p. 2) and Finale® demonstration
WKBK: 1.H (all), 1.I (all), and 1.J (1-4 only) 10
F 17 Sep Organizing Sound: Scale Patterns, Ancient and Modern
Overview of Composition 1
WEB: http://www.teoria.com/exercises/read.htm
(Teoría Clef Reading Exercises) WEB:
http://www.teoria.com/exercises/measure.htm
(Teoría Time Signature Exercises) WKBK: Test Yourself 1 (p. 6)
Review Quiz 1: Note Names and Notations
[R] Plainchant, Kyrie from Mass XIII
[R] Martin Luther, Wir glauben and Aus Tiefer Not
[R] Bartók, Mikrokosmos, BB 105, Vol. 1: No. 34. In Phrygian Mode
Study for Review Quiz 1
M 20 Sep A Closer Look at Major and Minor: Scale Degree Names and Key Signatures
Overview of Composition 2
TXT: Ch. 2, pp. 27-47 WKBK: 2.A, 2.B, and 2.C (pp. 7-8)
[R] Ottman, 2.18-2.31 (pp. 16-18)
Composition 1. Working with Scale Patterns 25
W 22 Sep Scale Relationships and the Circle of Fifths
Pitch Inventory Process
TXT: Ch. 2, review pp. 35-40 WEB:
http://www.teoria.com/tutorials/scales/index.htm
(Teoría Scales Tutorial)
TXT: 2.6 (p. 51)
WKBK: 2.G (p. 10) and 2.J (p. 12)
WKBK: 2.D and 2.F 10
F 24 Sep Synthetic Scales of the Nineteenth and Twentieth Centuries, Polytonality
Looking Beyond Pitch in Music
TXT: Ch. 2, review pp. 40-44
WEB: http://www.teoria.com/exercises/si.htm
(Teoría Scale Identification Exercises)
Review Quiz 2: Major and Minor Key Signatures
[R] Bartók, Mikrokosmos, BB 105, Vol. 5: No. 136. Whole-tone Scales
[R] Messiaen, Transports de joie from
L'Ascension (Outbursts of Joy from The Ascension), Le Banquet Céleste (The Heavenly Banquet)
[R] Stravinsky, excerpts from Le Sacre du Printemps (The Rite of Spring)
Study for Review Quiz 2
WKBK: 2.E and 2.J 20
M 27 Sep Review Scales, Tonality, Key, and Mode
TXT: Review Ch. 2, pp. 27-47 WKBK: Test Yourself 2 (pp. 15-16)
HANDOUT: Oliveros, Pauline. “Some Sound Observations.” In Audio Culture: Readings in Modern Music, edited by Christopher Cox and Daniel Warner, 102-106. New York and London: Continuum, 2008.
Discuss WKBK: 2.E (p. 9), 2.J (p. 12) [R] Ottman, 2.44-2.49 (pp. 20-22) Written Exam I Review
Composition 2. Monophonic Work 25
W 29 Sep WRITTEN EXAM I: Ch. 1-2 (75) Study for Written Exam I
Listening Activity 1 20
F 1 Oct Introduction to Melodic and Harmonic Intervals: Perfect, Major, Minor, Diminished, Augmented
TXT: Ch. 3, pp. 55-58
WEB: http://www.teoria.com/exercises/ie.htm
(Teoría Interval Ear Training)
TXT: 3.1, 3.2, 3.3, 3,4 (pp. 67-68) [R] Ottman, 3.1-3.15 (pp. 26-29) M 4 Oct Interval Inversions; Compound
and Enharmonic Intervals
TXT: Ch. 3, pp. 59-64
WEB: http://www.good-ear.com (attempt various interval exercises)
TXT: 3.5, 3.9, 3.10 (pp. 69-71) Composition 2. Engraving and Intervallic Analysis
10
W 6 Oct No Class: Nobel Conference Attend Nobel Concert on Tuesday, 5 October
(8.00 PM, Christ Chapel)
F 8 Oct Transposition and Transposing Instruments
TXT: Ch. 3, pp. 64-66 [R] Schein, Suite No. 16 from Banchetto Musicale (Musical Banquet)
[R] Bears. Beets. Battlestar Galactica!
WKBK: 3.I (p. 22)
WKBK 3.A (evens), 3.B (odds), 3.E (mm. 1-8 only), 3.G
M 11 Oct Introduction to Triads, Tertian Chords, and Seventh Chords
TXT: Review Ch. 3, pp. 55-66 WKBK: Test Yourself 3 (p. 26) WEB:
http://www.teoria.com/tutorials/chords/index.htm
(Teoría Chord Tutorial)
Review Quiz 3 (Aural): Perfect, Major, and Minor Intervals
TXT: 4.2 (p. 87)
Study for Review Quiz 3 (Aural)
WKBK: 3.L 10
W 13 Oct Chord Inversions and Their Symbols
Overview of Composition 3
TXT: Ch. 4, pp. 73-80
WEB: http://www.teoria.com/exercises/c3i.htm
(Teoría Triad Identification Exercises)
WKBK: 4.I (p. 29), 4.K (p. 30) [R] Pachelbel, Ciaccona in D
[R] Bach, Passacaglia in c
WKBK: 4.A (all), 4.B (1-4 only), 4.C (1-4 only), 4.D (1-4 only)
20
F 15 Oct Roman Numeral Analysis I TXT: Ch. 4, review pp. 78-80
WEB: http://www.good-ear.com (attempt various chord exercises)
TXT: 4.3, 4.4, 4.5, 4.6, 4.7, 4.8 (pp. 88-90) [R] Mendelssohn, Cast thy Burden from
Elijah
M 18 Oct Roman Numeral Analysis II TXT and WKBK: continued examples
from Ch. 4
Mendelssohn Chord Analysis 20
W 20 Oct Review of Intervals, Triads, Chords, and Roman Numeral Analysis
WKBK: Test Yourself 4 (pp. 31-32) Revisit online tutorials from this unit
Written Exam II Review Composition 3. Ciaccona 25
F 22 Oct WRITTEN EXAM II: Ch. 3-4 (75) Study for Written Exam II
Listening Activity 2 20
M 25 Oct No Class: Reading Days
W 27 Oct Harmonic and Rhythmic Cadences: Placement and Purpose
TXT: Ch. 5, pp. 97-102; scan Ch. 10, pp. 213-224 [R] Handel, “Surely He Hath Borne Our Griefs” from Messiah
WKBK: 5.A (p. 33) F 29 Oct Functions of Specific Cadence
Types
TXT: Ch. 5, review cadence types on pp. 98-99 WEB: http://smu.edu/totw/cadences.htm (Southern Methodist University Cadences Tutorial)
WKBK: 5.B (p. 34, 225) 10
M 1 Nov Nonharmonic Tones I TXT: Ch. 5, pp. 102-111
WEB: http://www.teoria.com/tutorials/hf/nht.htm
(Teroía Nonharmonic tone Tutorial)
TXT: 5.2 (p. 113)
WKBK: 5.C (p. 34-35) in groups W 3 Nov Nonharmonic Tones II TXT: Ch. 5, review nonharmonic tone types on pp.
102-111
WKBK: Test Yourself 5 (pp. 40-42)
[R] J. S. Bach, Fantasy in G minor, BWV 542
WKBK: 5.G (pp. 38-39)
WKBK: 5.D, Complete #2 using Finale® 10
F 5 Nov Motives and Sequences TXT: Ch. 6, pp. 119-123
WEB: http://www.good-ear.com (attempt cadence identification exercises)
WKBK: 6.A (pp. 43-44) Bach Fugue Examples
[R] Beethoven, Symphony 5, Mvt. I [R] Ottman, 3.23-3.34 (pp. 31-33)
M 8 Nov Antecedent-Consequent Relationships, Melodic Phrases, and Periods
TXT: Ch. 6, pp. 123-134 WEB:
http://www.teoria.com/tutorials/forms/phrases-periods.html (Teoría Phrase and Period Tutorial)
Review Quiz 4: Cadences and Nonharmonic Tones TXT: 6.3 (p. 138)
[R] Haydn, Quartet No. 30 in E-flat, Mvt. IV
Study for Review Quiz 4
W 10 Nov Other Aspects of Melodic Organization
TXT: 6.4 (p. 139) in groups [R] Smetana, The Moldau
[R] Torke, Javelin
F 12 Nov Melodic Analysis I TXT: Review Ch. 6, pp. 119-134 WKBK: Test Yourself 6 (pp. 58-60)
TXT: 6.7 (pp. 142-143) WKBK. 6.K (pp. 55-57) [R] Ottman, 3.50-3.56 (pp. 37-40)
WKBK: complete one exercise from 6.B (pp. 44-45), and complete all of 6.D and 6.E (p. 53)
20
M 15 Nov Melodic Analysis II Overview of Composition 4
Group presentations of ELW melodic analyses
To Sing or Not to Sing: Melodies in ELW 25
W 17 Nov Introduction to Musical Texture TXT: Ch. 7, pp. 145-151 TXT: 7.1 (pp. 157-159)
Texture Identification Practice (Aural)
F 19 Nov Textural Reduction Techniques TXT: Ch. 7, pp. 151-156 TXT: 7.2 (pp. 160-162) Composition 4. Descant and Hymntune 25
M 22 Nov Review of Structural Elements: Cadence, Nonharmonic Tones, Phrase, Period, and Texture
TXT: Review Ch. 7, pp. 145-156 WKBK: Test Yourself 7 (pp. 64-64)
Review Quiz 5: Musical Texture Instructions for Take-Home Exam III: Content, Process, Methodology, and Objectives
Study for Review Quiz 5 Listening Activity 3
20
W 24 Nov No Class: Thanksgiving Recess F 26 Nov No Class: Thanksgiving Recess
M 29 Nov EXAM III: Ch. 5-7 (75) Complete Take-Home Exam III: All exam
materials due at start of class period. 29 Nov,
cont.
Overview of Composition 5 Introduction to Sectional Forms: Binary, Rounded Binary, Ternary, and Rondo
Ch. 16, pp. 337-345 (Binary Form) and Ch. 17, pp. 353-363 (Ternary Form)
WEB:
http://www.teoria.com/tutorials/forms/index.htm
(Teoría Musical Forms Tutorial)
[R] Bach, March and Polonaise from
Anna Magdelena’s Notebook
[R] Schumann, Humming Song from
Album for the Young
[R] Mendelssohn, Song Without Words
Op. 19.1 W 1 Dec Musical Forms, continued;
Introduction to Sonata Form
Review Ch. 6, pp. 119-134 (Melodic Organization) and Ch. 10, pp. 213-224 (Harmonic Progression and Harmonic Rhythm)
Group comparison of WKBK 10.G [R] Mozart, Symphony No. 38, Mvt. I
WKBK: 10.G (p. 96, 194) 20
F 3 Dec Musical Forms, continued HANDOUT: Jourdain, Robert. “To composition.” In Music, The Brain, and Ecstasy: How Music Captures Our Imagination, 155-195. New York: Quill (HarperCollins Publishers), 1997.
Attend Christmas in Christ Chapel this weekend!
M 6 Dec Twentieth-Century Developments I: expressionism and serial techniques, minimalism
[R] Schoenberg, Piano Suite, Op. 25 [R] Webern, Concerto
[R] Tenney, Chromatic Canon
[R] Glass, Knee Play No. 5 from Einstein on the Beach
[R] Pärt, Cantus in Memory of Benjamin Britten
[R] Adams, Short Ride in a Fast Machine
Form Analysis Assignment
Schedule at least one 15-min. appointment on Monday, Tuesday, or Wednesday to discuss Composition 5
20
W 8 Dec Twentieth-Century Developments II: electronic music and aleatoric designs
Final Exam Overview and Practice Exam Instructions (Moodle)
[R] Cowell, The Banshee (1925) [R] Johnson, Celestial Music for Imaginary Trumpets
[R] Will Redman, Book
[R] Ligeti, Volumina and Coulée
[R] Cage, Williams Mix
[R] Varèse, Poème électronique
[R] Lucier, I Am Sitting in a Room
[R] Dodge, He Destroyed Her Image
[R] Ashley, Cindy Electronium
F 10 Dec Composition 5 Presentations, Part I
M 13 Dec Composition 5 Presentations, Part II
W 15 Dec No Class: Reading Day Listening Activity 4 (submitted
electronically by 5.00 PM on this date) Final drafts of Composition 5 and supporting materials (submitted electronically by 5.00 PM on this date)
25 50
M 20 Dec FINAL EXAM (125)
1.00–3.00 PM, Vickner Hall 301