|
| Module Availability |
| Semester 1 |
|
|
| Assessment Pattern |
Coursework 1: online test in class - 15%
Coursework 2: harmony exercise completed outside class - 20%
Coursework 3: harmony exercise completed outside class - 20%
Coursework 4: listening assignment - 15%
Coursework 5: listening assignment - 15%
Coursework 6: listening assignment - 15%
A weighted aggregate mark of at least 40% is required to pass the module.
|
|
|
| Module Overview |
| This module contains two main components. The harmony component develops your skills in understanding and writing harmonic progressions in a range of genres. The score studies component develops your skills in grasping the essence of a musical score and in relating its sight to its sound in performance. |
|
|
| Prerequisites/Co-requisites |
| None |
|
|
| Module Aims |
• To develop your skills in understanding harmonic progressions.
• To develop your skills in writing harmonic progressions.
• To develop your skills in understanding a musical score.
• To develop your skills in relating a musical score to its sound in performance.
|
|
|
| Learning Outcomes |
On successful completion of this module you should be able to:
• Describe the principles of harmonic structuring in representative small-scale examples from the Baroque, Classical, and early Romantic periods
• Compose small-scale pastiche pieces in the styles of the above periods.
• Formally parse and functionally analyse the harmony of basic examples of music.
• Read and understand a score with confidence and fluency.
• Follow a performance with a score and check its accuracy
• Compare perceptively the relative merits of different performances.
• Mark up a score, following a studio recording, ready for editing.
|
|
|
| Module Content |
The following is an indication of the likely topics to be covered:
• Analysis of Baroque and Classical music in chamber-music genres.
• Completion of exercises in pastiche composition, drawing on the knowledge gained in such analyses.
• The essentials of a classical orchestral score.
• Simple comparative interpretation.
• Evaluation of takes (piano recordings) prior to editing.
• Basic grasp of a late romantic score.
• Accurately relating the sight of a score to its imagined sound.
|
|
|
| Methods of Teaching/Learning |
• Two one-hour lecture/workshop and one one-hour lecture per week.
• Guided reading.
• Coursework assignments and feedback.
|
|
|
| Selected Texts/Journals |
Compulsory Reading:
• None.
Recommended Reading:
• Pratt, George, 1996 (1984): The Dynamics of Harmony: Principles and Practice (Oxford: Oxford University Press).
• Gauldin, Robert, 2004 (1997): Harmonic Practice in Tonal Music (New York: Norton).
• Tunley, David, 1984: Harmony in Action (London: Faber and Faber). Wilkinson, Roy, 1993: An ABC of Harmony (London: Boosey and Hawkes).
• Boyd, Malcolm, 1999: Bach Chorale Harmonisation and Instrumental Counterpoint (London: Kahn & Averill).
|
|
|
| Last Updated |
| Date Last Revised: 17/11/10 |
|
