MUSC10112
Techniques of Tonal Harmony
10
Semester 2
Undergraduate
Level 1
Rosemarie Darby
Unit coordinator
Music
1
FHEQ level (Framework for Higher Education Qualifications) ' First part HE study/Bachelors '
European Credit Transfer & Accumulation System Rating : 5.0
<p>Students will study tonal harmony and counterpoint through exercises in two principal areas:</p><ul> <li> <strong>Chorale harmonisation in the style of J. S. Bach</strong> stimulates investigation of the structure of basic tonal chords, their relationship to one another in a given key, and their functions with respect to phrasing and cadence. It also introduces the concept of modulation and the relationships between keys in the course of a piece, and highlights some of the demands of four-part vocal writing both in terms of chordal voicing and the shaping of individual lines</li> <li> <strong>Two-part counterpoint in the style of Palestrina </strong>focuses on line and counterpoint at an introductory level, giving students a sense of how musical lines are shaped, and how in simple combination they interact to create a harmonically convincing whole. By focussing on the style of Palestrina, students will experience the fundamentals of Sixteenth Century counterpoint, giving additional context for their understanding of J.S. Bach. Students will have the opportunity to hear their work performed in a dedicated workshop towards the end of the semester</li></ul>
<p>Students will study tonal harmony and counterpoint through exercises in two principal areas:</p><ul> <li> <strong>Chorale harmonisation in the style of J. S. Bach</strong> stimulates investigation of the structure of basic tonal chords, their relationship to one another in a given key, and their functions with respect to phrasing and cadence. It also introduces the concept of modulation and the relationships between keys in the course of a piece, and highlights some of the demands of four-part vocal writing both in terms of chordal voicing and the shaping of individual lines</li> <li> <strong>Two-part counterpoint in the style of Palestrina </strong>focuses on line and counterpoint at an introductory level, giving students a sense of how musical lines are shaped, and how in simple combination they interact to create a harmonically convincing whole. By focussing on the style of Palestrina, students will experience the fundamentals of Sixteenth Century counterpoint, giving additional context for their understanding of J.S. Bach. Students will have the opportunity to hear their work performed in a dedicated workshop towards the end of the semester</li></ul>
<ul> <li> To provide a foundation for understanding the concepts of consonance and dissonance within the context of early tonal music</li> <li> To enable students to develop practical skills in the manipulation of musical materials within the parameters of set styles</li></ul>
<p>Demonstrate knowledge and understanding of:</p><ul> <li> the concepts of consonance and dissonance</li> <li> the interaction between line and harmony, within defined musical styles (ie, what makes a convincing line; what makes a meaningful harmonic progression)</li> <li> how composers in the Sixteenth Century, and how J.S. Bach approached harmony and counterpoint</li></ul>
<ul> <li> Demonstrate competence in the manipulation of musical line and harmony according to accepted conventions of early tonal music</li> <li> Make sophisticated musical judgements according to these principals</li></ul>
<ul> <li> Apply the skills they have acquired to the idiomatic completion of fragmentary musical textures, and to the composition of simple pastiche compositions from scratch</li> <li> Notate their work to a high standard, so that it can be easily read by performers</li></ul>
<ul> <li> Demonstrate enhanced problem solving — thinking through problems in a logical way in order to determine key issues</li> <li> Demonstrate increased creative skills</li> <li> Demonstrate a flexibility of approach in application of understanding to defined musical scenarios</li></ul>
Other
Make more informed interpretative decisions when performing
Apply general principles from this course (where applicable) to composition
Write about music in a more informed way
A good knowledge of these skills is valuable for teaching, whether in schools (especially A-level), or teaching instruments / voice and guiding pupils through theory exams
0
Other
100%
<figure class="table"><table><tbody><tr><td>Assessment task</td><td>Formative or Summative</td><td>Weighting</td></tr><tr><td>Cantus Firmus exercise</td><td>Formative</td><td>0%</td></tr><tr><td>Final Exam</td><td>Summative</td><td>100%</td></tr></tbody></table></figure><p> </p><p> </p><p> </p>
<ul> <li>Formative feedback on weekly tasks in tutorials</li> <li>Formative feedback on Cantus Firmus exercise in workshop</li> <li>Summative feedback on exam</li></ul>
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<p>Available as Free Choice (UG) or to other programmes (PG)?</p></td>
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<p>Yes, but note prerequisite of A Level Music or Grade VIII Theory or equivalent.</p></td>
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Y
<ul><li>Bach, J.S., ed. Riemenschneider, Albert, ‘371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass’, London : Chappell, 1941 (NB! You are expected to own a copy of this)</li><li>Boyd, Malcolm, ‘Harmonizing ‘Bach’ chorales’, London: Barrie and Rockcliff, 1967 (one-night loan in Lenagan)</li><li>Boyd, Malcolm, ‘Palestrina’s Style’, Oxford University Press, 1973 (one-night loan in Lenagan)</li><li>Morley, Thomas, ed. Harman, R. Alec, ‘A Plain and Easy Introduction to Practical Music’, London: J. M. Dent & Sons Ltd., 1952 (available from library as e-book)</li><li>Palestrina, G.P. da, ‘The complete works of G.P. da Palestrina’, Kalmus, 1960<br/>Swindale, Owen, ‘Polyphonic Composition’, Oxford University Press, 1962 (one-night loan in Lenagan; copies in Main library) <br/> </li></ul>
Lectures
5
Practical classes & workshops
1
Tutorials
6
0
88