CCOG for MUS 212A Summer 2022
- Course Number:
- MUS 212A
- Course Title:
- Music Theory II (part two)
- Credit Hours:
- Lecture Hours:
- Lecture/Lab Hours:
- Lab Hours:
Intended Outcomes for the course
Upon completion of the course students should be able to:
- Use an understanding of 19th-century music practices to provide a harmonic analysis of representative works.
- Compose original examples of musical works based on 19th-century chromatic practices.
- Use knowledge of 18th- and 19th-century music practices to identify the specific stylistic differences in works from each of the main music eras.
Course Activities and Design
Material will primarily be presented in a lecture/discussion format. Other educational methods will be used to enhance lectures. These will include guest presentations and performances, research papers, small group work, original composition assignments and concert attendance.
A large amount of student to teacher and student to student contact should be achieved throughout the term in order to encourage and accomplish successful student development. The application of concepts presented will be accomplished through the examination of musical works in a variety of musical genres. Composition assignments that focus on particular aspects of music will be regularly scheduled. Whenever possible students should be encouraged to perform assignments and compositions in the classroom. In addition, students will be given the opportunity to learn and use music technology (MIDI, internet, CD, DVD) to supplement the regular course work.
Outcome Assessment Strategies
The instructor should make the criteria for assigning a course grade and for evaluating student progress clear at the beginning of the term. The individual instructor will determine the methods of assessment. Assessment methods may include:
Small group work/problem solving
Course Content (Themes, Concepts, Issues and Skills)
… Chromatic modulation
… Enharmonic modulation
… Modulation through mode mixture
… Pivot chord and pivot tone modulation
… Tonal shift
The Classical Symphony
… Characteristics of individual movements
… Names of instruments in Italian and German
… Dealing with transposing instruments
… Compound ternary form
… The classical era minuet and trio
… Sonata form
… Rondo form
… Formal principles
Mozart, Haydn and Beethoven
… Stylistic differences
… Common practices
Nineteenth-Century Chromatic Practices
… The double augmented fourth chord
… The enharmonic diminished seventh chord
… The enharmonic German sixth chord
… Wagner's "Tristan" chord
… Expanded tonicization
… Harmonic sequence
… Altered dominants
… Chord mutation
… Dominant ninth chords
… Dominant thirteenth chords
… The embellishing diminished seventh chord
… Ninth chords
Romantic Era Art Song
… Song cycles
… Text setting
… Form in art song
The following skills are expected to be achieved to successfully meet the minimum requirement ("C" or "Pass") of the course.
- Provide harmonic analysis (harmonic function and sonority) of eighteenth and nineteenth-century musical works.
- Identify chromatic modulation types within nineteenth-century musical works.
- Compose original excerpts that employ chromatic modulations.
- Provide formal analysis of musical works in compound ternary form.
- Provide formal analysis of musical works in rondo form.
- Provide formal analysis of musical works in sonata form.
- Compose original work in rondo form.
- Identify common compositional practices employed by Haydn, Mozart and Beethoven.
- Identify use of enharmonic harmonies within nineteenth-century musical works.
- Compose musical excerpts that employ enharmonic harmonies.
- Identify use of linear harmonies within nineteenth-century musical works.
- Compose musical excerpts that employ linear harmonies.
Students will be able to analyze chromatic modulations within musical works from the common practice period.
Students will be able to employ chromatic modulations as part of original compositions.
Students will be able to provide formal analysis of classical and romantic era works.
Students will be able to identify the main sections of works written in sonata form.
Students will be able to compare and contrast chamber and symphonic works by Mozart, Haydn and Beethoven.
Students will be able to accurately read transposing instrument parts in concert pitch.
Students will be able to create original compositions using rondo and compound ternary forms.
Students will be able to identify use of enharmonic harmonies within musical works.
Students will be able to compose musical excerpts using enharmonic harmonies.
Students will be able to identify expanded tonicization and harmonic sequences within musical works.
Students will be able to identify and label linear harmonies within musical works.
Students will be able to compose musical excerpts that employ linear harmonies.