MUS 214 - Music Theory IV

1. Identify and demonstrate chromatic harmony including common tone diminished seventh chords in late 19th-century music, post-romantic music, and jazz through analysis and part writing.
2. Identify and discern late 19th-century and post-romantic compositional techniques such as simultaneous melodic progressions (wedge progressions), coloristic chord progressions, linear chord progressions, omlnibus progression, pandiatonicism, polytonality, neotonality, atonality, dodecophony, and non-functional harmony.
3. Compose examples of third, fourth, and fifth species 16th-century counterpoint.
4. Recognize the characteristics of late 19th century counterpoint.
5. Identify and analyze melodic, harmonic, and rhythmic characteristics of Impressionism and Neoclassicism through the study of the music of composers such as Debussy, Bartok, and Stravinsky.
6. Identify and discern rhythmic and metric complexities found in modern music including mixed meter, assymetrical meter, polymeter, and metric modulation through analysis and compositional modeling.
7. Demonstrate the use of set theory in the analysis of atonal and music.
8. Discern serial techniques and aleatoric techniques in 20th century composition through analysis.
9. Demonstrate knowledge of late 19th and 20th century compositional techniques through original composition based on models studied in class.

A. Review Third Species Counterpoint

B. Fourth Species Counterpoint

C. Fifth Species Counterpoint

II. Late 19th Century Compositional Practice

A. Review chromatic harmony

B. Enharmonic Modulations and Respellings

C. Common Tone Diminished Seventh Chords

D. Late 19th Century Composition

1. Simultaneities (Incidental Chords)

2. Coloristic Chord Progressions

3. Wedge progressions and linear progressions

4. Omnibus progression

5. Other techniques based on late 19th-century models

III. Impressionism

A. Modulating Sequences

B. Coloristic Chord Successions and planing

C. Non-resolution of the Dominant

D. Neotonality and other approaches to tonality

IV. 20th Century Compositional Practices

A. Various Styles of Pre-1945 Music

B. Modern approaches to rhythm and meter

C. Review of Modes and Non-diatonic Scales

D. Atonality and 12-tone music

V. Methods for Analyzing 20th Century Music

A. Set Theory

B. Descriptive

Facilitated discussion: 55-65%

Mediated instruction (video, computer, etc.): 15-20%

Group work: 5-10%
Mandatory Course Components:
Composition projects

 
Equivalent Courses:
None