Manhattanville College

MUT 1033 COMPREHENSIVE MUSICIANSHIP II

Spring 2009

Dr. Francis Brancaleone

 

 

Course Outline

 

THE STRUCTURAL ELEMENTS OF MUSIC  (continued) 

 

            VOICE LEADING IN FOUR-PART CHORALE WRITING

                        Analysis of chorale phrases

                        Stylistic practices

                        Treatment of triads in root position, first and second inversions   

                                    Standard voice-leading guidelines

 

HARMONIC PROGRESSION AND HARMONIC RHYTHM

Relationship of chords

Chord progressions

How to harmonize a tonal melody

 

HARMONY: THE DOMINANT SEVENTH CHORD

Resolution of the V⁷

Circle progression

                                    Noncircle progressions

            Nonresolution of the 7th factor (fourth scale degree)

            Stylistic practices for voice leading in V⁷ chords

 

HARMONY: THE LEADING-TONE SEVENTH CHORDS 

Partwriting the fully-diminished vii⁷ and half-diminished vii⁷

 

            HARMONY: NONDOMINANT SEVENTH CHORDS 

                                    Analysis symbols           

            Nondominant seventh chords in major and minor keys 

            Nondominant seventh chords in circle progressions 

            Special noncircle treatment 

            Resolution of the 7th factor 

            Partwriting nondominant seventh chords

 

HARMONY: MODULATION

Closely related keys

Common chord 

Chromatic 

Phrase

                                    Harmonizing melodies that modulate 

            SECONDARY DOMINANTS AND LEADING-TONE CHORDS

 

TWO-PART (BINARY) FORM

Formal divisions 

Rounded binary form 

 

THREE-PART (TERNARY) FORM 

 

Learning Objectives:  Students taking Comprehensive Musicianship I and II study the basic principles used in the construction of music: pitch, scales, intervals, chords, rhythm, and harmonic progressions. The sequence of courses will introduce students to the following Music Department Learning Objectives:

 

Objective II: Critical Thinking and Aural Analysis

• By being able to integrate aural analysis with a variety of theoretical approaches.

• By developing skills to integrate critical analytical and aural skills for the development of musical material into improvisation, new musical arrangements and original composition.

Objective III: Breadth of Knowledge

•  By learning basic music terminology and its broader application in the professional world.

Assessment:  Grades will be based on class participation, homework, tests, mid-term and final exams.  Students are responsible for all of the material covered in class and that contained in the text including those sections on history which may not be covered in detail in class.  A maximum of two absences will be allowed before the grade is effected.  Being absent does not excuse the student from doing the homework assignment for the next class.