MUSIC THEORY I
Music 30C, Spring 1997
Music Building, Room 196
Professor Christopher Dobrian
294E Music Building
Office hours by appointment.
Kostka, Stefan and Payne, Dorothy. Tonal Harmony, 3rd edition. New York: McGraw-Hill, Inc., 1995.
Burkhart, Charles. Anthology for Musical Analysis, 4th edition. New York: Holt, Rinehart and Winston, 1986.
UCI Catalog Course Description
The study of traditional common-practice diatonic harmony, through written and keyboard drill. Basic harmonic theory, triads, seventh chords, sequences, modulation, elementary figured basses. Prerequisite: Music 25 or equivalent.
Professor's Course Description
A workshop in elementary Western (predominantly classical) music theory, analysis, and composition through active score study, ear training, performance, and composition. Primary activities will be specific theory and style studies, composition based on those studies, and performance of the compositions. Prerequisite: Music 30B or equivalent.
- Theoretical harmonic and formal concepts
- Stylistic analyses of selected compositions
- Derived "rules" of composition
- Ear Training
- Singing drills to improve aural acuity
- Melodic and harmonic dictation
- Studying examples of established theoretical concepts
- Deriving concepts from existing compositions
- Guided composition employing specific theoretical concepts in Western classical style.
- Vocal and instrumental rehearsal and performance of student compositions
- Secondary dominant (and dominant seventh) chords
- Secondary diminished (and diminished seventh) chords
- Modulation to closely related keys via pivot chord(s)
- Deceptive resolutions of secondary chords
- Borrowed chords from the parallel key
- Non-harmonic tones (chromatic)
- Traditional established formal stuctures (binary and ternary form)
- Vocal and instrumental writing
- Formal and expressive role of timbre and rhythm
Timeline for Term Project in Composition
- Monday, April 7
- Decide on instrumentation and performers
- Monday April 14
- Antecedent and consequent phrases (primary theme)
- Monday April 21
- Contrasting theme in related key
- Monday April 28
- Modulatory passages; introduction and coda
- Monday May 5
- Submit (semi-)final draft
- Week of Monday May 12
- Final revisions
- Friday May 16
- Final draft completed and delivered to performers
- Week of Wednesday May 28
- Dress rehearsal
- Monday June 2
- Participation in at least 90% of all class meeting time,
- Adequate preparation for class rehearsals, performances and drills,
- Timely completion of composition and analysis assignments,
- Midterm and final exams: composition, analysis, and performance.
Grading for the course will be based on timely completion of all the course requirements. Since every requirement is considered a vital part of the educational experience of the course, serious and high quality work is expected at all times. Grading will be based in more or less equal proportion on the following activities:
- Active and well-prepared participation in class activities,
- Written composition and analysis assignments,
- Term project in composition,
- Midterm exam,
- Final exam.
Regarding Academic Integrity
Plagiarism of any kind is a violation of UCI policy on Academic Honesty, and penalties for plagiarism can be severe. In this class you will be expected to attribute due credit to the originator of any ideas, music, or other work which you incorporate substantially into your own assignments. This applies particularly to citation of sources for quotes and ideas included in your compositions and analyses. While supportive co-education between colleagues is encouraged, written assignments must be accomplished individually, without collaboration with others.
March 27, 1997