| MUSIC 130: Advanced Study of Harmony and Form in Western Art Music | ||||||||||||
| UNIT | Date | Lecture | Assignments/exams | Labs | ||||||||
| I-A | F | 23-Sep | Course Overview | |||||||||
| M | 26 | Harmonic Reduction | Beethoven Qt. Op. 130, II | |||||||||
| W | 28 | & read Cadwallader & Gagne Ch.2, pp. 15-24 | Haydn: Symph. 52 excerpt | |||||||||
| B | F | 30 | Long-range voice-leading | Cadential pre-dominants (1) | ||||||||
| M | 3-Oct | Three kinds of harmony | Clara Schumann Op 17, III / Chopin Op. 10 | |||||||||
| W | 5 | Mozart: Luisita amabile excerpt | ||||||||||
| Cadential pre-dominants (2), Chopin Prelude 20 | ||||||||||||
| C | M | 10 | Sequences and Linear Intervallic Progression | <- Schumann/Brahms/Strauss (Songs) -> | ||||||||
| W | 12 | Phrase structure | Schubert Songs TBA | |||||||||
| F | 14 | & read Cadwallader & Gagne Ch.3, pp. 45-56 | ||||||||||
| II-A | M | 17 | Unfoldings | |||||||||
| W | 19 | Linear Middleground | & read Kostka & Payne Ch. 25: enharmonic modulations | |||||||||
| F | 21 | Robert Schumann:Ich Grolle Nicht |
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Composition I: elaborations on Chopin’s op. 10 & read Cadwallader & Gagne Ch.3, pp. 56-71 |
Sing-play 1 (1st part) | |||||||
| B | M | 24 | Tonicization vs. Modulation | Prose descriptions | ||||||||
| W | 26 | Hugo Wolf TBA | Mid-term review | |||||||||
| F | 28 | Analysis 1 due | LAB MID-TERMS | |||||||||
| III-A | M | 31 | Liszt: Consolations | MID-TERM EXAM | ||||||||
| W | 2-Nov | Motivic Analysis | Composition 2: Common-tone modulation | Chromatic Figured Bass 1 (Liszt: Consolation 1) | ||||||||
| F | 4 | & read excerpts from Carl Dahlhaus “Issues in Composition” in Between Romanticism and Modernism | ||||||||||
| B | M | 7 | Individuated Harmony | Sing-play 2 due | ||||||||
| W | 9 | Wagner: Prelude nach Tristan und Isolde | Wolf/Strauss/Wagner Analysis drafts | |||||||||
| M | 14 | & read Kostka & Payne Ch. 26: Further Elements of the Harmonic Vocabulary | Chromatic Figured Bass 2 (Wagner:Liebestod) | |||||||||
| IV-A | W | 16 | Omnibus Progression | Analysis 2 due | ||||||||
| F | 18 | What is Developing Variation? | & read excerpts from Carl Dahlhaus “Issues in Composition” in Between Romanticism and Modernism | Chromatic Figured Bass 3 (Wolf: In Der Frühe) | ||||||||
| M | 21 | |||||||||||
| B | W | 23 | Emancipations | Song Analysis Presentations | ||||||||
| M | 28 | Schoenberg: Ghasel | ||||||||||
| W | 30 | Schoenberg:Verklärte Nacht | VOICE & RHYTHM LAB FINAL | |||||||||
| F | 2-Dec | Final Analysis Project Due | KEYBOARD LAB FINAL | |||||||||
| FINAL EXAMS | ||||||||||||
| section 1 | W | 7 | 4:00 - 7:00 PM | |||||||||
| section 2 | Th | 8 | 4:00 - 7:00 PM | Extra Credit Compositions Due | ||||||||