(timings are tentative)
January 21& 26
Modes in medieval/renaissance Western music. Mode mixture/borrowings.
From counterpoint to harmony and back... and forth...
About overtones, harmony, timbre/spectrum.
Third assignment due 2/9
February 5 - 9
Fourth assignment due 2/16
9th, 11th, and 13th chords.
February 19 - First Quiz
Fifth assignment due 2/23
February 16 - 18 - 23
Enharmonic modulations. The "fully diminished" chord as VII, altered II,
and altered VI. Same chord can resolve in 12 different keys.
Ambiguities in 19th. century music.
Sixth assignment due 3/1
Augmented triads on I, IV, and V. Same chord can resolve in 9 different keys.
Other chromatic chords: appoggiatura chords.
Seventh assignment due 3/8
Modulations at the interval of a third. Extended tonality - layers of
Eighth assignment due 3/15
March 8 - 10 - 15 - 17
Expanded tonality: Prelude to Tristan und Isolde as an example - analysis.
Ninth assignment due 3/29
March 18 - Second Quiz
March 29 - 31
Transition to atonality: Richard Strauss "Elektra" - analysis of a fragment.
Artistic movements at the turn of the century
Tenth assignment due 4/7
April 5 - 7
Motive development as a substitute for tonality. Webern Op. 3, No. 1.
April 12 - 14
Parallel movement of chords - a look at a Debussy prelude.
On musical form in 19th century music. Old patterns, conservative
attitudes vs. a new language requiring a different approach to form.
Debussy's "momente" form. Other constructive devices.
Eleventh assignment due 4/21
April 19 - 21
Chords built by 4ths., 5ths., 2nds., and 7ths. Polychords and
Twelfth assignment due 4/28
April 29 - Third Quiz
April 26 - 28 - May 3 - 5
More about modes and "artificial" scales. Modal and rhythmic systems
in East European folklore; Bartok. Brief look at Messiaen's modes
with limited transpositions and at Xenakis's sieves
Recapitulation session 5/6
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