Music 233
Chromatic
Harmony–Spring 2020
MWF
9:00-9:50a, CA 136
Instructor:
Jono
Kornfeld
Office: CA 166F
Office
Hours: M & W, 11:00a-1:00p; and by appointment
Phone: 415-338-6013, email
Graduate Assistant: Forrest Ballman, email
PRINTABLE VERSION OF
THIS SYLLABUS: (Rules
& Regs) (Topics & HW)
MP3 LINKS FOR KOSTKA/PAYNE WORKBOOK
Required
Text 1 |
Recommended
Text 1 |
Recommended
Books |
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Tonal Harmony – Textbook, 7th
Edition Kostka/Payne McGraw Hill, ISBN
0-07-285260-7 |
Tonal Harmony – Workbook, 7th
Ed. Kostka/Payne McGraw Hill, ISBN
0-07-282561-5 |
A College-Level Music Dictionary: Oxford, Harvard, etc. A Music Notation Manual: Norton,
Alfred, etc. |
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Course
Objectives |
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The
prerequisite for this course is MUS 232. This course will focus on
the chromatic aspects of harmony, voice leading and forms of the common
practice eras, with an emphasis on studying the four-part texture style of
the Bach Chorale. Other textures for study will include solo piano,
chamber and orchestral, as well as other single-line instruments. We
will strive to understand how counterpoint and harmony are interrelated, and
how the smaller mechanics of harmony and voice leading inform larger
structural aspects of common practice music–as well as other styles. By
the end of this course you should be able to compose and analyze a short
diatonic piece in the keyboard and/or 4-part styles of the common practice
era, and have a command of all associated vocabulary. Your written work
will consist of a mixture between homework, quizzes, and separate
composition/analysis projects. |
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Grading: All grades will be given as a
percentage. Only your final grade
will be a letter grade. |
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Each assignment and exam
will have its own grade. You can also look up your grades to date through this link—grades are listed via an assigned alias to protect your
privacy. Class
Participation/Communication: 5% Students are
expected to attend all classes and participate. Participation means arriving on time,
being fully present and engaged, and not behaving in a distracted or
distracting manner. Use of cell
phones and/or electronic devices for non-emergency, or non-class-related
purposes will be considered disruptive, and will count against your
participation credit—they should be put away during class. Students
should practice professional-level communication in class, and in written
correspondence. Keyboard
Performance Demonstration: 5%
(audio example) Sonatina
midterm composition assignment: 10% Details
will be announced. Final
composition assignment: 15% Details
will be announced. Quizzes:
30% In
lieu of midterm and final exams, there will be approximately 12 quizzes. They
will be announced in advance, but can be expected on a near weekly
basis. Quizzes will last between
10 -20 minutes, and will use questions drawn from the text and syllabus
reading sheets (all downloadable in advance), and will be open-note/book. You
should have a pencil and staff paper available for all quizzes.
Missed quizzes cannot be made up.
The lowest two grades will be dropped, so assuming there are 12
quizzes, each will be worth 3% of your grade. Homework: 35% Homework
(workbook and small composition assignments) is due on the day announced in
class unless otherwise specified. Late assignments will not be accepted, but
reasonable excuses are ok in some cases.
The lowest grade will be dropped. Putting an assignment into the in folder after its due date without
any explanation will result in a grade of 0 for that assignment. Homework
collaboration option. Redo Policy:
Unless otherwise specified, you can redo any homework assignment that gets
less than a 93%. The score of the
redone version of the assignment will be averaged with the original score for
a final assignment grade, with a maximum possible grade of 93%. Redone assignments are due two class
periods after the original assignment is handed back. Redoing an assignment means
that you either make clear corrections on the original assignment, or that
you hand in a copied-over, corrected version of the original assignment on a
separate piece of paper. For the latter, you MUST staple the redone
assignment to the original marked-up version; you don't have to copy over
portions of the original assignment that were done correctly. This does NOT
apply to quizzes or exams. **Please
note: the above percentages are subject to redistribution** Missed assignments, quizzes or exams:
in the event of an unforeseen absence, make-up exams/quizzes or
assignment-extensions may be granted for extenuating circumstances, and only
on a case-by-case basis. Such circumstances must be documented when
possible (i.e. a doctor's note, etc.) and I must be notified as soon as
possible. Extra credit assignments (optional):
may be assigned and will be announced in class. Plagiarism: While
some collaboration is expected and productive, the bulk of your assignments
and definitely any compositions must be done individually unless otherwise
specified. Violations will be subject to the University's Code of
Conduct as it relates to such matters. Please note the following from the
SFSU Bulletin: To receive credit toward
completion of the degree requirements, a grade of C (a C- does NOT count) or
better is required for all music courses in the Bachelor of Arts in Music
major...To receive credit toward completion of the degree requirements, a
grade of C or better is required for all music courses in the Bachelor of
Music major. Disability
access Students
with disabilities who need reasonable accommodations are encouraged to
contact the instructor. The Disability Programs and Resource Center
(DPRC) is available to facilitate the reasonable accommodations
process. The DPRC is located in the Student Service Building and can be
reached by telephone (voice/415-338-2472, video phone/415-335-7210) or by
email (dprc@sfsu.edu). Student
disclosures of sexual violence SF State
fosters a campus free of sexual violence including sexual harassment,
domestic violence, dating violence, stalking, and/or any form of sex or
gender discrimination. If you disclose a personal experience as an SF
State student, the course instructor is required to notify the Title IX
Coordinator by completing the report form available at http://titleix.sfsu.edu, emailing vpsaem@sfsu.edu or calling 338-2032. To disclose
any such violence confidentially, contact: *The
SAFE Place - (415) 338-2208; http://www.sfsu.edu/~safe_plc/ *Counseling and Psychological Services
Center - (415) 338-2208; http://psyservs.sfsu.edu/ *For more information on your
rights and available resources: http://titleix.sfsu.edu |
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Attendance
and Classroom Guidelines |
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It is
your responsibility to get notes from any class you miss. Do not send
emails or request appointments regarding material covered during an unexcused
absence. Disruptive or distracting behavior will not be tolerated and
may result in you being asked to leave or have an assigned seat. Such
behavior includes: inappropriate talking with classmates, using cell phones
or other electronic devices, repeatedly arriving late, and/or engaging in
distracting behavior. BRING
YOUR TEXTBOOK TO CLASS. |
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Communication |
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There may be
instances where we need to make individual, special arrangements. In
these cases, it is best that we do so in person. However, it will also
be necessary to follow up such face-to-face communications with confirmation emails.
In the event that we have made a special arrangement, please make sure we
have at least done so in writing. If you write to me, please
communicate as clearly as possible.
While this is a music class, you are expected to practice
college-level, professional communication standards in your written and oral
communication. Make sure your SFSU email is set up to forward to your
regular/personal email. |
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Revisions
to this Syllabus |
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The syllabus
(including assignments, exam and grade distributions) and downloads are
subject to revisions as the semester progresses. Check the syllabus web
page often and listen for announcements in class. Do not download the
lecture notes all at once in case revisions are made as the semester
progresses. |
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Notation |
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In an ongoing
effort to nurture your notation skills, all work handed in must be written in
pencil; computer-notated assignments will not be accepted. When using staff paper
for any assignment, the paper should have no left- or right-side bar lines
and have no clefs printed on it. Notation is a factor in grading. Notation
errors, cross-outs, sloppy notation or analyses may lower assignment grades
and/or will be handled on a discretionary basis. |
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Printing
Materials for Class |
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The
Music Office is requiring as little photocopying as possible. You should plan to be able to print
supplemental, required materials for class on a regular basis. All materials will be available
through the web syllabus and will be PDF files. |
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MUS 233 – APPROXIMATE SCHEDULE OF CLASS TOPICS AND
HOMEWORK |
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(Week No.) Week of |
Class Topics ,Downloadable Notes and Links (day covered–"M, W, F") |
Assignments
and items to print for
that week with specific due day from
the K/P workbook unless otherwise specified |
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(1) Jan 27 |
Class
organization, introduction to chromaticism (MW) Overview
and review (F) |
(F) Print:
review pages (3 pages), Note
stacking tutorial |
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(2) Feb 3 |
Overview
and review continued (MWF) |
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(3) Feb 10 |
Overview
and review continued (M) Ch.
16: Tonicization I: secondary dominants (WF) Ch.
16 Reading Sheet (same sheet for ch. 17 & 18) |
(W)
Hand in: review
assignment (2 pages) |
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(4) Feb 17 |
Ch.
16 continued (MW) Secondary
dominants in a jazz context Ch.
17: Tonicization II: other secondary functions (F) Ch.
17 Reading Sheet (same sheet for ch. 16 & 18) |
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(5) Feb 24 |
Ch.
17 continued (MWF) |
(M)
Hand In: Ch. 16
Assignment: Beethoven assignment AND Ch. 16 supplement (just 6 questions) Audio
of Beethoven excerpt
(MIDI version) Audio
of Beethoven (actual excerpt)
(M)
Print: Schubert, An die Musik (D547) [audio
link] |
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(6) March 2 |
Ch.
18: Modulation I: Diatonic common chords
(MWF) Ch.
18 Reading Sheet (same sheet for ch. 16 & 17) |
(M)
Print: Modulation
Practice (W)
Hand In: Ch. 17 Assignment (WB
pages 17-1: A 1-5; 17-2: B 1-3; C1 & C2: analysis only) |
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(7) March 9 |
Ch.
19: Modulation II Further modulation techniques (same lecture notes as
Modulation I) (MWF) Monophonic
modulation: Handel Gavotte (score)
(audio) Ch. 19 Reading Sheet (same for ch. 20) Common
Tone Modulation & Chromatic Mediant
Relationships Examples (audio) |
(W)
Hand In: Ch. 18 Assignment (WB
pages 18-2: B [do this first]; 18-2: A7, read the instructions and listen to
the example; measure 47 is a secondary chord) |
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(8) March 16 |
Ch.
20, part 1: Form: binary & ternary (MWF) Ch.
20 Reading Sheet (same for ch. 19) |
(M)
Print: J.S.
Bach G Major Cello Suite Mvts.
(binary form examples)
LISTEN
TO THE EXAMPLES |
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March
23 – 27: Spring Recess, No Class |
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(9) March 30 |
Form
II: Sonatina/Sonata
Form (MWF) |
(W)
Hand In: Ch. 20 Assignment:
(WB pages 20-1: A, answer questions 1-3, make a diagram of the
whole example, name the form and its components; 20-1: B, just name the form
and its components; 20-1: D, just name the form and its components, and
answer question 1 by marking the score appropriately.) |
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(10) April 6 |
Sonata
(Sonata Allegro) Form
(MW) Beethoven: Op. 49, No. 1, i (audio) Form
III: other forms (F) |
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(11) April 13 |
Other
forms continued (M) Discuss
Sonatina Assignment (W) Ch.
21, part I: Mode mixture (WF) Ch.
21, I Reading Sheet (same for ch. 22) Chopin
Nocturne, Op. 9, No. 2 (Eb Maj)
Excerpt (see
m. 10) (full
audio and score) |
(M) Extra credit assignment on form. (WB 20-1, E:
identify the form and its components, and diagram down to the phrase level mm
1-28 only; name the small form of mm. 1-8; be sure to indicate all keys on
the diagram) (M
& W) Keyboard
Harmony Demonstration |
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(12) April 20 |
Mode
mixture continued (M) Ch.
21, part II: Neapolitan harmony (MWF) Ch.
21, II Reading Sheet (same for ch. 21) |
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(13) April 27 |
Ch.
22: Augmented 6th chords (MWF) Print: Mozart K.284 Example |
(M)
Hand In: Sonatina Assignment Clementi Sonatina Op. 36, No. 1, i (Audio) Clementi Sonatina Op. 36, No. 2, i (good for piano accompaniment examples) (W)
Hand In: Ch. 21 Assignment (WB pages 21-1: B 1-10; D 1-4) |
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(14) May 4 |
Discuss
Final Composition Project (M) Ch.
23: Enharmonicism
& Reinterpretation (MWF) |
(W)
Hand In: Ch. 22 Assignment
(WB pages 22-1: B 1-5; C 1,3, 4, 6 & 10; E 1-3) |
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(15) May 11 |
Ch.
24: Further chromatic embellishments (MW) Ch. 24 Reading Sheet The section on the common-tone diminished 7th chord Common
tone diminished 7th example (Joplin) Final
Composition Drafts returned (F) Wrap
up (F) |
(M)
Hand In: Final Composition Draft |
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(16) May 18 |
Final Gathering: (W) May 20, 8:00 – 10:00am:
Bring in
your marked-up final composition draft; go over feedback; begin work on final
draft. |
(F, May 22,
11am or earlier) Hand In: |
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Due
by Friday, May 22, 11am |
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