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This course description summarizes Harmony & Theory III, which focuses on advanced chromatic harmony from the late 19th century including borrowed chords, augmented sixth chords, and chords with added tones. The course objectives are to demonstrate knowledge of these harmonic techniques as well as advanced part-writing and musical analysis skills. Students will complete composition projects utilizing these harmonic devices and take exams, quizzes, and presentations to assess their understanding. The required textbook is Advanced Harmony by Robert Ottman.

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155 views

Mus214 PDF

This course description summarizes Harmony & Theory III, which focuses on advanced chromatic harmony from the late 19th century including borrowed chords, augmented sixth chords, and chords with added tones. The course objectives are to demonstrate knowledge of these harmonic techniques as well as advanced part-writing and musical analysis skills. Students will complete composition projects utilizing these harmonic devices and take exams, quizzes, and presentations to assess their understanding. The required textbook is Advanced Harmony by Robert Ottman.

Uploaded by

Lukita Wiweka Nugraha Putra
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Kutztown University of Pennsylvania

Department of Music

MUS 214
Harmony & Theory III
Approved by Department: November 4, 2003

Course Description

This course is designed as a continuation of Harmony and Theory II. It emphasizes the study of advanced
chromatic harmony, with borrowed chords, augmented sixth chords, ninth/eleventh/thirteenth chords, and
other late nineteenth century harmonic devices.

Prerequisite: Harmony and Theory II (MUS 202); Aural Skills II (MUS 201)
three semester hours, three clock hours. To be taken concurrently with Aural Skills III (MUS 213).

Course Rationale

In order to understand the complex art of music, students need to study selected musical masterworks,
analyze them, and compose brief studies based on their harmonic, melodic and formal structures.

Course Objectives

The student will demonstrate knowledge of Neapolitan sixth


chords, augmented sixth chords, and ninth/eleventh/thirteenth chords.
The student will demonstrate knowledge of and be able to utilize
compositional techniques of the nineteenth and early twentieth centuries.
The student will be able to demonstrate advanced part-writing skills and
techniques, including chromatic harmony.
The student will be able to analyze advanced harmonic, melodic and rhythmic
material.
The student will create several original compositions using the techniques
above.

Course Outline

I. Augmented Sixth Chords


A. Types
B. Uses in minor and major keys
C. Augmented minor seventh chords
D. The German sixth chord as pivot

II. Chords of the Ninth, Eleventh and Thirteenth

III. Composition Project: Advanced Harmony


A. Composition using borrowed chords, Neapolitan sixths, and augmented
sixth chords

IV. Unclassified Chord Structures and Complex Progressions


A. Altered chords
B. Chord functions produced by sequence and enharmonicism
C. Chords produced by change of mode

V. The Close of the Nineteenth Century


A. Review of traditional harmony
B. Triads in chromatic third relationship
C. Root movement by tritone
D. Evasion of tonic
E. Unconventional root movement

VI. Advanced Musical Analysis


A. Harmonic usage in late nineteenth century music
B. Melodic materials
C. Rhythmic materials

VII. Debussy and Impressionism


A. Tonality and cadence structure
B. Whole tone pentatonic scales
C. Medieval modes
D. Harmonic progressions
E. Quartal and quintal harmony; added tone chords

VII. Introduction to Twentieth Century Music


A. Melody
B. Meter and rhythm
C. Harmony
D. Analysis

Assessment:

Assessment of each student’s level of accomplishment with reference to the course objectives will be based
upon the following:

I. Regular assignments in analysis and part-writing of chromatic harmony and


in twentieth-century compositional styles
II. Creative projects and in-class presentations
III. Examinations and quizzes

Textbook

Ottman, Robert W. Advanced Harmony, 5th edition. Upper Saddle River,


NJ: Prentice-Hall, 2000.

Instructional Resources

Benward, Bruce. Music in Theory and Practice, sixth edition. Dubuque, Iowa: William C. Brown
Publishers, 1997.

DeVoto, Mark, ed. Mostly Short Pieces: an Anthology for Harmonic Analysis. New York:
W.W. Norton, 1992.

Dorr, Joyce. Introductory Music Theory. Belmont, CA: Wadsworth Publishing Co., 1995.
Duckworth, William. A Creative Approach to Music Fundamentals. Belmont, CA:
Wadsworth Publishing Co., 1995.

Gauldin, Robert. Harmonic Practice in Tonal Music. New York: W.W. Norton and Company, Inc., 1997.

Henry, Earl. Fundamentals of Music, second edition. Englewood Cliffs, NJ: Prentice Hall, 1993.

Herrold, Rebecca M. Mastering the Fundamentals of Music. Upper Saddle River, NJ:
Prentice Hall, 1997.

Kamien, Roger, ed. The Norton Scores, fifth edition. New York: W. W. Norton, 1990.

Kostka, Stefan and Dorothy Payne. Tonal Harmony, 5th edition. New York: McGraw
Hill, 2004.

Levy, Ernst. A Theory of Harmony. Albany, NY: Sate University of New York Press, 1985.

Manoff, Tom. The Music Kit, third edition. New York: W.W. Norton, 1994.

Ottman, Robert W. and Frank D. Mainous. Rudiments of Music. Englewood Cliffs, NJ:
Prentice Hall, 1995.

Ottman, Robert W. Elementary Harmony, sixth edition. Englewood Cliffs, NJ: Prentice
Hall, 1998.

Rumery, Kenneth R. Introduction to Musical Design. Dubuque, Iowa: Wm. C. Brown,


1992.

Piston, Walter. Harmony, fifth edition. New York: W. W. Norton, 1987.

Spencer, Peter. The Practice of Harmony, third edition. Upper Saddle River, NJ: Prentice-Hall, Inc., 1996.

Turek, Ralph: Analytical Anthology of Music. New York: McGraw Hill, 1992.

White, Gary. Music First, second edition. Dubuque, Iowa: W. C. Brown, 1993.

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