Music 232
Diatonic Harmony– Spring Semester 2023
MWF 10:00-10:50a, CA136
Instructor: Jono
Kornfeld
Office Hours (CA 166F): M, 11:00a-12:00p; and other times by appointment
Graduate Assistant: Mona Shahnavaz; email link
(should the need arise)
Health & Safety Commitments |
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Everyone’s health and safety is
our paramount concern at SF State. We ask every member of our campus
community to join a pledge to make and follow plans to keep fellow students,
faculty, and staff safe and well. Feeling confident, safe
and well will help you focus on your academic success. To participate in this
class, all students are expected to:
For
more information about SF State’s response to COVID-19 and how you can keep
yourself and others safe and well, visit the Campus
Comeback Website. To plan for how you will maintain your academic
success when unexpected events disrupt regular teaching and learning
activities, follow the information on the course syllabus and consult the Keep Learning guide. |
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Resilient Teaching & Learning Plan |
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Our
campus community is often called to demonstrate compassionate resiliency by
adapting and responding to a number of unexpected
events, or disruptions, such as personal illness or injury, the COVID-19
pandemic, or unhealthy air quality and power outages due to wildfires. A
disruption is a situation that will prevent you, me, or the entire class from
participating in 'class as usual' for a reason we could not have predicted at
the beginning of the semester. Our goal as a learning community is to
do our best to keep teaching and learning with as little interruption as
possible. If
something along these lines happens, we should be able: to maintain
communication and send assignments via email; use the web syllabus and iLearn to access assignments; possibly adjust the
curriculum; use SFSU’s Zoom app to hold live meetings and/or view recorded
lectures. Most
importantly, I am committed to supporting students when they are affected by
uncontrollable circumstances in order to keep our
in-person and virtual learning environments nurturing and inviting places. |
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REQUIRED TEXT |
RECOMMENDED BOOKS |
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Tonal
Harmony – Textbook, 7th or 8th Edition Kostka/Payne, McGraw Hill An
e-book version is fine |
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 231; This course is a prerequisite for
MUS 233 This
course focuses on diatonic harmony & structures associated with Western
European and more-recent American music. The main source material will be
from the 18th and 19th centuries, but more recent styles, such as jazz, rock,
folk and pop will also be included - Bach to the Beatles and beyond!
We will explore how harmony, melody, and counterpoint interrelate through
four-part harmony textures (such as the Bach Chorale), but also through
textures like solo, chamber & orchestral, as well as modern-style lead
sheet (chart) examples. The goal of this class is to enable students to
analyze and/or compose music in the above-mentioned styles, and to have a
command of the associated vocabulary. Your
written work will consist of a mixture between homework, exams, and separate
composition/analysis projects. |
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GRADING: ALL GRADES WILL BE GIVEN AS A
PERCENTAGE |
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Each assignment and exam will
have its own grade. You can also look up your grades to date on Canvas, where information will be posted periodically
in a spreadsheet. Grades are listed via an assigned alias to protect your
privacy. Attendance: 10% Meaningful attendance (see class participation below)
goes hand-in-hand with better learning and
retention. Being in a classroom community on a regular basis can deepen one's
experience with the material, where we can interact, ask questions, listen to
music and each other, make connections, and support one and other. After the
first week, there will be a sign-in sheet on the piano at the beginning of
each class. Latecomers can check in with me at the end of class. You are
allowed three unexcused absences before it starts counting against your
grade. Three unexcused late arrivals will count as one unexcused absence.
There are all kinds of good/reasonable excuses for missing class or being
late, such as: religious holidays, being sick, caring for someone who is
sick, a family emergency, occasional professional obligation, transportation
problems, mental health concerns, etc. If you miss class or are late and have
an excuse, I ask that you inform me as soon as possible (email is best). Out
of respect for your privacy, if the excuse feels personal in nature, you do
not have to be too specific. Similarly, I do not require doctor's notes and
the like. We will rely on the honor system should you need to explain an
absence or late arrival, but it is essential to communicate. Class Participation/Communication: 5% Participation means arriving/joining on
time (unless it is beyond your control), being fully present and engaged, not
behaving in a distracted or distracting manner (such as using electronic
devices for non-class related reasons), and very-importantly, treating others
with respect. Please practice professional-level communication during class,
and in written correspondence. Keyboard Performance Demonstration: 5% (audio example) This can be done in person, or via an emailed video (or link to
a video) Midterm piano composition assignment: 10% Details will be announced. Midterm Exam (in class): 10% Details TBA Final Exam (in class): 15% Details TBA Homework: 45% Homework (on paper) is
due on the day announced, by the end of class (via email by 11:59pm during
remote instruction). It will consist of mainly small analysis and
composition-style exercises. Advance notification requesting an extension is
fine in most cases, but unnotified late assignments are not automatically
accepted. Please staple multiple-page assignments so nothing gets lost. The
lowest two grades will be dropped. Homework
collaboration option. Redo
Policy:
Unless otherwise specified, I encourage you to 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 returned (unless otherwise arranged).
Redoing an assignment means that you either make clear corrections on the
original assignment, or that you submit a copied-over, corrected version of
the original assignment on a separate piece of paper. For the latter, please
include the original assignment along with the redo; you don't have to copy
over portions of the original assignment that were done correctly. This does
not apply to exams, which cannot be redone. **Please note: the
above percentages are subject to redistribution** Missed
assignments, quizzes or exams: in the event of an
unforeseen absence, make-up exams or assignment-extensions will be granted
for extenuating circumstances on an individual basis. It is important that
you notify me as soon as possible in cases like this. Extra
credit assignments (optional): may be assigned and will be announced in
class and on the syllabus. 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 (REMOTE) CLASSROOM GUIDELINES |
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Attendance is factored into
your grade as stated above. It is your responsibility to get notes from any
class you miss. Disruptive, distracting, or disrespectful behavior will not
be tolerated and may result in you being asked to leave the classroom or a
remote meeting (if the lecture is remote). |
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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 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 and
professionally 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 address. |
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REVISIONS TO THE 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 your email, and listen for announcements in class.
Please do not download the lecture notes and/or assignments all at once in
case revisions are made. |
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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, or via a tablet (i.e. by hand).
Assignments using computer notation are not acceptable, unless arranged in
advance. 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. Use this link to print staff paper. 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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Please plan to print required
materials/assignments for class on a regular basis. However, it is
understandable that printing could be a hardship for some, in which case we
will work out an alternative so that everyone can access what they need. You
should also be able to photograph or scan assignments for email submission
(only during remote instruction, or by arrangement). All materials will be
available through the web syllabus (and occasionally iLearn
& emails) and will be PDF files. |
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MUSIC 232 – APPROXIMATE SCHEDULE OF CLASS
TOPICS AND ASSIGNMENTS |
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(Week No.) Week of |
Class Topics and
Downloadable Notes (day
covered–"M, W, F") *Chapters are based
on the K.P. 7th edition |
Assignments and items
to print for that week with
specific due day |
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(1) Jan 30 |
Class organization, course overview Introduction to diatonic harmony |
Print/download: |
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(2) Feb 6 |
Ch. 3: Triads, 7th chords, figured bass Ch. 3 Reading Sheet |
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(3) Feb 13 |
Ch. 3 continued Ch. 4: Diatonic chords Ch.
4 Reading Sheet |
(M)
Ch. 3 (part I) |
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(4) Feb 20 |
Ch. 4 continued Ch. 5:
Voice leading Ch.
5 Reading Sheet |
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(5) Feb 27 |
Ch. 5 continued Ch. 6: Root position part writing Ch. 6 Reading Sheet |
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(6) March 6 |
Ch. 6 continued (including 2nd level analysis) Ch. 7 Reading
Sheet Circle of 5ths
progressions/jazz (pdf) |
(W) Ch. 5 |
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(7) March 13 |
Ch. 7 continued |
(M) Ch. 6 (F) Midterm Exam
(in class, open-note) Midterm exam
preparation guide |
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March 20 – 24: Spring
Recess, No Class |
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(8) March 27 |
Ch. 7 continued NO CLASS ON FRIDAY, MARCH 31 IN HONOR
OF CESAR CHAVEZ DAY |
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(9) April 3 |
Ch. 8 Reading
Sheet Ch. 9:
Second inversion triads Ch. 9 Reading Sheet |
(M) Ch. 7 (W) Keyboard Demonstration, in person or via
video |
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(10) April 10 |
Ch. 9 continued Ch. 10:
Cadences, phrases, periods Ch. 10 Reading Sheet |
(M) Ch. 8 |
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(11) April 17 |
Ch. 10 continued |
(M) Ch. 9: Clementi audio |
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(12) April 24 |
Ch. 10 continued *Ch. 11 Reading Sheet Passing
Tone (audio) * Neighbor Tone (audio) Suspension (audio) * Retard (audio) |
(M) DRAFT of piano composition project due * Audio The draft can be
hand-written or computer-notated. It will not be
graded, just marked with comments/suggestions, BUT it must be submitted in
accordance with the standard homework deadline requirements |
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(13) May 1 |
Ch. 11 continued *Ch. 12 Reading Sheet Appoggiatura
(audio) * Escape Tone (audio) Neighbor
Group (audio) * Anticipation (audio) Embellishing
a simple texture with all NCTs * (Audio) *Ch. 13: The
V7 chord *Ch. 13 Reading Sheet |
(M) Ch. 10, Minuet in G audio;
Op. 13, ii audio LISTEN
TO THE EXAMPLES! MAKE
SEPARATE DIAGRAMS! NAME THE FORMS! |
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(14) May 8 |
*Ch. 14 Reading Sheet *Ch. 15:
Other diatonic 7th chords *Ch. 15 Reading Sheet |
(M) Ch. 11 & 12 Combination * Audio |
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(15) May 15 |
Ch. 18 An introduction to modulation Culminating Perspectives; Wrap-up Last day of classes: (F) |
(M) Ch. 13,
Bach WTC audio (F) FINAL version of piano composition assignment due * Audio |
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(M, May 22, 10:15 –
12:15): Final Exam (in class,
open-note) |
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Extra Credit Assignment (pdf of score)
(audio example) Due by Friday, May 26 |
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