Music
233
Chromatic Harmony–Spring 2020
MWF 9:00-9:50a
Instructor: Jono
Kornfeld
** PLEASE NOTE: I WILL
NOT BE ON CAMPUS THIS SEMESTER;
CLASSES AND OFFICE HOURS
WILL BE CONDUCTED REMOTELY **
Online Office Hours: M & W, 11:30a-12:30p; and by appointment
Graduate Assistant: TBD
PRINTABLE
VERSION OF THIS SYLLABUS: (Rules & Regs) (Topics & HW)
Required Text |
Recommended Books |
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Tonal Harmony – Textbook, 7th Edition (other editions are fine) Kostka/Payne McGraw Hill, ISBN 0-07-285260-7 |
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/or analyze a short chromatic 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 quiz
will have its own grade. You can also look up your grades to date on iLearn, where information will be posted periodically in
a spreadsheet. Grades are listed via an assigned alias to protect your
privacy. Class
Participation/Communication/Meeting: 5% Students
are expected to attend all classes and participate, but attendance is not
required. Participation means joining
on time, being fully present and engaged, not behaving in a distracted or
distracting manner, and very-importantly, treating others with respect.
Students should practice professional-level communication during class, and
in written correspondence. There is also one required one-to-one meeting you
will have with me (via Zoom) so I can learn more about you and your musical
goals. This will be scheduled early in the semester. Keyboard Performance Demonstration: 5% (audio example) This will be submitted/emailed as a video file (or two separate
files). Submitting a link to a file is fine. Sonatina midterm composition assignment: 10% Details will be announced. Final Analysis/Composition Project: 15% Details will be announced. Quizzes: 25% 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 should take
between 10 -20 minutes to complete, and will use questions drawn from the
text, lecture notes, 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. Quizzes must be submitted via
email by 11:59pm on the due date. Quizzes cannot be redone. Homework: 40% Homework (mainly small analysis and composition-style exercises)
is due on the day announced, via email by 11:59pm. Unexcused late assignments
will not be accepted, but reasonable excuses are ok in some cases. The lowest grade will be dropped. Emailing
an assignment late 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 returned. 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, you MUST
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 quizzes, which cannot be redone. **Please note: the above percentages are subject to
redistribution** Missed assignments, quizzes or exams: in the event of extenuating circumstances, make-up
quizzes or assignment-extensions may be granted 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 Remote Classroom Guidelines |
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Attendance is not required, but strongly encouraged. All Zoom
meetings will be recorded and made available ASAP. 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, distracting, or disrespectful behavior will not be tolerated and
may result in you being asked to leave a meeting. BRING YOUR TEXTBOOK
TO CLASS MEETINGS. |
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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 this Syllabus |
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The syllabus (including assignments, quiz 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. Do not download the lecture notes and/or
assignments 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. 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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You should plan to be able to print required materials/assignments/quizzes
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. All materials will be available
through the web syllabus (and occasionally iLearn
& emails) 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 (or just download) for that week with specific due day |
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(1) Aug 24 |
Class
organization, introduction to chromaticism (MW) Overview
and review (F) |
(F)
Print/Download: review pages (3 pages), Note
stacking tutorial, Chromaticism
in Figured Bass |
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(2) Aug 31 |
Overview
and review continued (MWF) |
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(3) Sept 7 |
No Class, Labor Day (M) Review
continued (W) Ch.
16: Tonicization I: secondary dominants
(F) Ch.
16 Reading Sheet (same sheet for ch. 17 & 18) |
(F)
Submit: review assignment (2 pages) |
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(4) Sept 14 |
Ch.
16 continued (MWF) |
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(5) Sept 21 |
Ch.
17: Tonicization II: other secondary functions
(MWF) Ch.
17 Reading Sheet (same sheet for ch. 16 & 18) Summary of secondary functions |
Print/Download:
Schubert, An die Musik
(D547) [audio link] (W) Submit: Ch.
16 Assignment: Beethoven/ch. 16 assignment Audio
of Beethoven excerpt
(MIDI version) Audio
of Beethoven
(actual excerpt) |
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(6) Sept 28 |
Ch.
17 continued (M) Ch.
18: Modulation I: Diatonic common chords
(WF) Ch.
18 Reading Sheet (same sheet for ch. 16 & 17) |
(M) Print/Download:
Modulation Practice (W) Submit:
Ch. 17 Assignment |
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(7) Oct 5 |
Ch.
18 continued (M) Ch.
19: Modulation II Further modulation techniques (same lecture notes as
Modulation I) (WF) Monophonic
modulation: Handel Gavotte (score)
(audio) Ch.
19 Reading Sheet (same for ch. 20) Common
Tone Modulation & Chromatic Mediant
Relationships Examples (audio) |
(F) Submit:
Ch. 18 Assignment (uns ist ein kindlein
heut – audio) |
|
(8) Oct 12 |
Ch.
19 continued (M) Ch.
20, part 1: Form: binary & ternary (WF) Ch.
20 Reading Sheet (same for ch. 19) |
Print/Download: J.S.
Bach G Major Cello Suite Mvts.
(binary form examples) (F)
Submit: Ch.
19 Assignment |
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(9) Oct 19 |
Ch.
20, part 1 continued (MW) Form
II: Sonatina/Sonata Form (F) |
(F) Quiz |
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(10) Oct 26 |
Sonatina
continued (M) |
(M)
Submit: Ch.
20 Assignment (Small Forms) Mozart: Eine
kleine nacht music, III Bach: French
Suite V, Allemande Mozart: KV
15mm Ellington/Strayhorn: Take
The A Train |
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(11) Nov 2 |
Sonata
Form continued (M) Form
III: other forms (WF) Rondo
form: Beethoven, Op. 13, ii * (audio) Discuss
Sonatina Assignment (F) |
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(12) Nov 9 |
Ch.
21, part I: Mode mixture (M, F) No Class, Veterans Day (W) 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) |
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(13) Nov 16 |
Mode
Mixture continued (M) Ch.
21, part II: Neapolitan harmony (WF) Ch.
21, II Reading Sheet (same for ch. 21) Chopin
fm nocturne example (Op. 55, No. 1) (audio) Discuss
Final
Project (F) (audio) |
(F) Submit:
Sonatina Assignment Clementi Sonatina Op. 36, No. 1, i (Audio) Clementi
Sonatina Op. 36, No. 2, i (good for piano accompaniment
examples) |
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November 23-27: Fall Recess, No Classes |
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(14) Nov 30 |
Neapolitan
harmony continued (M) Ch.
22: Augmented 6th chords (WF) Print/Download: Mozart K.284 Example |
(W) Submit: Ch.
21 Assignment
(Audio) |
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(15) Dec 7 |
Ch.
23: Enharmonicism
& Reinterpretation (MWF) Wrap
up (F) LAST
DAY OF CLASSES (F) |
(M) Submit:
Ch. 22 Assignment (Audio) (F) Submit: Final Project Draft (optional) |
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(16) Dec 14 |
Final
Composition Drafts returned (M) |
(F,
December 18) Submit: |
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Due by Friday, December 18 |
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