Music
233
Chromatic Harmony–Fall Semester 2022
MWF 9:00-9:50a, CA 136
Instructor: Jono
Kornfeld
Office Hours (CA 166F): M & W, 11:00a-12:00p (sometimes 12 - 1p on W);
and other times by appointment
Graduate Assistant: Alexa Thanos; 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. COVID-19 Dashboard link. |
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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 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 focuses on
the chromatic aspects of harmony, voice leading and forms of music associated
mainly with Western Europe, studying solo piano, chamber, orchestral, and
melody-based textures. The main source
material is from the 18th and 19th centuries, but also included is jazz,
rock, folk and pop. We examine how counterpoint and
harmony are interrelated, and how they inform larger structural aspects of
many music styles. By the end of this course, you should be able to
compose and/or analyze a short chromatic piece in the above-mentioned styles,
and have a command of all associated vocabulary. In
parallel with the above curriculum, we will address notation, score
formatting/presentation, and general terminology pertinent to many styles of
music. 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 on iLearn, 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, I will pass around a sign-in sheet 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. 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, 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) Sonatina midterm composition assignment: 10% Details will be announced. Midterm Exam (in class): 10% Details TBA Final Exam (in class): 10% Details TBA Homework: 50% 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 grade 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. 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 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 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 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, 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). 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 |
Assignments, and items to print (or just download) for that week with specific due day |
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(1) Aug 22 |
Class
organization, introduction to chromaticism Overview
and review |
(F) Print/Download:
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(2) Aug 29 |
Overview
and review continued |
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(3) Sept 5 |
No Class, Labor Day (M) Review
continued |
(W)
Submit: review assignment, part I |
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(4) Sept 12 |
Ch.
16: Tonicization I: secondary dominants Ch.
16 Reading Sheet (same sheet for ch. 17 & 18) |
(M) Submit: review
assignment, part II |
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(5) Sept 19 |
Ch.
16 continued |
Audio
of Beethoven excerpt
(MIDI version) Audio
of Beethoven
(actual excerpt) |
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(6) Sept 26 |
Secondary
dominants in a jazz context Ch.
17: Tonicization II: other secondary functions Ch.
17 Reading Sheet (same sheet for ch. 16 & 18) |
(M) Submit:
Ch. 16 assignment Print/Download:
Schubert, An die Musik
(D547) [audio
link] |
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(7) Oct 3 |
Ch.
18: Modulation I: Diatonic common chords Ch.
18 Reading Sheet (same sheet for ch. 16 & 17) |
(M) Print/Download:
Modulation Practice (W) Submit:
Ch. 17 Assignment |
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(8) Oct 10 |
Ch.
19: Modulation II Further modulation techniques (same lecture notes as
Modulation I) Monophonic
modulation: Handel Gavotte (score)
(audio) Ch.
19 Reading Sheet (same for ch. 20) Common
Tone Modulation & Chromatic Mediant Relationships Examples
(audio) |
(W) Submit:
Ch. 18 Assignment (uns ist ein kindlein
heut – audio) |
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(9) Oct 17 |
Ch.
20, part 1: Form: binary & ternary Ch.
20 Reading Sheet (same for ch. 19) Form
II: Sonatina/Sonata Form |
Download
(don’t print): J.S.
Bach G Major Cello Suite Mvts.
(binary form examples) (W)
Submit: Ch.
19 Assignment LISTEN
TO THE EXAMPLES |
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(10) Oct 24 |
Sonatina
continued |
(W) Midterm Exam (in class, open-note) |
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(11) Oct 31 |
Sonata
Form continued Form
III: other forms Rondo
form: Beethoven, Op. 13, ii * (audio) |
(W)
Submit: Ch.
20 Assignment (Small Forms) LISTEN
TO THE EXAMPLES Mozart: Eine
kleine nacht music, III Bach: French
Suite V, Allemande Mozart: KV
15mm Ellington/Strayhorn: Take
The A Train
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(12) Nov 7 |
Discuss
Sonatina Assignment Ch.
21, part I: Mode mixture 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) (F) NO CLASS - VETERANS DAY |
(M) Extra credit on modulation - optional (audio) (W)
Keyboard Harmony Demonstration, in person
or via video (audio
example) |
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(13) Nov 14 |
Mode
Mixture continued Ch.
21, part II: Neapolitan harmony Ch.
21, II Reading Sheet (same for ch. 21) Chopin
fm nocturne example (Op. 55, No. 1) (audio) Discuss
Final Project (audio) |
(F) Submit:
Sonatina Assignment |
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November 22-26: Fall Recess, No Classes |
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(14) Nov 28 |
Neapolitan
harmony continued Ch.
22: Augmented 6th chords Print/Download: Mozart K.284 Example |
(W) Submit: Ch.
21 Assignment
(Audio) |
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(15) Dec 5 |
Ch.
23: Enharmonicism
& Reinterpretation Wrap
up (F)
LAST DAY OF CLASSES |
(M) Submit:
Ch. 22 Assignment (Audio) |
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(16) Dec 12 |
(W,
Dec 14, 8:00 – 10:00a): Final Exam (in
class, open-note) |
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Final Project (EXTRA CREDIT ONLY - partial work
will equal partial credit) Due by Friday, December 16, 10:30a |
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