Techniques of Musical Composition 1
Objectives
a. To acquire fundamental theoretical and practical knowledge for musical writing in a tonal idiom;
b. to know the fundamental rules of diatonic harmony and tonal counterpoint
c. to learn basic compositional techniques specific to simple musical structures and forms (e.g. binary form, ternary form), as well as their use throughout history;
d. to acquire basic melodic and harmonic writing skills in diatonic tonal contexts;
e. to know the basic typologies of musical texture, as well as their practical application when writing for voice and small instrumental ensembles;
f. to develop basic skills of applying tonal music rules to different musical genres.
General characterization
Code
711021091
Credits
3.0
Responsible teacher
Ernesto Donoso Collado
Hours
Weekly - 4
Total - 84
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
- Agmon, E. (2013). The languages of Western tonality. Springer.
- Bochmann, C. (2003). A linguagem harmónica do tonalismo. Juventude Musical Portuguesa.
- Caplin, W. (1998). A theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven. Oxford University Press.
- Damschroder, D. (2008). Thinking about harmony: Historical perspectives on analysis. Cambridge University Press.
- Schoenberg, A. (1983). Theory of harmony. University of California Press.
- Stainer, J. (2009). A theory of harmony: With questions and exercises for the use of students. Cambridge University Press.
- Stoïanova, I. (2000). Manuel d'analyse musicale. Minerve.
Teaching method
Theoretical-practical lessons involving regular application exercises to be completed both in class and autonomously. Considering the strong practical component of the course, in one of the weekly classes the group is divided into two so that the practical work of the students can have more individualized supervision. Additionally, teachers provide students with additional documentation, including practical examples especially made to support each of the areas covered. Likewise, whenever necessary and useful, additional specific bibliography is indicated.
Evaluation method
Continuous assessment - 2 written tests(25%), 3 to 5 practical assignments(60%), Participation in class through the completion of small exercises to be discussed weekly in class(15%)
Subject matter
1. Concepts of harmony, counterpoint, homophony, polyphony, tonality;
2. Basic principles of 4-part harmony in a diatonic tonal context:
(a) functional hierarchy, chord progressions, and harmonic rhythm;
b) Diatonic tonal cadences;
c) Harmonic and melodic writing in major tonalities;
d) Harmonic realization from the bass and from higher melodic lines;
e) Ornamental dissonances;
f) Integral dissonances.
3. Basic musical forms and structures: binary and ternary.
4. Foundations and techniques of vocal and instrumental writing:
a. Typologies and features of various musical textures (e.g. melody, homophony, counterpoint, accompanied melody, etc.);
b. Techniques for writing simple musical forms;
c. Musical ideas in simple musical forms: the motive, the cell, the phrase, the theme and the section.
5. Particular features of song writing in a diatonic tonal context.
6. Practical application techniques for all of the above.