Techniques of Musical Composition 2
Objectives
a. To deepen the theoretical knowledge and technical skills for musical writing in tonal idiom, including chromatic and modulating tonality;
b. to deepen the composition techniques that are specific to simple and complex musical structures (e.g. monothematic, polythematic, variation and development), as well as their practical application;
c. to acquire basic knowledge of instrumentation and orchestration;
d. to acquire the rudiments of stylistic writing practices within simple and complex musical forms (e.g. minuet and trio, theme and variations, sonata form, etc.);
e. to develop technical skills for the application of tonal rules to various genres and forms of the historical period and styles studied.
General characterization
Code
711021092
Credits
3.0
Responsible teacher
Ernesto Donoso Collado
Hours
Weekly - 4
Total - 84
Teaching language
Portuguese
Prerequisites
Prerequisites: To have successfully concluded the Composition Techniques 1 course.
Bibliography
- Agmon, E. (2013) The languages of Western tonality. Springer
- Kinderman, W. (2009). Beethoven ( 2nd Ed.). Oxford University Press.
- Bochmann, C. (2003). A linguagem harmónica do tonalismo. Juventude Musical Portuguesa.
- Minnix, W. (2019). Lyrics & music: Music theory for the aspiring songwriter. Water Moccasin Press.
- Nettles, B., & Graf, R. (1997). The chord scale theory & Jazz harmony. Advance Music.
- Piston, W. (1969). Orchestration. Victor Gollancz.
- Rings, S. (2011) Tonality and transformation. Oxford University Press
- Schoenberg, A. (1999) Structural functions of harmony (Revised Edition). Norton.
- Tymoczko, D. (2011). A geometry of music: Harmony and counterpoint in the extended common practice. Oxford University Press.
Teaching method
Theoretical and practical lessons with regular realization of practical exercises carried out autonomously and in class. Considering the strong practical component of the curricular unit, one of the weekly classes is divided into two groups so that the practical work in class can be given more individual supervision. Additionally, the teachers provide the students with further documentation, including practical examples especially made to support each of the subjects covered. Likewise, whenever necessary and useful, additional specific bibliography is indicated.
Evaluation method
Continuous assessment - 2 written assessments(30%), 3 to 5 practical assignments(50%), Participation in class through the completion of small exercises to be reviewed weekly in class(20%)
Subject matter
1. Development of the technique of tonal harmony for 4 voices:
a) Ternary and compound time signatures;
b) Particularities of minor tonalities;
c) Harmonic and melodic writing in minor tonalities;
d) Diatonic modulations.
2. Chromaticism and tonality: technical and aesthetic implications;
a) Non-modulating chromaticisms;
b) Chromatic chords;
c) Chromatic modulation.
3. Simple and complex musical forms and structures:
a) The formal structure as a result of tonal and thematic evolution;
b) Monothematicism and bi-thematicism;
c) Subject and variations; rondo; sonata form.
4. Musical Ideas: development:
a) Melodic development within a tonal scale;
b) Melodic variation and development.
5. Introduction to instrumentation and orchestration:
a) Chamber music and orchestral music;
b) Score reduction versus orchestration;
c) Basic principles of "arrangement" in diverse musical contexts.
6. Techniques of practical application for all of the above.