M-FT-TH2

Theory Classes

8

3-5

30

40-minutes per participating student per week

approximately 80 hours

approximately 144 hours

Completion of Music Theory 1.

See Competencies Matrix.

Students develop:
- their audiation (musical imagination) through a systematic approach.
- their insight into the building blocks, structures, manifestations and theoretical models of music in various styles.
- a scientific, inquisitive attitude towards music.
They learn how to apply their knowledge and skills in practice, both actively and passively, in some cases at call.

This module is related to the modules Music History, Harmony at the Piano and Rhythm Lab. It also complements the orchestration/arranging modules.

Lessons are based on the relation between two fundamental elements:
- training the students’ audition and ready knowledge of elementary musical structures;
- the study of music theory, involving both analysis and creation.

Music Theory 2 follows Music theory 1, and is as such an elaboration of it.

Students are encouraged to contribute study materials related to their own musical activities, though the instructor has the final word on which topics will be discussed. The instructor aims to design an adequately balanced, comprehensive and challenging lesson curriculum. As such, a limited number of relevant aspects will be treated:

Style
Analysis of a selection of more complex material from different time periods/genres, with a focus on:
- a deepening of the understanding of the music of the common practice period and the popular music of the 20th century as established in the first year music theory course;
- the study of other periods and genres, with a focus on the development of classical music in the 20th century;
- genres depending on the interest of the student.

Form
- in depth analysis of complex compositional forms from the classical period;
- composition forms related to 20th century classical music (serial music, chain forms etc.).

Harmony
- advanced analysis of functional and modal harmony;
- harmony associated with (post) modernistic developments. Extended tonality, polytonality, atonality, etc;
- part writing in different styles and vocabulaires;
- recognising and notating more complex harmonies and harmonic progressions by ear;
- advanced harmonisation of melodies.

Melody
- analysis of melodies from different periods/genres;
- analysis of and working with melodic development in different contexts (common practice, atonality, improvised solos, etc.);
- transcription of melodies in dictations and from recordings;
- singing complex notated fragments in various keys. Chromaticism, modulations;
- reproducing scales, chords and melodic embellishments through singing while naming each note.

Rhythm
- analysis of complex rhythms. For example odd meters, additive rhythm;
- singing notated rhythms in such complex contexts;
- singing notated complex rhythms in different meters;
- transcribing rhythms. Odd meters, complex rhythms, anti metric figures.

Three modes of instruction are used: group discussion, lectures and exercises/training that, depending on the composition of the group, take place entirely on-campus, entirely online or in a combination of both, i.e., that there are attendees both physically in the classroom and virtually via a screen. Online attendees communicate by seeing, talking and listening to each other and the on-campus attendees equally. The teacher has access to a whiteboard, application sharing, desktop sharing and document sharing and can hand this privilege to any other participants.
Apart from the video conference a high quality stereo audio stream is open at the same time via source connect. That way students and instructor can listen to music from any source of the group and talk about it simultaneously.

Materials chosen by the students, complemented by materials by the instructor.

n/a

Analysis, harmony and transcription assignments and an aural skills exam (both oral and written) at the end of the second semester.

Students demonstrate that they have mastered the materials and skills* pertaining to the topics listed under Content.

* Skills evaluated on assignments and exams include:

in general:
proper use of key and time signatures
accurate rhythmic notation
correct enharmonic spelling and proper use of chord symbols

in harmonisations / application of functional harmony:
proper placement of cadences
proper behaviour of chord progressions
proper placement of the three main functions Tonic, Subdominant and Dominant
proper resolution of dominant chords
melody must fit the underlying chord
consistency of harmonic language (e.g. staying within Jazz-harmony or staying within classical writing)
proper harmonic choices

in harmonisations / polyphonic vs homophonic texture and repetition:
inner voices and bass movement should be logical
logic and 'sing-ability' of individual voices should exist
degree of movement should exist between melody and comping voices
balance in movement between voices should exist
no literal repeats of progressions should occur within one harmonisation
no incomplete chords should exist
no incorrect doublings should exist

in harmonisations / voice leading:
no objectionable parallels should exist (unisons, 5ths, 8ths or any compound interval of the same nature)
no violation of spacing rules (no more than 1 octave between tenor-alto and alto-soprano)
voices need to behave correctly (leading tones up, lowered scale degrees down, etc.)
inappropriate melodic skips are to be avoided
dissonances must be resolved properly (e.g. suspensions need to resolve downwards, etc.)
addition or subtraction of voices should be avoided (a 4-part harmonisation shouldn't become 3-part or 5-part)
incorrect doublings should be avoided

(Plus specific rules and expectations for aural and oral tests)

The final summative grade is calculated by averaging the grades of the assignments and exams.
Assignments and Aural Skills exams must each be graded with 5.5 or higher in order to pass the course.
The summative grade for the course must also be a 5.5 or higher in order to pass.

The summative assessment is based on both assignments and an exam. The exam at the end of the spring semester is summative and is identical in content and grading for all students. The oral part of the final exam is assessed by at least two instructors.
Tests conducted online are valid only if they are done without interruption. The assessor will decide whether or not the test was valid.

See the Education and Assessment Plan.