Techniqes of Music Since 1900 and Aural Skills IV Assignments      Theory Syllabus  |  Aural Skills IV Syllabus   |  Naxos Listening Lists (Requires UH login. Look in "Koozin" folder)
Dr. Tim Koozin
Moores School of Music
University of Houston

The e-Workbook, Part 4, is available at the textbook website, TMMTheory.com (login required) and also here

Blank score paper (10-stave pdf)

Topics and Assignments (Subject to change)

Week 1: Jan 16-18 (No class Monday, Martin Luther King holiday)

Theory:

Wednesday, January 17: MEET IN LARGE GROUP. Assignments for Monday:
     Anthology examples Ch 27 (Extended Linear Usages).
          Photocopy and analyze to turn in: p. 265 (Chopin) and p. 266 (Brahms). Audio links. See analysis guidelines below.
          For in-class discussion, study Anthology examples p. 264-269 Audio links
      Obtain new textbook: Stefan Kostka. Materials and Techniques of Post-Tonal Music, 4th ed.
     Recommended theory text review: Part III, Ch 6 & 7

Analysis guidelines. In the Anthology examples we study:

  • Listen as you study the score. Begin by marking clearly functional chords, especially tonic and dominant. Mark cadences and modulations.
  • Mark sequences with brackets.
  • Watch for ascending or descending chromatic lines, especially in the bass or melody. Mark these with curved lines.

As you complete your analysis, identify any of the following:

  • Linear chords, including augmented sixths, Neapolitan, and linear diminished 7ths
  • Pedal tone and 6/4 chords
  • Secondary dominant and leading tone chords
  • modal mixture and chromatic mediant chords. Use Kostka's labels for chromatic mediant <m> and tritone <t> relationships. (See Kostka p. 2-5.)
  • Implied chords or brief tonicizations (These can be marked in parentheses.)
  • Elided (unresolved) dominants
  • Enharmonic chords
  • Extended chords (9th, 11th, etc.)
  • Altered dominant chords, including the augmented dominant.
  • Text setting (Note ways that chromaticism helps to project the meaning of the text.)

Aural Skills:

Dictation assignment: Assigned Tuesday, January 16; Due Tuesday, January 23
     Practice: Self-grading melodies, p. 369-371
     To turn in next Tuesday : Melodic Quiz #1, p. 375, nos. 1-3 only. Include harmonic analysis for these melodies.

Singing
       Unit 16, p. 198-204 REVIEW (quintuple meters, altered chords, distant modulation)
       Unit 16, p. 205-212 NEW (altered chords, distant modulation)

Week 2: Jan 22-25

Theory:

Monday's assignment for Wednesday:
     Anthology study for discussion: p. 269-273 Audio links
     Anthology analysis to turn in: p. 273-275 (Beethoven) Audio links

Wednesday's assignment for Monday:
     Anthology study for discussion: p. 288-294 (Grieg, Liszt, Strauss,) Audio links
     Anthology analysis to turn in: p. 295-298 (Wagner) Audio links

Aural Skills:

Dictation assignment: Assigned Tuesday, January 26; Due Tuesday, February 2
     Practice: Self-grading harmonic exercises, p. 381-384
     To turn in next Tuesday : Harmonic Quiz #1, p. 388, nos. 1-3 only.

Singing
    Continue Unit 16 melodies
    Supplementary melodies for singing. Download PDF 1
    Begin Unit 17 (Music from Literature)

Week 3: Jan 29 - Feb 1

Theory:

Monday: Complete review of Anthology pieces, p. 269-273 (Audio links) and p. 288-294 (Audio links). Assignment to turn in Wednesday:
     Anthology, p. 292-94 (Strauss), or, as indicated by instructor.
     Read Ch 1 in Kostka book, The twilight of the tonal system

Wednesday: MEET IN LARGE GROUP. Assignment for Monday:
     Study Kostka textbook, Ch 1, The twilight of the tonal system. If your Bookstore copy has not yet arrived, download the PDF.
      To turn in Monday: Anthology, p. 405-407 (Hanson, Hovhaness, Shostakovich, Debussy) Audio links
           Note the mode employed, functional harmony where appropriate or pop chord symbols, cadences.
           Review the material on jazz-pop chord symbols in Online Study Guide 11

Aural Skills:

Dictation assignment:
     Practice: Self-grading melodies, p. 372-373
     To turn in next Tuesday: Melodic Quiz #2, p. 377, nos. 1-3 only. Include harmonic analysis for these melodies.

Singing
     Complete and review Unit 16 melodies
     Supplementary melodies for singing. Download PDF 1
     Selections from Unit 17 (Music from Literature)

Week 4: Feb 5- 8

Theory:

Monday's assignment for Wednesday: Anthology, p. 410-412 (Rodgers, Ellington, Jordon)
      Note the mode employed, functional harmony where appropriate or pop chord symbols, cadences.
Read Kostka textbook, Ch 2, Scale formations in 20th-century music

Wednesday: MEET IN LARGE GROUP. Assignment for Monday:
     Study Kostka textbook, Ch 2, Scale formations in 20th-century music. Also read Kostka, Ch 3, The Vertical Dimension: Chords and Simultaneities
     Do e-Workbook Part 4, p. 11. (Diatonic Modes). The e-Workbook, Part 4, is available at TMMTheory.com (login required) and also here.
    Study Online Study Guide 11. Complete quiz at the end with a minimum score of 90%.

Aural Skills:

Dictation assignment for next Tuesday:
     Practice: Self-grading harmonic exercises, p. 385-386
     To turn in next Tuesday: Harmonic Quiz #2, p. 390, nos. 1-3 only.

Singing
     Continue supplementary melodies for singing (PDF 1). Also: Download PDF 2
     Selections from Unit 17 (Music from Literature)

Week 5: Feb 12-15 (Note possible schedule changes, due to TMEA conference, Feb 14-17)

Theory:

Monday: Discuss Kostka Ch 2 (diatonic modes and other exotic scales). Monday's assignment for Wednesday:
      Anthology, p. 421-426, Nos. 389 to 394 (Bartok, Chavez, Poulenc, Debussy, Kabalevsky, Britten). Audio links. Note the mode employed, functional harmony where appropriate or pop chord symbols, cadences.  
      Also study the Techniques and Materials textbook, Part 4, chapters 5 & 7.

Wednesday's assignments for Monday:
     Choose one exercise from e-Workbook Part 4, pages 12-18. Provide all musical details (dynamics, articulations, etc, to make the exercise musically complete. If possible, be ready to play your work in class Monday.
     Also study Anthology pieces for in-class analysis, p. 438-441, Nos. 408 to 414 (Milhaud, Bartok, Kodaly, Vaughan Williams, Debussy, Bartok, Debussy). Note scale employed, functional harmony where appropriate or pop chord symbols, cadences, mixing or changing of scales.

Dictation assignment for next Tuesday:
     Practice: Self-grading melodies, p. 372-374
     To turn in next Tuesday: Melodic Quiz #3, p. 379, nos. 1-3 only.

Singing
     Supplementary melodies for singing. Complete PDF 1 and begin PDF 2. Download PDF 2
     Selections from Unit 17 (Music from Literature)

Week 6: Feb 19-22

Theory:

Monday: Complete Kostka Ch 2 (Scale Formations in Post-Tonal Music). Assignment for Wednesday: 
     All "Part A" exercises in Kostka textbook, p. 32; Study Kostka, Ch 3.
     Continue studying and listenting to Anthology pieces for in-class analysis, p. 438-441, Nos. 408 to 414 (Milhaud, Bartok, Kodaly, Vaughan Williams, Debussy, Bartok, Debussy).

Wednesday: Assignments for Monday:
      Anthology p. 442-444, Nos. 415-417 (Bartok, Lutoslawski, Bartok). Notice patterning of all kinds in motives, scale formations, and chords. Note traces of tonality and tonal centers. In the Bartok "Diminished Fifth," notice especially the imitative relationships between the two contrapuntal voices.

 Aural Skills on Tuesday, Feb 23:

Dictation assignment for next Tuesday:
     Practice: Self-grading melodies, p. 422-423 (Diatonic modes)
     To turn in next Tuesday: Melodic Quiz #1, p. 426, nos. 1-3 only.

Singing:
      Complete the supplementary melodies for singing.
     Begin Unit 18, Irregular meters, diatonic modes
      Selections from Unit 17 (Music from Literature)

Week 7: Feb 26-March 1

Theory:

Monday's assignement for Wednesday:

      PRACTICE MIDTERM. (Download PDF). Complete Kostka Ch 3 study.

Wednesday: Review. Turn in Practice Midterm
      Not a requied assignment, but good for practice: Do all "Part A" exercises in Kostka textbook, p. 61.

Aural Skills:

Dictation assignment for next Tuesday:
     Practice: Self-grading harmonic examples, p. 429-430 (Diatonic modes)
     To turn in next Tuesday: Harmonic Quiz #1, p. 433, nos. 1-3 only. (Include chord symbols and Roman numerals where appropriate)

Singing: Continue Unit 18, Irregular meters, diatonic modes

Week 8: March 5-8

Theory:

Monday: Discuss Practice Midterm. Recommended Anthology study pieces: Cowell, p. 434; Hindemith and Ives, p. 447; Hindemith, p. 449; Bartok, p. 449-450; Ives, p. 455; Honegger, p. 458. Play through or listen to each. What observations can you make about harmonies, scales, intervals used extensively, references to functional tonality. How would you describe each example in just a sentence or two? Several of these may be included on the Midterm.

Wednesday, March 7: Theory Midterm

Aural Skills:

Tuesday, March 6: Dictation Midterm (based on Unit 16 and Unit 18 through p. 430)

Thursday, March 8: Singing Midterm (based on Unit 16 and Unit 18 through p. 275)

Spring Break: March 12-17

Week 9: March 19-22   

Theory:

Monday: Return and discuss Theory Midterm Exam. Begin Kostka Ch 4, The Horizontal Dimension: Melody and Voice Leading (listening links)
Assignments for Wednesday:
     Study Kostka, Chs 4 and 5
     Compose and notate two examples of diatonic planing and two examples of real planing, using chords, voicings, and scales of your choice.
     Begin work on Composition Project

Wednesday: MEET IN LARGE GROUP. Discuss Kostka Chs 4 and 5. Assignments for Monday:
     Continue Composition Project. Come to class Monday with some musical ideas sketched out and basic concepts ready to discuss. (Complete first section sketch due next Wednesday, March 28.)
     Analysis examples for in-class discussion: Anthology, as assigned by instructor. Recommended study pieces:
          "Pandiatonicism and Additive Harmony," p. 436 (Stravinsky)
          "Complete Pieces," p. 503-508 (Debussy, Milhaud)
          "Polyharmony and Polytonality," p. 461-463 (Stravinsky, Milhaud, Brubeck)
          "Free Atonality," p. 465-473 (Schoenberg- 3 pieces, Webern, Bartok- 2 pieces)

Composition Project

Explore approaches to melody, harmony, rhythm, and texture discussed in the Kostka book and begin sketching your own musical ideas. Refine your sketches to develop a piece for performance in class.

Consider elements we have already studied, including:
      Advanced chromatic tertian harmony
      Exotic scales
      Extended chords (9ths, 11ths, etc.), added note chords, quartal chords, tone clusters, polychords

Explore further ahead in the Kostka textbook and Anthology. Do not limit yourself to techniques already covered in class.

This piece should represent your best work (10% of grade). It should employ a successful blend of techniques and materials found in music since 1900. As a rough guideline, plan on a minimum length of 24 measures.

Compose for resources available in your class.

     1. Initial sketch of a first section due: Wed, March 28
     2. Complete sketch due: Wed, April 11
     3. Performances in class: April 16 & 18. Polished score with all performance markings and any needed transposed parts due.

Suggestions:

  • Listen to music! Find pieces in the modern repertoire that inspire you. Let them provide models for your composing.
  • If you write for voice, begin words. Music should complement the natural accentuation of the text.
  • Plan ahead. Expect to revise and fine-tune your score as your work progresses.
  • Show your work to performers and learn from their comments.
  • Bring your work in progress to class regularly.
  • Turn in photocopies to the instructor and retain originals as you continue to work.
  • This list of instrumental ranges and transpositions may be helpful: instruments.pdf

Aural Skills:

Dictation assignment for next Tuesday:
     Practice: Self-grading melodies, p. 424-425 (Diatonic modes)
     To turn in next Tuesday: Melodic Quiz #2, p. 428.

Singing: Complete Unit 18, melodies p. 276-277. Part music, p. 278-280

Week 10 (March 26-29)

Theory:

Monday: Discuss Chs 4 and 5. Assignments for Wednesday:
     Composition Project: COMPLETE A FIRST SECTION SKETCH, TO BE TURNED IN NEXT CLASS, WEDNESDAY, MARCH 28. FULL SCORE OF COMPLETED PIECE DUE APRIL 11.
     Study Kostka chs. 6 (Rhythm) and 7 (Form)
     Analysis examples for in-class discussion: Anthology, as assigned by instructor

Wednesday: Discuss Composition Project sketches and Analysis examples. Assignment for Monday:
     Begin reading Kostka chs. 8 (Imports and Allusions) and 9 (Non-serial Atonality).

Aural Skills:

Singing: Begin Unit 19 (changing meters, Pandiatonicism). Rhythms p. 281-282. Part music, p. 283-286.

Dictation:
     Practice: Self-grading pandiatonic exercises, p. 442-443
     To turn in: pandiatonic part music quiz #1, p. 450, nos. 1 and 2 only

Week 11 (April 2-5)

Theory:

Monday: Discuss Kostka chs. 6 (Rhythm) and 7 (Form). Assignments for Wednesday:
      Study Kostka chs. 6 (Rhythm), 8 (Imports ans Allusions), and 9 (Non-serial Atonality). Consider how you might apply several techniques in the reading to passages in your own composition.
      Study Online Study Guide 12. Complete quiz at the end with a minimum score of 90%.

Wednesday: MEET IN LARGE GROUP.
     Focus on non-serial atonality (Kostka ch 9), Classical Serialism (Kosta ch. 10), and introduction to Ch 15 (Minimalism). Study examples
     FULL SCORE OF COMPLETED PIECE DUE NEXT WEDNESDAY, APRIL 11.
     Study Kostka ch. 10 (Classical Serialism)
     Analysis examples for in-class discussion: Anthology, as assigned by instructor

Aural Skills:

Singing:
     Begin Unit 20 (Syncopation and irregular meters, Extended tertian harmony). Rhythms p. 294-296. Melodies, p. 296-301.
     Continue Unit 19 Part music, p. 283-286, as assigned by instructor.

Dictation:
     Practice: Unit 20 melodies (Extended and altered tertian harmony), p. 461-462.
     To turn in: Melodic Quiz #1, p. 465, nos. 1-3 only

Week 13 (April 9-12)

Theory:

Monday: Discuss Kostka ch. 9 (Non-serial Atonality). Assignments for Wednesday:
 
     COMPLETE COMPOSITION PROJECT: FULL SCORE OF COMPLETED PIECE DUE WEDNESDAY
     Study Anthology examples for in-class discussion:

Wednesday:
      Turn in Composition Project. (Turn in a copy; retain your original to prepare for performance.)
      Focus on non-serial atonality (Kostka ch 9) and Ch 15 (Minimalism)

Assignment for Monday:
     Prepare for performances in class of your composition next week, April 18 & 20. Polished score with all performance markings and any needed transposed parts due.
     Study Anthology examples, as assigned by instructor, and Kostka ch. 10 (Classical Serialism).

Aural Skills:

Singing:
     Continue Unit 20 (Syncopation and irregular meters, Extended tertian harmony). Rhythms p. 294-296. Melodies, p. 296-301.
     As possible, also begin to preview next singing chapter (Exotic Scales), starting on p. 304.
     Part music, p. 302-303, as assigned by instructor.


Dictation:
     Practice: Unit 20 harmonic examples (Extended and altered tertian harmony), p. 469-470
     To turn in: Harmonic Quiz #1, p. 473, nos. 1-3 only

Week 14 (April 16-19)

Theory:

Monday:
     Begin hearing student compositions. BE READY!
     Discuss Kostka ch. 10 (Classical Serialism) and anthology pieces. Assignments for Wednesday:
          Complete study of Anthology examples for in-class discussion:
                Krenek, p. 478, Schoenberg, p. 480, Dallapiccola, p. 481, Webern, p. 484   Audio   See also: A Comparison of Tone Rows

          Study Kostka chs 13, 14, & 15.

Wednesday:
     Hear student compositions; Discuss Anthology pieces. Assignment for Monday:
     Study Kostka Acoustic Textures (Kostka ch 11) and chs 13, 14, & 15 and Anthology examples, as assigned by instructor.
 
Prepare for guest lecture by Dr. Rob Smith
   Link for scores and recordings: http://www.uh.edu/~rsmith10/KOOZIN/
   Listen and study scores for
       Crescent Moon, Let Me Love You - Matthew Tommasini
       death, hocket, and roll - Thomas Kotcheff

Go to the concert on Friday, April 27, Moores Opera House, 7:30 pm.
 
How do the composers of both works use harmony, orchestration and other elements to create large scale form?
 
   Crescent Moon: 1) What key is implied in the clarinet? In the marimba?
   2) Identify the main melodic material for each section. How does it give the work large scale form?
   3) How is the harmony used to further clarify the formal function of each section?
 
death...
   1) What are the principal key areas?
   2) Identify the principal sections of "death..."and their function
   3) How does the harmony, orchestration, etc.. reinforce these functions? FUNCTION = statement, transition, development, restatement
 
other...
The other works on the program are more substantial, and I may touch on them slightly. Hinge - Blake Wilkins In at the Eye - Kevin Puts If anyone looks at the Wilkins, what might represent the "hinge" of the title? Here is the promo video! https://youtu.be/afrXiIDfj7c
   

Aural Skills:

Singing:
     Study Unit 21 (Exotic Scales), starting on p. 304.
     Other material as assigned by instructor.

Dictation:
     Practice: Unit 20 harmonic examples (Extended and altered tertian harmony), p. 471-472
     To turn in: Harmonic Quiz #2, p. 475, nos. 1-3 only

Week 15 (April 23-26)

Theory:

Monday: Guest Lecture: Dr. Rob Smith, upcoming AURA ensemble concert (Friday, April 27, 7:30pm, Moores Opera House)

     Discuss Kostka chs 13, 14, & 15. Assignments for Wednesday:
          Practice Final Exam. Download the PDF
          Review chs 13, 14, & 15
          Also review terms in Ch 9: Normal Order and Prime Form

Wednesday:
     Hear any remaining student compositions
     Discuss Anthology pieces. Assignment for Monday:
     Study Anthology examples from "Music After 1945" section, nos. 452-458. Audio for the Crumb is here: Audio

Aural Skills:

Singing:
     Complete Unit 21 (Exotic Scales) to page p. 311
     Other material as assigned by instructor (photocopy handout)
     Sample melodies from selected pages in new chapters: 316 (quartal harmony), 338 and 341 (interval music), 347 (serial music)

Dictation:
     No new Dictation homework assignment
     Aural Skills Dictation Final: Thursday, April. 26 (based on workbook examples to page 472)

Monday, April 30: Last day of theory class. Discuss Practice Final Exam and review

Aural Skills Singing Final: Tuesday, May 8, 8:00-11:00, individually by appointment (all singing melodies assigned during the semester)

Theory Final Exam: Wednesday, May 9, 8:00-11:00 a.m.