Important InformationAlthough I handed out a course schedule on the first day of class, the web version of that document is more current. In the handout for example, no homework assignments for the latter part of the course were included. The missing assignments will be posted on the this web page. Therefore, you should check this page periodically for any new assignment and schedule changes. Furthermore, as I add class note to our web site, I will link the lecture topic listings of the schedule to the notes, so you have more than one way to obtain the same information. Below you will find a clickable index that will take you to a Monday for each week of the semester. This should help you navigate the schedule.
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[ 1/13 | 1/20 | 1/27 | 2/3 | 2/10 | 2/17 | 2/24 | 3/3 | 3/10 ] |
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[Syllabus] |
| Date | Lecture Topic | Homework | Reading Assignments |
|---|---|---|---|
| 1/13 index |
Orientation Welcome message Review Syllabus Elements of the electronically enhanced classrrom |
No homework | No reading |
| 1/15 | Review Harmony--chord functions resolution of dissonances secondary dominants; modulation; writing procedures Form Phrases--Harmonic structure of the phrase; melodic structure of the phrase; antecedent-consequent structure. Binary Forms--simple binary; continuous binary; rounded binary. Ternary Forms | No homework | Green: Chaps. 2,3, and 5 |
| 1/17 | Neapolitan Introduction Conventional use of the Neapolitan Other uses of the Neapolitan |
Kostka/Payne Workbook: P. 208 B 1-10; P. 213 D 1-8 |
Kostaka/Payne: Chap. 22, pp. 372-383 |
| 1/20 index |
No class--Martin Luther King Day | No homework | No reading |
| 1/22 | Neapolitan Realizing a figured bass harmonizing a melody |
Realizing a figured bass | No reading |
| 1/27 index |
Augmented Sixth Chords Introduction Origins--Phrygian cadence The interval of the augmented sixth Function of the augmented sixth chords The Italian Sixth The German Sixth The French Sixth Other functions of augmented sixths |
Kostka/Payne Workbook: P. 218, B 1-10; P. 227 D 1-5 | Kostka/Payne: Chap 23 |
| 1/29 | Augmented sixth chords Realizing a figured bass Harmonizing a melody |
No homework | No reading |
| 1/31 | Augmented sixth chords Analysis: Haydn, minuet; Beethoven: String Quartet Op. 53 no. 3; Piano Sonata No. 30 Op. 109, Mov. IV; Schubert, Erlkönig |
Kostka/Payne workbook: P. 228 F another figured bass that will be handed out in class |
No reading |
| 2/3 index |
Augmented Sixth Chords New functions for augmented sixth chords |
Kostka/Payne workbook: P. 231, A 1-10 | Kostka/Payne: Chap. 24 p. 400-409 |
| 2/5 | Augmented sixth chords New functions for augmented sixth chords Analysis: Brahms, Second Sonata for Clarinet and Piano, Op. 120, no. 2 |
Kostka/Payne workbook: P. 232 B; P. 233, 3 | Green: Chap. 6 |
| 2/7 | Augmented sixth chords Analysis: Chopin second Piano Sonata |
No homework | No reading |
| 2/10 index |
Sectional Variations Sectional and Continuous variations Fixed and variable elements of theme Procedures in sectional variations |
No homework | Green: Chap. 7, pp 98-104 |
| 2/12 | Sectional Variations Form in sectional variations Shape in sectional variations Modifications of sectional variations Analysis : Beethoven, Piano Sonata Op. 26 mov. I, theme. |
No homework | No reading |
| 2/14 | Sectional Variations Beethoven, Piano Sonata, Op. 26 Mov. I, variations 1-5. |
Analyze Beethoven Op. 14, No. 2, Mov. II | No reading |
| 2/17 index |
Continuous Variations Procedures of continuous variations Shape in continuous variations Special applications of the ground-bass principle Summary of continuous variations |
No homework | Green: Chap 7 pp. 120-128 |
| 2/19 | Continuous Variations Analysis : Beethoven Thirty-Two Variations on an original theme in c minor |
TBA | No reading |
| 2/21 | Continuous Variations Continue with Beethoven |
TBA | No reading |
| 2/24 index |
Sonata Form The general aspects of sonata form Primary key section (first theme or group) The transition |
TBA | Green: Chap 11, pp. 178-197 |
| 2/26 | Sonata Form Related key section (second theme or group) Continuation of related key section (closing theme or group) |
TBA | Green: Chap. 11, pp. 197-202 |
| 2/28 | Sonata Form The development section |
TBA | Green: Chap. 11, pp. 202-210. |
| 3/3 index |
Sonata Form The recapitulation |
TBA | Green: Chap. 11, pp. 210-219 |
| 3/5 | Sonata Form The introduction Analysis : Beethoven, Op. 13, Mov. I |
TBA | Green: Chap. 12, pp. 220-226 |
| 3/7 | Midterm--will cover all material through 3/5/97 | No homework | No reading |
| 3/10 index |
Spring Break | No homework | No reading |
| 3/12 | Spring Break | No homework | No reading |
| 3/14 | Spring Break | No homework | No reading |
| 3/17 index |
Sonata Form The coda |
TBA | Green: Chap. 12, pp. 226-230 |
| 3/19 | Sonata Form Analysis : Beethoven, Op. 2, no. 1, Mov. I. |
TBA | No reading |
| 3/21 | Sonata Form Analysis : Beethoven, Op. 2, no. 1, Mov. I |
TBA | No reading |
| 3/24 index |
Sonata Form Analysis : Beethoven, Op. 14, no. 2, Mov. I |
TBA | No reading |
| 3/26 | Sonata Form Analysis : Beethoven, Op. 14, no. 2, Mov. I |
TBA | No reading |
| 3/28 | Sonatina Form Modifications of sonata form Analysis : Beethoven, Op. 10, No. 1, Mov. 2 |
TBA | Green: Chap. 12, pp. 230-231 |
| 3/31 index |
Sonatina Form Analysis : Beethoven, Op. 10, No. 1, Mov. 2 |
TBA | Green: Chap. 12, pp. 230-231 |
| 4/2 | Enlarged Sonatina Form Fusion of development and recapitulation Analysis : Haydn--String Quartet Op. 20, No. 5, Mov. III |
TBA | No reading |
| 4/7 index |
Standard Rondo The typical classical rondo |
TBA | Green: Chap. 9, pp. 152-162 |
| 4/9 | Rondo Other designs in the classical rondo Classical rondos lacking continuity |
TBA | Green: Chap. 99, pp. 162-163; 164-166 |
| 4/11 | Rondo Analysis: beethoven, Op. 13, Mov. III |
TBA | No reading |
| 4/14 index |
RondoAnalysis : Beethoven, Op. 13, Mov. III. | TBA | No reading |
| 4/16 | Rondo Analysis : Beethoven, Op. 14, no. 1, Mov. III |
TBA | No reading |
| 4/18 | RondoAnalysis : Beethoven, Op. 22 Mov. IV | TBA | No reading |
| 4/21 index |
Sonata Rondo The sonata rondo |
TBA | Green: Chap. 9, pp. 163-164; Chap. 12, p. 232 |
| 4/23 | Sonata Rondo Analysis : TBA |
TBA | No reading |
| 4/25 | Sonata Rondo Analysis : TBA |
TBA | No reading |
| 4/28 index |
Fugue Fugue and form Characteristics of Fugue the fugue subject and answer Contrapuntal devices Fugal procedures The form of a fugue |
TBA | Green: Chap. 14, pp. 257-282 |
| 4/30 | Fugue Analysis : Haydn--String Quartet, Op. 20, No. 5, Mov. IV |
TBA | No reading |
| 5/2 | Fugue Analysis : Haydn--String Quartet, op. 20, No. 5, Mov. IV |
TBA | No reading |
| 5/8 index |
FINAL EXAM--9:00-12:00 PM | Turn in take home portion of the exam | ssssss |
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