Course Outline for Music Literature 2B
Harmony and Musicianship II

Effective: Fall 2024
SLO Rev:
Catalog Description:

MUSL 2B - Harmony and Musicianship II

4.00 Units

This course is a study of harmony and voice leading in the Western Common Practice. It addresses diatonic functionality, four-part voice leading, simple musical structures, harmonic and formal analysis, and musicianship skills including sight singing, rhythmic training, dictation, and keyboard realization.
Prerequisite: MUSL 2A.
1004.00 - Music
Letter Grade Only
Type Units Inside of Class Hours Outside of Class Hours Total Student Learning Hours
Lecture 3.00 54.00 108.00 162.00
Laboratory 1.00 54.00 0.00 54.00
Total 4.00 108.00 108.00 216.00
Measurable Objectives:
Upon completion of this course, the student should be able to:
  1. discuss the principles of diatonic harmony and four-part voice leading using triads and seventh chords;
  2. conduct harmonic analyses of music examples which utilize diatonic triads and seventh chords;
  3. define strophic, binary, ternary and/or rounded binary structures;
  4. demonstrate an appreciation of aural and written concepts as they apply to musical structure;
  5. utilize the principles four-part voice leading, realize figured bass lines that indicate the use of diatonic triads and 7th chords;
  6. utilize the principles of diatonic harmony and four-part voice leading, harmonize melodies using diatonic triads and seventh chords;
  7. compose music that employs a simple formal structure, the principles of diatonic harmony and four-part voice leading;
  8. demonstrate musicianship skills including sight singing, rhythm reading, aural recognition, dictation, conducting and keyboard realization, using diatonic materials.
Course Content:
 
  1. Review of Fundamental Theoretical Concepts
  2. Principals of Diatonic Functionality and 4-part Voice Leading
    1. Keyboard style, 4-part chorale style in closed and open positions
    2. The tonic and harmonies with dominate function
    3. Cadences and their elaborations
    4. Approaches to the cadence and their elaborations
  3. Harmonic Analysis
  4. Simple Formal Structures
    1. Binary, ternary, and rounded binary forms
    2. Minuet and Trio
  5. Realization of figured bass lines utilizing the principals of diatonic harmony and four-part voice leading using triads and seventh chords.
  6. Harmonization of diatonic melodies utilizing the principals of diatonic harmony and four-part voice leading using triads and seventh chords.
  7. Composition of music that employs a simple formal structure, diatonic functionality using triads and seventh chords, and four-part voice leading.
  8. Musicianship Skills
    1. Preparation, sight singing, and transposition of melodies in major and minor keys featuring leaps from the I, IV, V, and V7 chords.
    2. Exercises with common melodic patterns (arpeggios, sequences, passing tones, neighbor tones).
    3. Exercises with common diatonic chord progresssions with inversions, emphasizing bass-line patterns and tendency tones.
    4. Analysis of melodies from tendency tones, arpeggiation of triads, harmonic context, and nonharmonic tones.
    5. Analysis of phrase structure within simple melodic forms.
    6. Melodic dictation in a variety of major and minor keys, tempos, and meter signtatures featuring leaps from the I, IV, V and V7 chords.
    7. Harmonic dictation in two parts.
    8. Harmonic dication of common diatonic progressions with inversions, writing outer voice and Roman Numerals.
    9. Exercises with common rhythmic patterns with subdivided beats in simple and compound meters at various tempos.
    10. Dictation of rhythms with subdivided beats in simple and compound meters at various tempos.
    11. Sight reading and performance of music in multiple parts (cannons, duets, chorales, etc) appropriate to the topics studied.
    12. Performance of rhythm and sight singing exercises while conducting.
    13. Exercises in basic and subdivided conducting patterns with left-hand dynamic and phrasal gestures.
    14. Exercises to detect errors in rhythm, pitch, harmony, and/or solfeggio.
    15. Exercises at the piano keyboard, such as playing chord progressions while singing any part or argeggiation of the chords.

 

Methods of Instruction:
  1. In-class written demonstration of concepts by students
  2. Lecture/Discussion
  3. Demonstration/Exercise
  4. Studio
  5. Individual Performance
  6. Distance Education
  7. Solfeggio, ear training and dictation
  8. Written exercises
Assignments and Methods of Evaluating Student Progress:
  1. Reading 1: Read the chapter on viio6. Be ready to discuss proper resolution of the tritone.
  2. Reading 2: Read the section on the deceptive cadence. Be ready to discuss its voice leading requirements and what must follow.
  3. Writing, problem solving, performance 1: Harmonize the melody of “Are You Sleeping” in the key of E major using I, I6, V, V6, viio6, V7, and any inversion of V7 in 4-part chorale style.
  4. Writing, problem solving, performance 2: Perform the following chord progressions in keyboard style in any key with up to four sharps or flats: for major keys: I - ii6 – V6/4-5/3 - I; for minor keys: i – iio6 – V6/4-5/3 - i.
  5. Lab, field activity, product or report: Write down the following melody and bass line of the following dictated musical example:(melody and bass line of the 1st six measures of "My Country 'tis of Thee" in Eb Major).
  1. Written exercises
  2. Compositional assignments
  3. In-class sight singing and dictation drills
  4. In-class drills in rhythmic accuracy, conducting, and/or keyboard
  5. Directed listening activities/exams
  6. Individual sight singing examinations
  7. Rhythmic, melodic, and harmonic dictation exercises/exams
  8. Self-paced individual laboratory work
  9. Final Project/Examination
Upon the completion of this course, the student should be able to:
  1. Compose music using fundamental Western theoretical concepts.
  2. Demonstrate basic musicianship skills including sight singing, rhythmn reading, aural recognition, dictation, and keyboard realization.
  3. Examine and execute the material and structures of western Art Music from 1450-present.
  4. Use the modern, Western system of notating music.
  5. Describe the historical aspects of the development of the theoretical concepts discussed throughout the course.
  6. Recognize and apply fundamental Western theoretical concepts.
Textbooks (Typical):
  1. Kostka, Stefan and Dorothy Payne (2024). Tonal Harmony (textbook & workbook) (9th). McGraw Hill.
  2. Ottman, Robert (2021). Music for sight Signing (10th). Pearson.
Abbreviated Class Schedule Description:
This course is a study of harmony and voice leading in the Western Common Practice and is continuation of MUSL 2A. Topics include diatonic functionality, four-part voice leading, simple musical structures, harmonic and formal analysis, and musicianship skills including sight singing, rhythmic training, dictation, and keyboard realization.
Prerequisite: MUSL 2A.
Discipline:
Music*