12/26/2024 3:34:04 AM	MUSC 2D Course Outline as of Fall 2009	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  MUSC 2D	Title:  CHROMATIC HARMONY 2
Full Title:  Chromatic Harmony 2
Last Reviewed:4/22/2019

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	3.00		17.5 max.	Lecture Scheduled	52.50
Minimum	3.00	Lab Scheduled	0		17.5 min.	Lab Scheduled	0
		Contact DHR	0			Contact DHR	0
		Contact Total	3.00			Contact Total	52.50
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  105.00

Total Student Learning Hours: 157.50

Title 5 Category:  AA Degree Applicable
Grading:  Grade Only
Repeatability:  00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As: 
Formerly:  MUS 2D

Catalog Description:

Second semester of a two-part study of chromaticism in common-practice harmony, with an introduction to twentieth-century theory. Topics include: borrowed chords and mode mixture; the Neapolitan and augmented sixth chords; enharmonic reinterpretation and modulation; ninth, eleventh, and thirteenth chords; and musical techniques of the late nineteenth and twentieth centuries.  

Prerequisites/Corequisites:
Course Completion of MUSC 2C ( or MUS 2C)

Recommended Preparation:
Concurrent enrollment in MUSC 3D; AND concurrent private or classroom piano study as recommended.

Limits on Enrollment:

Schedule of Classes Information
Description:

Topics include borrowed chords, mode mixture, Neapolitan and augmented sixth chords; enharmonic reinterpretation and modulation; ninth, eleventh, and thirteenth chords; and musical techniques of the late nineteenth and twentieth centuries.  

(Grade Only)
Prerequisites:Course Completion of MUSC 2C ( or MUS 2C)
Recommended:Concurrent enrollment in MUSC 3D; AND concurrent private or classroom piano study as recommended.
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
IGETC:	Transfer Area			Effective:	Inactive:
CSU Transfer:	Transferable	Effective:	Fall 1981	Inactive:
UC Transfer:	Transferable	Effective:	Fall 1981	Inactive:
C-ID:
CID Descriptor: MUS 150	Music Theory IV	SRJC Equivalent Course(s): MUSC2D

Certificate/Major Applicable: Major Applicable Course

COURSE CONTENT

Outcomes and Objectives:
At the conclusion of this course, the student should be able to:

Upon completion of this course, the student will be able to:

1.  Analyze and utilize borrowed chords and mode mixture.

2.  Identify, construct, and utilize Neapolitan and augmented-sixth

   chords.

3.  Analyze and explain enharmonic spellings, reinterpretation, and

   modulation.

4.  Identify, construct, and utilize ninth, eleventh, and thirteenth

   chords.

5.  Analyze and utilize common-tone-diminished-seventh chords,

   simultaneities, coloristic chord successions, and other harmonic

   elements.

6.  Realize a figured bass line into a complete four-part arrangement

   utilizing these harmonic devices.

7.  Harmonize a given melody in four parts utilizing these harmonic

   devices.

8.  Analyze, compare, and contrast musical techniques of the late

   nineteenth and twentieth centuries.  

Topics and Scope

I.    Borrowed Chords and Mode Mixture

     A. Borrowed chords in minor

     B. The use of the minor submediant in major

     C. Other borrowed chords in major

     D. Modulations involving mode mixture

II.   The Neapolitan Chord

     A. Conventional use of the Neapolitan

     B. Other uses of the Neapolitan

III.  Augmented Sixth Chords

     A. The interval of the augmented sixth

     B. The Italian, French, and German augmented sixth chords

     C. Other uses of conventional augmented sixth chords

     D. Other bass positions and resolutions

     E. Other types of augmented sixth chords

IV.   Enharmonic Spellings and Enharmonic Modulations

     A. Enharmonic spellings

     B. Enharmonic reinterpretation

     C. Enharmonic modulations

     D. Other examples of enharmonicism

V.    Further Elements of the Harmonic Vocabulary

     A. The dominant with a substituted 6th

     B. The dominant with a raised 5th

     C. Ninth, eleventh, and thirteenth chords

     D. The common-tone diminished seventh chord

     E. Simultaneities

     F. Coloristic chord successions

VI.   Tonal Harmony in the Late Nineteenth Century

     A. Counterpoint

     B. Treatment of dominant harmony

     C. Sequence

     D. Expanded tonality

VII.  An Introduction to Twentieth-Century Musical Techniques

     A. Impressionism

     B. Scales and modes

     C. Extended tertian harmony

     D. Polyharmony

     E. Quartal and secondal harmony

     F. Parallelism

     G. Pandiatonicism

     H. Rhythm and meter

     I.  Atonal theory and twelve-tone serialism

     J. Total serialization vs. aleatory or chance music

     K. Texture and expanded instrumental resources

     L. Electronic music  

Assignments:

1. Workbook assignments in part writing and harmonization (3-5 pp. per week).

2. Harmonic and formal analysis of excerpts from compositions of the

  common-practice era (2-3 per week).

3. 6-8 chapter quizzes.

4. 2 major composition projects that utilize concepts learned in class.

5. Oral report on a topic in twentieth-century theory.

6. Comprehensive midterm and final exams.  

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 0 - 0%
None
This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments and skill demonstrations are more appropriate for this course.
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 25 - 40%
Homework problems
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 5 - 10%
Oral reports
Exams: All forms of formal testing, other than skill performance exams.		Exams 35 - 50%
Music notation, arranging, and composition
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 10 - 20%
Attendance and participation

Representative Textbooks and Materials:

Kostka, Steven and Dorothy Payne. Tonal Harmony. 6th ed. McGraw Hill, 2009.  

Print PDF