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Music Theory IV
Class Notes
Spring 2011
[√] One – Introduction
Date: 1/25

Introduction
Review syllabus
The purpose of music theory
Parametric Analysis
review syllabus
how to do it

[√] Two (1.1) Analyzing Renaissance Music

Date: 2/3

Lesson
Melodic and Rhythmic Style of Renaissance Music
Melodic
modes pg. 3
musica ficta pg. 3-4
transposed modes pg. 4
melodic characteristics pg. 10
setting text pg. 15
syllabic
melismatic
Rhythmic
rhythm and meter pgs. 10-12
hocket
Observe Melodic and Rhythmic Analysis of 1.31 pg. 17
Melody
What scales (modes) are used?
4 modes
4 transposed
What type of melodic intervals are predominant throughout? (intervallic relationship)
conjunct
disjunct
mixed
Are there any melodic motives (M)? If so, how are they used? (provide at least 3 examples)
Are Phrases created (|)? If so, how are they used?
Are Periods created (||)? If so, what kind are they?
Are Themes created (T)? If so, where?
Are there any Primary Melodies (PM)? If so, where are they?
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?
Describe the melodic contour.
Rhythm

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What time signature is used?

Does the time signature change? (written or implied) If so, where?
What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where?
How are the rhythmic motives used?
Are rhythmic cadences used?
Additional
Mark the hockets
Homework
Melodic and Rhythmic Analysis of Ex. 1.1 pg. 23

[√] Three (1.2)

Date: 2/8

Announcement
tutor?
Review Homework
Melodic and Rhythmic Analysis of Ex. 1.1 pg. 23
Lesson
Harmonic and Formal Style of Renaissance Music
Harmonic
consonance and dissonance pgs. 5-10
listen figure 1.6
listen figure 1.7
listen figure 1.8
listen figure 1.9
listen figure 1.10
listen figure 1.11
listen figure 1.12
cadences pg. 13
clausula vera
listen figure 1.23
plagal
listen figure 1.25
parallel motion pg. 14
Form
forms pg. 16
through composed
Observe Harmonic and Formal Analysis of 1.31 pg. 17
Harmony
What harmonic system is being used?
tonal
modal
atonal
What are the keys or tonal centers of the work?
How are they created?
Do a macro analysis of the piece, if appropriate.
Do a Roman Numeral analysis of the piece, if appropriate.
Where are the cadences and what type are they?
clausula vera

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plagal
interior weak
Are there any modulations? If so, where?
How is dissonance created?
circle dissonant tones
How is it treated?
identify dissonant tones (PT, NT, sus, etc.)
Form
What is the large scale form?
through composed (different phrases throughout)
Are there small scale forms? If so, what are they?
Additional
circle and identify the dissonant tones
Homework
Harmonic and Formal Analysis of ex. 1.1 pg. 23

[√] Four (1.3)

Date: 2/10

Review Homework
Harmonic and Formal Analysis of ex. 1.1 pg. 23
Lesson
Textural and Overall Style
Texture (review)
Density
Range
Dynamics
Text pg. 15
syllabic
melismatic
Overall
climaxes and resolutions
other interest and movement
composer's intention
Observe Texture and Overall Analysis of 1.31 pg. 17
Texture
What is the texture type?
monophonic
polyphonic
heterophonic
homophonic
What is the density?
thick
thin
Does it change? If so, how?
What is the overall range?
wide
narrow
identify highest and lowest notes
Does the range change in the piece? If so, how?
What are the dynamics?

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What are the articulations?

What is the text? (including title) (see pg. 21)
How was it expressed in the music?
Overall
Write a brief essay that uses the previous information to answer the following questions:
What creates movement and interest in the piece?
Where are the climactic points?
How are they approached and resolved?
What do you think was the composer's intent in creating this work?
What did you experience in hearing and analyzing this work?
Homework
Take home test: Complete analysis Ex. 1.3 pg. 25

[√] Five (2.1) – Analyzing Baroque Music

Date: 2/15

Hand In Test
Complete analysis Ex. 1.3 pg. 25
Review Test
make up opportunity
Lesson
Differences between Renaissance and Baroque Counterpoint pgs. 36-37
Melodic and Formal Style of the fugue
Formal elements
the exposition pgs. 49-52
subject
answer (audio 3-1)
countersubject
invertible counterpoint
link
bridge
design
listen to exposition figure 3.10 pg. 57
the development pgs. 52-53
entries
episodes
manipulations pgs. 53-56
augmentation (lengthening)
diminution (shortening)
retrograde (horizontal flip)
inversion (vertical flip)
listen to development figure 3.10
the recapitulation pg. 56
stretto pg. 53
coda pg. 56
listen to figure 3.10 - all
analysis of 3.10 pgs. 57-64
Melody
What scales (modes) are used?
What type of melodic intervals are predominant throughout? (intervallic relationship)

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Are there any melodic motives (M)? If so, how are they used? (provide at least 3 examples)
phrases often derived from motives
Are phrases (Themes) created (T)? If so, how are they used?
Identify Subject and Answer = phrase
Identify Counter-subject = second phrase
identify manipulations
Are periods created (P)? If so, what kind are they?
Are there any Primary Melodies (PM)? If so, where are they?
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?
Describe the melodic contour
Form
What is the large scale form?
The Fugue
Are there small scale forms? If so, what are they?
Identify Exposition, Development, Recapitulation
Homework
Melodic and Formal analysis of Ex. 3.2 pg. 66
Answer analysis questions

[√] Six (2.2)

Date: 2/17

Review Test
Review Homework
Melodic and Formal analysis of Ex. 3.2 pg. 66
Lesson
Harmonic and Rhythmic Style
Harmonic
harmonic relationship of subject to answer pg. 49
harmonies in the development
related keys
episodes used for transitions
harmonies in the recapitulation
mostly dominant and tonic
Rhythmic
concept of continuous motion
use of rhythmic motives in episodes
Observe analysis of keys, cadences, and use of rhythmic motives in 3.10 pg. 57
Harmony
What harmonic system is being used?
What are the keys or tonal centers of the work?
identify all the keys
How are they created?
Do a macro analysis of the piece, if appropriate.
Do a Roman Numeral analysis of the piece, if appropriate.
just the exposition
Where are the cadences and keys and what type are they?
Are there any modulations? If so, where?
How is dissonance created?

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How is it treated?
Rhythm
What time signature is used?
Does the time signature change? (written or implied) If so, where?
What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where?
How are the rhythmic motives used?
Are rhythmic cadences used? If so, where?
Homework
Harmonic and Rhythmic analysis of ex. 3.2 pg. 66

[√] Seven (2.3)

Date: 2/22

Review Homework
Harmonic and Rhythmic analysis of ex. 3.2 pg. 66
Lesson
Textural and Overall Style
Texture
Texture Type
Density
Range
Text
Overall
climaxes and resolutions
other interest and movement
composer's intention
Look at the use of Texture and Overall analysis in 3.10 pg. 57
Texture
What is the texture type?
What is the density?
Does it change? If so, how?
What is the overall range?
Does the range change in the piece? If so, how?
What are the dynamics?
What are the articulations?
What is the text? (including title)
How was it expressed in the music?
Overall
Write a brief essay that uses the previous information to answer the following questions:
What creates movement and interest in the piece?
Where are the climactic points?
How are they approached and resolved?
What do you think was the composer's intent in creating this work?
What did you experience in hearing and analyzing this work?
Homework
Textural and Overall analysis of ex. 3.2 pg. 66

[√] Eight (2.4)

Date: 2/24

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Review Homework
Textural and Overall analysis of ex. 3.2 pg. 66
Lesson
Video of Just Intonation
Review
Homework
Take home test: complete analysis of Bach: Fugue in C Major (a3)
see web page for score and recordings

[√] Nine (3.1) - Analyzing Classical Music (the sonata)

Date: 3/1

Hand In and Review Test

Lesson
Melodic and Formal Style
Formal and Melodic
Sonata pgs. 135-141
Discuss Theme
Exposition
Theme 1
Transition
Theme 2
Closing theme
Development
exploration of themes
Retransition
Recapitulation
Observe analysis of 8.7 pgs. 142-154
Melody
What scales (modes) are used?
What type of melodic intervals are predominant throughout? (intervallic relationship)
disjunct
conjunct
Are there any melodic motives (M)? If so, how are they used? (provide at least 3 examples)
motives used to create phrases
Are Phrases created (|)? If so, how are they used?
create themes
Are Periods created (||)? If so, what kind are they?
Are Themes created (T)? If so, how are they used?
Two or more themes in exposition
Manipulation of themes in development
Restatement of themes in recap
Are there any Primary Melodies (PM)? If so, where are they?
Themes
Are there any Secondary Melodies (SM)? If so, where are they?
not usually
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
all other lines
Are there non-melodic lines that provide static support (SS)? If so, where?

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Describe the melodic contour

Form
What is the large scale form?
Sonata-Allegro
Are there small scale forms? If so, what are they?
Exp, Dev, Recap
Homework
Melodic and Formal analysis of ex. 8.1 pg. 157

[√] Ten (3.2)

Date: 3/3

Hand In Test

Review Homework
Melodic and Formal analysis of ex. 8.1 pg. 157
Lesson
Chromatic Harmonies
The #4 in the bass line:
V6/V
viio/V
(Aug6)
The b6 in the bass line:
bVI
Borrowed minor iv (in major)
Borrowed viio6/5
Borrowed iio2 (in major)
N6
Aug6
Borrowed chords pg. 71-76
do ex. 4.1 pg. 79: 1-2 in class
do ex. 4.3 pg. 80: 1-2 in class
Homework
Ex. 4.1 pg. 79 (remaining)
Ex. 4.3 pg. 80 (remaining)

[√] Eleven (3.3)

Date: 3/8

Review Homework
Ex. 4.1 pg. 79
Ex. 4.3 pg. 80
Lesson
Extended Chords pgs. 179 - 181
definition
omitted notes
characteristics
usually in root position
in both major and minor keys
usually extends the V chord
can be used in secondary dominants

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maintains function
need audio 10.5
N6 chords pgs. 85 - 87
need audio 5.2, 5.3, 5.4
analyze 10.4 no.1 pg. 190 in class
Homework
10.4 pg. 190 (remaining)

[√] Twelve (3.4)

Date: 3/10

Review Homework
10.4 pg. 190
Lesson
Harmonic Style
Sonata form harmony pgs. 135-141
Review harmonic analysis of 8.7 pg. 142
Homework
Harmonic analysis of Exposition ex. 8.1 pg. 157 (includes Borrowed and extended chords)

[√] Thirteen (4.1) – Analyzing Romantic Music

Date: 3/22

Review Homework
Harmonic analysis of Exposition ex. 8.1 pg. 157
Lesson
Rhythm, Texture, and Overall Style
Rhythmic
Compare to Baroque
Review analysis of 8.7 pg. 142
Texture
Density
Range
Overall
Do rhythmic, textural, and overall analysis of Exercise 8.1 pg. 157
Rhythm
What time signature is used?
Does the time signature change? (written or implied) If so, where?
What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where? (give three examples)
How are the rhythmic motives used?
Texture
What is the texture type?
What is the density?
Does it change? If so, how?
What is the overall range?
Does the range change in the piece? If so, how?
What are the dynamics?
What are the articulations?
What is the text? (including title)

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How was it expressed in the music?

What is the timbre and how does it affect the music?
Overall
Write a brief essay that uses the previous information to answer the following questions:
What creates movement and interest in the piece?
Where are the climactic points and how are they approached and resolved?
What do you think was the composer's intent in creating this work?
What did you experience in hearing and analyzing this work?
Homework
Take home test: Beethoven Sonata op. 49 no.1 (due in one week)

[√] Fourteen (4.2)

Date: 3/24

Announce
apply for graduation
Lesson
Melodic and Rhythmic Style pg. 213
Melody
use of motives
expanded phrases
uneven phrase lengths
can be highly disjunct
Rhythm
used rhythms of popular dance movements
more complex rhythms
can include much syncopation
use of rhythmic motives
wide tempo changes
Analyze Ex. 13.6 pg. 229
Melody
What scales (modes) are used?
What type of melodic intervals are predominant throughout? (intervallic relationship)
conjunct vs. disjunct
Are there any melodic motives (M)? If so, how are they used? (provide at least 3 examples)
motives used to create phrases
Are Phrases created (|)? If so, how are they used?
create themes
Are Periods created (||)? If so, what kind are they?
Are Themes created (T)? If so, how are they used?
Two or more themes in exposition
Manipulation of themes in development
Restatement of themes in recap
Are there any Primary Melodies (PM)? If so, where are they?
Themes
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?
Rhythm
What time signature is used?

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Does the time signature change? (written or implied) If so, where?

What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where? (give three examples)
How are the rhythmic motives used?
Are rhythmic cadences used? If so, where?
Analyze Ex. 13. 5 pg. 228 in class (Chopin)
Homework
Melodic and Rhythmic Analysis of Ex. 13.6 pg. 229 (Franck)

[√] Fifteen (4.3)

Date: 3/29

Unit Three Test Due

Review Test

Review Homework
Melodic and Rhythmic Analysis of Ex. 13.6 pg. 229 (Franck)

Lesson
Chromatic Harmonies
Aug6 chords pg. 99-107
Italian (It+6)
tonic
two notes surrounding the dominant
raised 4th scale degree
lowered 6th scale degree (bass note)
French (Fr+6)
add the major second above tonic
German (Gr+6)
add the minor third above tonic
Listen to 6.5 pg. 100
Listen to 6.6 pg. 101
Listen to 6.7
Listen to 6.8
Listen to 6.9
Do assignment 6.1 in class pg. 109
Do assignment 6.3 pg. 110: 1 in class
Homework
Exercise 6.3 pg. 110 (remaining)
Exercise 6.5 pg. 112

[√] Sixteen (4.4)

Date: 3/31

Announce

Review Homework.
Exercise 6.3 pg. 110 (remaining)
Exercise 6.5 pg. 112
Lesson

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Harmonic and Formal Analysis of Romantic Music

Harmony pg. 213-223
expanded chords
modulation to unrelated keys
unresolved dissonances
nonfunctional harmony
increased dissonance
enharmonic spelling
resolutions of diminished 7th chords
Form
driven mostly by harmony
Observe form and harmonic analysis
13.5 pg. 228
Homework
Harmony and Form: Exercise Ex. 13.6 pg. 229 (Franck)

[√] Seventeen (4.5)

Date: 4/5

Announce
Test next class

Review Homework
Harmonic and Formal Analysis of Ex. 13.6 pg. 229

Lesson
Textural and Overall Style
Texture
Texture Type
Density
Range
Dynamics
Text
Timbre
Analyze Texture of Ex. 13. 6 pg. 229
Overall
Movement and Interest
Climactic Points and their approach and resolve
Composer's Intention
Your experience
Analyze Overall of Ex. 13. 5 pg. 228

Homework
Texture and Overall Analysis of ex. 13.6 pg. 229

[√] Eighteen (4.6)

Date: 4/7

Review Homework
Texture and Overall Analysis of ex. 13.6 pg. 229
Lesson

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Review homework
Homework
Take Home Test: Chopin Prelude in E pg. 209

[√] Nineteen (5.2)

Date: 4/12

Lesson
Some 20th century techniques pgs. 273-276
neoclassicism
need audio 16.1
polytonality
need audio 16.2
dual modality
need audio 16.3
shifted tonality
need audio 16.4
free tonality
need audio 16.5
polychords
need audio 16.7
quartal chords
need audio 16.8
need audio 16.9
need audio 16.10
Melodic and Rhythmic Style
Melodic
use of counterpoint techniques
use of modes
use of other scales
use of dissonant intervals (2nds, tritones, 7ths)
set theory pg. 292
twelve tone technique pg. 309
technique
listen track 50
listen track 51
Rhythmic pg. 279
changing meter
asymmetric meters
blurring of the barline
Melodic and Rhythmic analysis of 16.36 pg.297
Melody
What scales (modes) are used?
major, minor, modal, chromatic, original
What type of melodic intervals are predominant throughout? (intervallic relationship)
2nds, tritones, 7ths
more disjunct
Are there any melodic Motives (M)? If so, how are they used? (provide at least 3 examples)
Are Phrases created (|)? If so, how are they used?

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Are Periods created (||)? If so, what kind are they?

Are Themes created (T)? If so, how are they used?
Are there any Primary Melodies (PM)? If so, where are they?
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?
Rhythm
What time signature is used?
anything goes
Does the time signature change? (written or implied) If so, where?
What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where? (give three examples)
How are the rhythmic motives used?
Homework
Melodic and Rhythmic Analysis of Ex. 16.7 pg. 305

[√] Twenty (5.3)

Date: 4/14

Unit 4 Test Due

Review Homework
Melodic and Rhythmic Analysis of Ex. 16.7 pg. 305

Lesson
Harmonic and Formal Style
Harmonic pg. 274
harmonic system choices
neotonal
polymodal
atonal
how harmonies are created
(techiques above)
clusters
set theory chords (pg. 293)
harmonies created by 12 tone technique
Form
based on themes
Observe analysis of 16.36 pg. 297
Harmony
What harmonic system is being used?
What are the keys or tonal centers of the work?
How are they created?
Where are the cadences and what type are they?
Are there any modulations? If so, where?
How is dissonance created?
How is it treated?
Form
What is the large scale form?
Are there small scale forms? If so, what are they?

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Homework
Harmonic and Formal Analysis of Ex. 16.7 pg. 305

[√] Twenty-One (5.4)

Date:

Review Homework
Harmonic and Formal Analysis of Ex. 16.7 pg. 305
Harmony
What harmonic system is being used?
neotonal
polymodal
atonal
What are the keys or tonal centers of the work?
How are they created?
Where are the cadences and keys and what type are they?
Are there any modulations? If so, where?
How is dissonance created?
How is it treated?
Form
What is the large scale form?
Are there small scale forms? If so, what are they?

Lesson
Textural and Overall Style
Texture
Texture Type
Density
Range
Dynamics
Timbre
Text
Overall
Movement and Interest
Climactic Points and their approach and resolve
Composer's Intention
Observe analysis of 16.36 pg. 297

Homework
Texture and Overall Analysis of Ex. 16.7 pg. 305

[√] Twenty-Two (5.5)

Date:

Review Homework
Texture and Overall Analysis of Ex. 16.7 pg. 305
Texture
Texture Type
Density
Range
Dynamics

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Timbre
Text
Overall
Movement and Interest
Climactic Points and their approach and resolve
Composer's Intention

Lesson
review homework

Take Home Test: La Cathedrale Engloutie by Claude Debussy

[√] Twenty-Three (6.1)

Date:

Review Test
Lesson (The style of Jazz Music)
Melodic Style
Melodic
use of all tonal scales and modes
blues scale
pentatonic scale
use of improvisation
Rhythmic Style
highly syncopated rhythms
Harmonic
use of pop symbols pg. 353
use of seventh chords
ii-V7-I
12 bar blues progression: I-I-I-I-IV-IV-I-I-V-IV-I-I
Form
Intro, Head, Improv, Coda
Texture
changing tempos, dynamics
range is variable
texture type: homophonic, heterophonic
Analyze "Straight No Chaser"
Melody
What scales (modes) are used?
What type of melodic intervals are predominant throughout? (intervallic relationship)
conjunct vs. disjunct
Are there any melodic Motives (M)? If so, how are they used? (provide at least 3 examples)
Are Phrases created (|)? If so, how are they used?
Are Periods created (||)? If so, what kind are they?
Are Themes created (T)? If so, how are they used?
Are there any Primary Melodies (PM)? If so, where are they?
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?

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Rhythm
What time signature is used?
Does the time signature change? (written or implied) If so, where?
What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where? (give three examples)
How are the rhythmic motives used?
Harmony
What harmonic system is being used?
What are the keys or tonal centers of the work?
harmonic analysis
How are they created?
Where are the cadences and what type are they?
Are there any modulations? If so, where?
How is dissonance created?
How is it treated?
Form
What is the large scale form?
Are there small scale forms? If so, what are they?
Texture
Texture Type
Density
changes?
Range
changes?
Dynamics
changes?
Timbre
Overall
Movement and Interest
Climactic Points and their approach and resolve
Composer's Intention
Homework
Complete Analysis "All Blues"

[√] Twenty-Four (6.3)

Date:

Test Due
Review Homework
Complete Analysis "All Blues"

Lesson (The style of Rock)

Melody
major and minor scales
use of the hook
small range
repetitive
Harmony
simple chords
Rhythm

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use of back beat

important to the style
began with dance rhythms
Form
verse (A), chorus (B), bridge (C) (ababcb)
Texture
homophonic
some heterophony
usually loud
Overall
use of the hook
based on contemporary themes
driven by rhythm
Analyze "Rock Around The Clock"
Melody
What scales (modes) are used?
What type of melodic intervals are predominant throughout? (intervallic relationship)
Are there any melodic Motives (M)? If so, how are they used? (provide at least 3 examples)
Are Phrases created (|)? If so, how are they used?
Are Periods created (||)? If so, what kind are they?
Are Themes created (T)? If so, how are they used?
Are there any Primary Melodies (PM)? If so, where are they?
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?
Rhythm
What time signature is used?
Does the time signature change? (written or implied) If so, where?
What is the tempo?
Does the tempo change? If so, where?
Are rhythmic motives created? If so, where? (give three examples)
How are the rhythmic motives used?
Harmony
What harmonic system is being used?
What are the keys or tonal centers of the work?
How are they created?
Where are the cadences and what type are they?
Are there any modulations? If so, where?
How is dissonance created?
How is it treated?
Form
What is the large scale form?
Are there small scale forms? If so, what are they?
Texture
What is Texture Type? Does it change?
Density
Range
Dynamics
Overall
Movement and Interest
Climactic Points and their approach and resolve

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mt4 notes https://docs.google.com/View?id=drrh397_42gcsfz9c3

Composer's Intention

Homework - Take Home Test

Radiohead: Spinning Plates

[] Twenty-Five (7.1)
Date:

Hand In Test
Complete Analysis of "Hey Jude"

Lesson (The Style of Non-Western Music)

Melody
use of repeated motives more than phrases
scales related to culture
melody and rhythm can be intertwined
Harmony
modal systems
use of drones
Rhythm
simple to very complex rhythms
use of poly-rhythms
Texture
thin densities
narrow ranges
use of heterophony
use of vocables
Form
song forms
improvised forms
Overall
texts describe cultural values
music related to cultural functions not just entertainment
Review "Makala" from Central African Republic
Melody
What scales (modes) are used?
What type of melodic intervals are predominant throughout? (intervallic relationship)
Are there any melodic Motives (M)? If so, how are they used? (provide at least 3 examples)
centered around 4 notes: C, D, Bb, G with a focus on C
Are Phrases created (|)? If so, how are they used?
Are Periods created (||)? If so, what kind are they?
Are Themes created (T)? If so, how are they used?
Are there any Primary Melodies (PM)? If so, where are they?
Are there any Secondary Melodies (SM)? If so, where are they?
Are there non-melodic lines that provide harmonic and rhythmic support (HRS)? If so, where?
Are there non-melodic lines that provide static support (SS)? If so, where?
Rhythm
What time signature is used?
Does the time signature change? (written or implied) If so, where?
What is the tempo?

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mt4 notes https://docs.google.com/View?id=drrh397_42gcsfz9c3

Does the tempo change? If so, where?

Are rhythmic motives created? If so, where? (give three examples)
How are the rhythmic motives used?
Harmony
What harmonic system is being used?
What are the keys or tonal centers of the work?
How are they created?
Where are the cadences and what type are they?
Are there any modulations? If so, where?
How is dissonance created?
How is it treated?
Form
What is the large scale form?
Are there small scale forms? If so, what are they?
Texture
What is Texture Type? Does it change?
Density
Range
Dynamics
Text
Text is about a funeral setting
Overall
Movement and Interest
use of vocables
highly improvised
intensity created through increasing number of parts
Climactic Points and their approach and resolve
Composer's Intention
Homework
Complete Analysis: Bhairavi Dhun (on website)

[ ] Twenty-Six (7.2) – Analyzing Non-Western Music

Date:

Review Homework
Complete Analysis: Bhairavi Dhun (on website)

Lesson
continued analysis of Non-Western Music

Homework
Take Home Test:

[] Twenty-Seven (7.2)
Date:

Review Test

Lesson

Homework

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mt4 notes https://docs.google.com/View?id=drrh397_42gcsfz9c3

[] Twenty-Eight ()
Date:

Review Homework

Lesson

Homework

[] Twenty-Nine ()
Date:

Review Homework

Lesson

Homework

Final Exam
Thursday May 12
9:00 am
Hand In Non- Western Music Test
Hand in last make up test

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