MTC 223

Contemporary Music
Theory
Spring 2018 SYLLABUS

Dr. James DeMars

e-mail: demars@asu.edu
website: jamesdemars.net
MTC 223: Contemporary Music Theory
Dr. James DeMars
e-mail: demars@asu.edu

for more information go to website: jamesdemars.net

MTC 223 schedule line #11907

Office hours: room E-520 M = 12:00-1:00; W = 1:00-2:00, F 11:45-1:00

Please: email to reserve office hour time or to schedule a time not listed above

Required text: Materials and Techniques of Post-tonal Music, Stefan Koska (Fourth edition)
All assignments and music examples are available on Blackboard.

For each day's lecture download, print, and bring to class all materials listed
below in the
Daily Schedule for Music Theory and the Weekly Schedule for Ear Training.

Texts of interest on reserve:

Techniques of the Contemporary Composer, David Cope

Techniques of Twentieth Century Composition, Leon Dallin.
Aspects of Twentieth Century Music, Richard Delone.
Craft of Musical Composition, Paul Hindemith.
Harmony, Vincent Persichetti
The Time of Music: new meanings, new temporalities/ Jonathan Kramer
Post-Tonal Theory, Joseph N. Strauss
The Study of Orchestration, Samuel Adler

This semester will provide an overview of composition techniques developed over the last
one hundred years. Our study will involve the analyses of representative scores from
standard and popular concert repertoire in an attempt to understand the logic by which
these works were created.

Unit 1: Impressionism and Jazz

Eric Satie (1866-1925)
Claude Debussy (1862-1918)
Maurice Ravel (1875-1937)
Heitor Villa-Lobos (1887-1959)
George Gershwin (1898-1937)
Jerome Kern (1885-1945)
John Coltrane (1926- 1967)

Topics of study:
Natural and synthetic modes,
Modality in Contemporary popular music
Nomenclature and analysis of upper tertian sonorities
Leadsheets for Jazz improvisation
Harmonic ("real") parallelism and diatonic parallelism,
Harmonic ("real") sequences and diatonic sequences,
Non-functional harmonic design, and
Polyrhythms.

Exam #1:Friday 2/9

Unit 2: Primitivism and Neo-classicism

Igor Stravinsky (1882-1972)
 Bela Bartok (1881-1945)
Prokofiev (1891-1953)
Aaron Copland (1900-1990)
Paul Hindemith (1895-1963)
Charles Ives (1874-1954)
William Schumann (1910- )
Elliott Carter (1908- )
Leonard Bernstein (1918-1990)

Topics of study:
Polychords,
Polyrhythm,
Polymeter,
Poly Tonality
Pandiatonicism,
Quartal and non-tertian sonorities,
Metric modulation and
Orchestral transpositions,
Set theory

Exam #2: Friday 3/16

Unit 3: Expressionism, Serialism, Eclecticism

Arnold Schoenberg (1874-1951)
Anton Webern (1883-1845)
Alban Berg (1885-1935)
Luigi Dallapiccola (1904-1975)
Toru Takemitsu (1930-1996)
George Crumb (1929- )
Olivier Messiaen (1908-1992)
Karlheinz Stockhausen (1928-2007)
Leonard Bernstein (1918-1990)

Topics of study:
Set theory
Atonality
Dodecaphonic composition
The 12 tone matrix,
Serialism,
Cellular construction,
Non-retrogradable rhythms
Isorhythm
Modes of limited transposition
Integral Serialism

Exam #3: Friday, April 13

Unit 4: Conceptual Music, Minimalism and Post-modernism

John Cage (1912-1992)
Krystof Penderecki (1933- )
Luciano Berio (1925-2003)
Gyorgy Ligeti (1923-2006)
Josef Schwantner (1943- )
Arvo Pårt (1935-)
Phillip Glass (1937- )
Steve Reich (1936- )
John Adams (1947- )
Dominick Argento (1927- )
Topics of study:
Conceptual Music
Pattern Pulse (minimalism)
 Sound mass
Graphic Scores

FINAL EXAM: Mon. 5/1, 9:50 to 11:40 in E510

This will be a cumulative final exam including unit #4. About 80 percent of this exam
will include examples based on exams from the previous units.

About the course:

Late homework will only be accepted if you notify your TA in advance. Students will
be excused from class for religious observances, for university-sanctioned activities, or for illness. Alternate
exams will not be given unless we are notified in advance.
Your music theory grade will be calculated on the following percentages:
15% = exam #1
15% = exam #2
10% = exam #3
20% = final exam
40% = homework
Your ear training grade will be calculated on the following percentages:
Each of the five quizzes (dictation and sight singing) = 20%
Your final course grade will be calculated on the following percentages:
60% = music theory
40% = ear training

1. To receive degree credit music majors are required to achieve a "C" or better in both
theory and ear training
If you repeat the course you are required to attend only that portion of the course necessary
for degree credit.

2. Electronic devices: Recording devices are permitted, computers are permitted, however all cell phones and pagers
must be turned off; e-mailing and texting is not permitted during the class.

3. Academic Honesty: All necessary and appropriate sanctions will be issued to all parties involved with
plagiarizing any and all course work. Plagiarism and any other form of academic dishonesty that is in violation with
the Student Code of Conduct (including copying answers from a fellow student) will not be tolerated. For more
information, please see the ASU Student Academic Integrity Policy: http://provost.asu.edu/academicintegrity

4. Special Academic Accommodations: To request academic accommodations due to a disability, please contact the
ASU Disability Resource Center (http://www.asu.edu/studentaffairs/ed/drc/# ; Phone: (480) 965-1234; TDD: (480)
965-9000). This is a very important step as accommodations may be difficult to make retroactively. If you have a
letter from their office indicating that you have a disability which requires academic accommodations, in order to
assure that you receive your accommodations in a timely manner, please present this documentation to me no later
than the end of the first week of the semester so that your needs can be addressed effectively.

5. The Course Withdrawal Deadline: If you wish to withdraw from this course, it is your responsibility to do so.
Course registration changes are processed through My ASU: http://my.asu.edu. These important university
deadlines can be found through the academic calendar: https://students.asu.edu/academic-calendar#spring13.

6. ASU Computer and Internet Policy:http://www.asu.edu/aad/manuals/acd/acd125.html

7. ASU policy “Handling Disruptive, Threatening, or Violent Individuals on Campus. SSM 104–02,
MTC 223 20th C. Music Theory Daily Schedule (2017)
Week 1 - 1/8
Mon. Pre-class listening: Xavier Yxayotl, Dance of the Corn People, Offering to Mother, and Fire Dance
Introduce TAs, syllabus and text: Materials and Techniques of 20th C. Music, Stefan Koska
Discuss pentatonic, modes, "minor pentatonics,” and concepts of Ch.1, Twilight of the Tonal System
Recap the "omnibus progression"
Read Ch.1 Twilight of the Tonal System: omnibus progressions, chromatic mediants, double
 chromatic mediants, tritone substitution, nonfunctional chord successions, unresolved
dissonances and suspended tonality vs. atonality p. 1-9
Play examples from Ch. 1 of the text and discuss
p.4 = "non-functional chord succession" Wagner
p.13 = "unresolved dissonances," suspended tonality vs. atonality
Wed. Pre-class listening: Ravel: Bolero
Modes: by relative major (key signature), by comparison to major (altered scale degrees)
observe the characteristic scale degrees, the “major," the “minor,” and synthetic modes
Analytical comments on Bolero
Read Ch. 2 Scale Formations: pentatonic, whole tone, augmented, diatonic, "Lydian flat 7" and
octatonic ("diminished" vs. "8 tone dominant") p. 16-28
Assignment #1: writing the modes and scales

Fri. Pre-class listening: Eric Satie Gymnopèdie #1, 2, 3

collect homework 1
Analyze: Satie: Gymnopédie “iconoclast," Chat Noir, Debussy, Cocteau and the film "Parade"
use of Lydian, diatonic sevenths, parallel 5ths, change of mode
establishing the tonal center, using functional analysis with new sonorities
unresolved dissonance, parallel 5ths, root movement by 5th, contrasting modes of “B” section
alterations to the mode (at the cadence), avoidance of strong dominant-tonic relation
Simple binary form. (notice unusual ending, on dominant or tonic?)
Read Ch. 5 Harmonic Progression and Tonality, pitch centric, pitch center by assertion p.89-94
Read Ch.7 Form p. 126-134: binary, ternary, rondo and sonata forms
Assign. #2: identifying scale patterns
determining tonality, identifying scales when scale members are absent
Play and discuss examples from Ch. 2: 2-4, 2-6, 2-7, 2-8, 2-10, 2-11, 2-12

Week 2 - 1/15
Mon. Classes excused for Martin Luther King Day

Wed. Pre-class listening: Debussy: La Mer

collect assign. #2, return assign. 1 and discuss
Begin analysis of L’isle Joyeuse
begin discussion of the whole tone scale
“pitch inventory” and non-harmonic tones (usually chromatic)
synthetic scales (Lydian b7)
Assign #3 Pentatonic, Whole Tone and Octatonic scales
Play and discuss examples from Ch. 2: 2-4, 2-6, 2-7, 2-8, 2-10, 2-11, 2-12

Wed. Pre-class listening: Debussy: Three Nocturnes: Nuages, Fêtes, and Sîrènes (Clouds, Festivals, Sirens)
collect assign. #3, return assign. 2 and discuss
Continue analysis of L’isle Joyeuse
examine Debussy’s use of parallelism, pentatonic passages, mediant relations
pedaltones/ ostinato, polyrhythm, harmonic parallelism (real and diatonic)
Unique form - span analysis
Discuss poly-rhythms further if time permits (3:2, 4:3, 5:3, 5:4)
Assign. # 4 Composition with synthetic modes

Week 3 - 1/22
Mon. Pre-class listening: Debussy: Pelléas et Mélisande
collect assign. #4, return assign. 3 and discuss
Introduce Chord Identification Chart
drill on spellings and identification
Read Ch. 3 Chords p.41-49
Assign. # 5 on Chord Identification

Wed. Pre-class listening: Ravel, Daphnis and Chlöe

 collect assign. #5, return assign. 4 and discuss
Introduce harmonic and diatonic parallelism
demonstrate in class
writing over an ostinato or pedal tone
Review upper tertion analysis over a perdal tone or ostinato
Analysis: Debussy, Homage á Rameau, Etude in Thirds
Assign. # 6 on diatonic and harmonic parallelism
Read Ch. 4 Melody - parallelism p. 68-78

Fri. Pre-class listening: Debussy: Songs: Fantoches,(fantasy)

collect assign. #6, return assign. 5 and discuss
Analysis of Ravel, Valses nobles et sentimentales (part 1)
(Noble and sentimental waltzes)
Assign. # 7 on upper-tertians and quartal voicings (ii7 - V7 - 17)

Week 4 - 1/29
Mon. Pre-class listening: Pavane pour une infante défunte (Pavane for a dead princess)
collect assign. #7, return assign. 6 and discuss
Analysis of Ravel, Valses nobles et sentimentales (part 2)
harmonic sequences, FORM: rounded binary
Demonstrate writing diatonic and real (harmonic) sequences
Assign. # 8 on diatonic and harmonic sequences
Read Ch. 6 Rhythm p. 104 - 108.

Wed. Pre-class listening: Gershwin, Concerto in F

collect assign. #8, return assign. 7 and discuss
Analysis of Gershwin, Preludes I, and II
Syncopation, African rhythmic influences
12-bar blues scale C7, C7, C7, C7, F7, F7, C7, C7, G7, F7, C7, G7, (or terminate with C7)
Listening: Muddy Waters, blues video
Assign #9 Analysis of excerpts

Fri. Pre-class listening: Villa-Lobos, Bachianas Brasilieras #5

collect assign. #9, return assign. 8 and discuss
Introduce the theory of poly-rhythms and composite rhythm
Assign. #10 on poly-rhythms and composite rhythm

Week 5 - 2/5
Mon. Pre-class listening: John Coltrane, Naima
analysis of progressions
collect assign. #10, return assign.9 and discuss
Analysis of quarternary song form:
Jerome Kern, All The Things You Are, Stephen Foster, I Dream of Jeannie
Working with a lead sheet and improvisation

Wed. Prepare for Exam #1:

From Assign. # 7 and text (play examples)
Review additional materials for analysis and instructions for exam #1

Fri. Exam #1

<<<UNIT 2>>>
Week 6 - 2/12
Mon. Pre-class listening: Milhaud: La Création du Monde
 return exams, assign. 10, and discuss
Identifying alternative chord types
quartal, secundal, whole tone and polychords
acoustic roots and indeterminate roots
Read Ch. 3 Chords p. 49-67
Assign. #11. Identifying and writing Chord Types

Wed. Pre-class listening: Bernstein: West Side Story - prologue

collect assign. #11, return assign. 10 and discuss
Analysis: From WSS: Jet Song and Cool
polymeter, added dissonance ("wrong-note school")
octatonic composition
Read Ch. 6 Rhythm - polymeter p. 108-112.
Read Ch. 5 Polytonality p. 95
Assign. # 12. Harmonic analysis of excerpts

Fri. Pre-class listening: Prokofiev, Classical Symphony

return homework #11, collect homework #12
Analysis: Visions Fugitives #10, 11
from p.101 discuss nonharmonic music, pitch-centricity,
polytonality, atonality and pandiatonicism
Read Ch. 5 Pandiatonicism 97-99
Read Ch. 8 Imports and Illusions, Neoclassicism p. 145-153
Assign. # 13 Harmonic analysis of excerpts

Week 7 - 2/19
Mon. Pre-class listening: Copland, Appalachian Spring
return homework #12, collect homework #13
Analysis: Copland: 12 Songs by Emily Dickinson, The World Feels Dusty, Nature
discuss pandiatonicism
Assign. # 14 Applying polytonality, polymeter and added-dissonance

Wed. Pre-class listening: Hindemith: Mathis der Mahler

return homework #13, collect homework #14
Analysis: Hindemith: Six Chansons, The Swan
discuss quartal harmony, acoustic root, Series I and II,
Binary form
Read Ch. 8 Imports and Illusions, p 145-153
Assign. # 15 Analysis: Ives, The Cage

Fri. Pre-class listening: Stravinsky: L'histoire,

return homework #14, collect homework #15
Analysis: Stravinsky: L'histoire, Le sacre du printemps
discuss polychordality, polytonality
Read: Ch, 11 Compound Texture p. 230-231
Assign. # 16 Analysis: William Schumann, Three Score Set

Week 8 - 2/26
Mon. Pre-class listening: Stravinsky: Le sacre du printemps
return homework #15, collect homework #16
Introduce orchestral transpositions and prepare for assignment.
Analysis: Stravinsky: Le sacre du printemps
discuss changing meters,centonization, polychordality
Assign. # 17 A Transposition Study

Wed. Pre-class listening: Bartok, The Miraculous Mandarin

return homework #16, collect homework #17
 Prepare for transcription of Rite of Spring
Analysis: Bartok: Mikrokosmos,
discuss changing meters; in class work on p. 137 Part B #1, 2, 5
Read Ch. 6 Rhythm - Nontraditional time signatures, p. 107-108
Read: Ch. 11 Pointillism, Stratification, Sound mass, Spectralism 232-23 4
Assign. # 18 Transcription and analysis: from orchestra to piano

Fri. Pre-class listening: Elliott Carter, Canaries

return homework #17, collect homework #18
Introduce tempo modulation ("metric modulation")
finding the common subdivision and creating the equivalency
writing a convenient tempo modulation
prepare for assignment; in class work through p.136 Part A, # 4, 5
Read Ch. 6 Rhythm - Tempo Modulation and Polytempo p. 117-118
Assign. # 19 Tempo Modulations: Identification and composition

SPRING BREAK March 5-11

Week 9 - 3/12
Mon. Pre-class listening: Bartok, String Quartet #4
return homework #18, collect homework #19
Analysis: Bartok: Mikrokosmos,continued
Analysis: Bartok, Music for Strings, Percussion, and Celeste
Form = palindrome
pitch centricity, interval saturation,
fibonacci proportions and the "golden mean"
Read Ch. 7 Form p.134- 142 Canon and Fugue, and Proportion: The Golden Mean
Assign. # 20 Quartal, polychordal, polymetric, polytonal and pandiatonic arrangements

Wed. Pre-class listening: Bartok, Concerto for Orchestra

return homework #19, collect homework #20 and discuss
Finish Bartok discussion
Review all materials in preparation for the exam

Fri. Exam #2

<<<UNIT 3>>>
Week 10 - 3/19
Mon. Pre-class listening: Walton, Façade -premiere 16/12/1923.
For Reciter, fl, cl, sax, trpt, perc., vc, Edith Sitwell and William Walton conductor.
Text + music, (in vogue) and unique chamber ensemble; parody of Pierrot.
return exams, assign. #20, and discuss
Introduce Pitch Class Sets (Set Theory)
grouping, pitch-class sets, normal order,
transpositional equivalence, inversional equivalence
best normal order, prime form
Read Ch. 9 Nonserial Atonality: sets, p.166-177
Assign. #21 Sets, Normal Order and Best Normal Order (Prime form)

Wed. Pre-class listening: Schoenberg, Pierrot Lunaire

 "Pierrot ensemble"= fl,cl,vln,vc,pno.(now with voice and perc.)
Sprechstimme (spoken voice)
collect assign. #21
Introduce: transpositional symmetry, inversional symmetry, interval vector
Z-relations and Forte Labels
Analysis: Pierrot Lunaire: 8.Nacht ("Night," a Passacaglia)
Read Ch. 9 Nonserial Atonality: interval vectors, p.177-180
Assign. #22 Sets: Interval Vectors, Transpositional Symmetry and Inversional Symmetry

Fri. Pre-class listening: Berg, Wozzeck

return homework #21, collect homework #22
Introduce: Table of sets,
compliments, subsets, and aggregates
Analysis: Text p. 194 Takemitsu, And I knew 'twas wind,
p.195 Crumb, Madrigals, Book 1, No.1, "To see you naked is to remember the earth,"
Madrigals, Book 1V, No.1, "Why am I always surrounded by mirrors?"
Read Ch. 9 Nonserial Atonality: subsets, aggregates and segmentation p.181-184
Assign. # 23 Analysis using set theory

Week 11 - 3/26
Mon. Pre-class listening: Webern, Op. 25 Drei Lieder,no.1, Wie bin ich froh?
solo piano, featuring the BACH motif
return homework #12, collect homework #13
Analysis: Webern, Op. 25 Drei Lieder,no.1, Wie bin ich froh?
Hildegard Jone, libretto
Text, pointillism, subsets and matrix construction
Read Ch. 10 Classical Serialism: p.191-199, row forms, the 12-tone matrix
and analysis of the row.
Assign. # 24 Row Analysis, Invariant Subsets, Derived sets and the 12-tone Matrix

Wed. Pre-class listening: Schoenberg, Two Pieces for Piano, Op. 33a
return homework #23, collect homework #24
Analysis: from the text work through. p.203-10 (Schoenberg and Dallapiccola)
Read Ch. 10, p.200-207, invariance, invariant subsets, combinatoriality
Assign. # 25 Analysis: Schoenberg, p.215 Part B #3

Also go to: http://composertools.com/Tools/

Fri. Pre-class listening: Webern,

return homework #24, collect homework #25
Analysis: Schoenberg, Two Pieces for Piano, Op. 33a
Assign. # 26 Analysis: Webern, op. 25

Week 12 - 4/2
Mon. Pre-class listening: Schoenberg op. 16 (1909) Five Pieces for Orchestra, Summer Morning By the Lake
return homework #25, collect homework #26
Analysis: Schoenberg, Summer Morning By the Lake
Introduce extended techniques and klangfarbenmelodie, review reading
Read Ch. 11. p.216-234, Timbre and Texture: Acoustic (Klangfarben p. 227)
Microtonal Scales: 28-30
Assign. #27 K. Penderecki "Threnody" and
Carter "Eight Etudes and A Fantasy for Woodwind Quintet"

Wed. Pre-class listening: Messiaen, Quartet for the end of time, Intermezzo
return homework #26, collect homework #27
Analysis: Messiaen, Quartet for the end of time, Crystal Liturgy
 demonstrate the creation of rhythms used in Crystal liturgy
prepare for the assignment; review reading
Read Ch. 6 Rhythm - Added Values and Nonretrogradable Rhythms p. 113-117
Read: Serialized Rhythm and Isorhythm p. 118-122
Assign. #28 The Musical Language of Olivier Messiaen

Fri. Pre-class listening: Boulez, Le Marteau san Mâitre,

return homework #28, collect homework #29
Integral Serialism Analysis: Text: Milton Babbitt Luigi Nono and Karlheinz Stockhausen, Kreuzspiel,
Demonstrate rotation and rhythm serialization by place or duration.
Pitch/Duration and Dynamic/Articulation analysis
Read Ch. 13 Serialism After 1945: Integral Serialism p. 260-270
Assign. #29 Analysis: P/D and D/A series in Pierre Boulez, Le Marteau sans Mâitre

Week 13 - 4/9
Mon. Pre-class listening: Stravinsky,Three songs from William Shakespeare: II. Full Fadom Five,
for mezzo-soprano, flute, clarinet and viola, 1953.[ SLP 12818 ]
Discus Alternative Serialism, Stravinsky, Full Fadom Five, The Owl and the Pussy-cat
prolation canons, rhythmic canons and cancrizans
Introduce/listen to: George Crumb ¿Por que naçi entre espejos?
Read: Time points, Other Aspects of Serialism, Music After Serialism: 270-
275
Assign. # 30 Analysis: George Crumb, Madrigals Book IV, ¿Por que naçi entre espejos?
Prolation and rhythmic canon: Vingt règardes #17

Wed. Pre-class listening: Henry Cowell, Banshee

return homework #29, collect homework #30 and discuss
Review all materials in preparation for the exam

Fri. Exam #3

<<<UNIT 4>>>
Week 14 - 4/16
Mon. Pre-class listening: Penderecki: Threnody for the Victims of Hiroshima for 48 String Instruments
return exams, assign.#30, and discuss
Joseph Klein's presentation of music notations:
Proportional (spatial) notation, symbolic notation
Listening: Henry Cowell, Banshee
Review reading,introduce Penderecki: Threnody
Read Ch. 6 Rhythm: ametric music, p.112-113
Ch. 14 Chance and Choice: p.279-287;
Graphic Scores, Text Scores, Music on the Fringe p. 287-293
Assign. #31 Graphic Analysis and Deep Listening
John Cage, 4' 33" and Gygorgy Ligeti, Atmospheres

Wed. Pre-class listening: Glass, Koyaanisqatsi

collect assign. #31
Discuss: Riley, In C, Glass, Etudes, Reich Piano Phase, Music for 18 Musicians Adams, Phrygian Gates
Read Ch. 15 Minimalism p. 295-301.
Assign. #32 Pattern-pulse composition.

Fri. Pre-class listening: Luciano Berio, Sinfonia

return homework #31, collect homework #32
Analysis: Berio, Sequenza V, Lou Harrison, Suite for Violin with American Gamelan,
Interculturalism: open and impartial participation of differing music cultures
 the African Drum Concerto and the Pow-wow drum concerto
Read Ch. 8 Imports and Allusions: Music From Other Cultures p. 159-162
Assign. #33 Extended Techniques and Proportional Notation

Week 15 - 4/23
Mon. Pre-class listening: Arvo Pårt, Fratres
return homework #31, collect homework #32
Tintabuli and interval chains
Analysis: Arvo Pårt, Fratres, and the music of Schwantner and Lutuslowski
Read Ch.
Assign. #34 Tintabuli and Interval Chains

Wed. Pre-class listening: Dominick Argento, Letters from Composers

return homework #31, collect homework #32
EclecticismAnalysis: Berio, Sequenza V, Lou Harrison, Suite for Violin with American Gamelan,
"trans-ethnic" music: the mixture of recognizable music genres.
Tristan Fuentes, Native Drumming
Read Ch. 8 Imports and Allusions: Music From Other Cultures

Fri. Review all materials in preparation for the cumulative final exam

FINAL EXAM: Mon. 4/30, 9:50 to 11:40 in E510

MTC 223: 20th Century Ear Training

Music Dictation and Solfege
 Spring 2017

Sight singing and dictation will provide 40% of your total grade for MTC
223.
If your are a music major and you do not receive an ear training grade above
a "D" you will be required to take and pass with a "C" or better this portion of
the course next year in order to receive credit for this degree requirement.

There will be five units of study, each concluding with a test to be

given at the designated time; N.B. these dates are not subject to
change and alternate dictation tests will not be given.

If we are notified in advance of an absence due to illness, family emergency,

or excused absence an alternative singing exam may be given (notify your
TA)

Each test will be in two parts:

1. dictation of solfège excerpts, chords and rhythms (30 minutes)
and
2. an individual sight singing session on solfège and chords (5
minutes).

Dictation exams will be given in the Recital Hall (rm 510) at 9:25 am:
Test #1: Thursday 1/26
Test #2: Thursday 2/16
Test #3: Thursday 3/16
Test #4, Thursday 4/6
Test #5, Thursday 4/27

Singing exams will be conducted in pairs in the office of your TA.

You will be asked to sing selections from the solfège, chord arpeggiations and
perform a polyrhythm.

Singing grades are subjective on the following basis:

A = no errors
B = some errors of solfège syllables or pitch
C = break down (loss of pitch) but continue with prompting
D = repeated breakdowns but continue with prompting
E = absent or incapable of singing example
In preparation for atonal singing it is necessary that all classroom singing
apply a "fixed do" singing system using numbers 1 through 7 for the flat,
natural or sharp scale degrees.
For example, Cb, C and C# are simply "1," all D's are "2," etc.

It is not necessary to sing "flat seven," just sing "seven" (or "se'n") for both
the natural and flat seventh scales degrees as follows:

Pitch: C C# Db D D# Eb E F F# Gb G G# Ab A A# Bb
B

Scale degree: 1 1 2 2 2 3 3 4 4 5 5 5 6
6 6 7 7

This provides a streamlined method for verbal association and recollection of

pitch in an atonal setting. It is no longer required to memorize the chromatic
solfège syllables:

ascending: do di re ri mi fa fi sol si la li ti do

descending: do ti te la le sol se fa mi me re ra do

Become comfortable reading any score quickly using numbers before

you sing. You have been given exercises modeled after traditional solfège
texts designed to enhance your ability to negotiate the frequent octave
displacements of atonal melodies.

You will have the most success if you are able to apply your perception
of scale degrees to the music you are currently rehearsing in performance
and ensemble classes.

a. identify the scale degrees of melodic cadences

b. identify the scale degrees of instruments sustaining a chord
c. practice identifying scale degrees in written music
d. when singing, stress accuracy (intonation) rather than speed
e. check the pitch only after you have sung
f. listen for and sing the tonal center of music you encounter.
g. take a moment to sing familiar melodies by scale degrees

Concerning rhythm dictation:

It is assumed that all of you are capable of performing the rhythms

provided and suggested that you begin by becoming familiar with the
examples of each unit of study. Notice that each unit brings attention to a
particular challenge of rhythmic dictation. Most people find success by
following a few basic principles:

1. You will be given the meter and the number of measures; write this
immediately allowing ample space in each empty bar.

2. With light pencil marks divide each measure into beats; e.g. a 3/4
measure will be divided into three parts.

3. Silently count the beats to yourself as the dictation is given and

place a check mark or pencil stroke in each beat in which an articulation is
made. If an articulation is on the beat place a stoke at the beginning of the
space, if an articulation is made after the beat place it later in the space.

4. In the time between dictations "translate" your markings to music

notation; be careful to observe any unusual meters; 4/8 or 3/2 etc.

5. Rhythm dictations will be given four times.

You will meet with your TA's five times on Tuesdays and Thursdays to
practice the techniques required for each exam. T Th 9:25 - 10:15 Ear training lab.

Zach Bush: E275

Jason Platt: W117

JP Lemke: E277

Stephen Mitton: E283

Dale Sakamato: W121

Unit 1

Solfege: Natural Minor and Mixolydian modes and the Whole Tone scale
Chords: MM7, Mm7, mm7, dm7, dd7
Rhythm: simple and compound meters with unusual denominators
Additional melodies for study by Debussy, Satie, Ravel, Copland, Menotti, et
al.

Test #1: Thursday 1/26

Unit 2
Solfege: Dorian and Lydian modes
Chords: Mm7,9, MM7,9 and Mm7,#9
Rhythm: simple time with beat division into 4 parts and polyrhythm 3:2
Additional melodies by Stravinsky, Prokofiev, and non-western folk melodies

Test #2: Thursday 2/16

Unit 3
Solfege: Phrygian and Octatonic modes
Chords: Mm7,9, MM7,9 and Mm7,#9, Mm7,11, Mm7,9,#11, M (6,9)
Rhythm: compound meter with subdivisions and polyrhythm 4:3
Additional melodies by Bartok, Hindemith and non-western folk melodies

Test #3: Thursday 3/16

Unit 4
Solfege: Octatonic and synthetic modes
Chords: m7,11, MM7,#11, M (6,9), VQ3, Q3, Qui 3, et al
Rhythm: syncopation and hemiola and polyrhythm 5:3
Additional melodies by Shostakovich, Ives, and non-western folk melodies

Test #4, Thursday 4/6

Unit 5
Solfege: 12 tone rows and permutations
Chords: review all chords
Rhythm: Assymetrical and changing meters and polyrhythm 5:4
Additional melodies: Dallipiccola, Webern and non-western folk melodies

Test #5, Thursday 4/27