Universität Wien

160043 UE Harmony 2 (2024W)

5.00 ECTS (2.00 SWS), SPL 16 - Musikwissenschaft und Sprachwissenschaft
Continuous assessment of course work
Moodle
Mo 28.10. 15:00-16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 40 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

Diese Lehrveranstaltung wird von einem Tutorium begleitet.
Donnerstag, 14:00-14:45 (1. Termin: 10.10.)
Ort: Seminarraum 1 Musikwissenschaft
Tutor: Kolja Porschke

  • Monday 07.10. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 14.10. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 21.10. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 04.11. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 11.11. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 18.11. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 25.11. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 02.12. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 09.12. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 16.12. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 13.01. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 20.01. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01
  • Monday 27.01. 15:00 - 16:30 Hörsaal 2 Musikwissenschaft UniCampus Hof 9, 3G-EG-01

Information

Aims, contents and method of the course

The study of important compositional techniques and harmonic phenomena characteristic of the 18th and 19th centuries forms the focus of Tonsatz 2. To this end, the Regola dell'Ottava is an essential basis, which is dealt with in class by means of Paisiello's Regole per bene accompagnare il Partimento, o sial il Basso Fondamentale sopra il cembalo (1782), and other sources. In order to better understand and apply the octave rule, we will familiarise ourselves with the figured bass. Johann David Heinichen's treatise Der General-Bass in der Composition (1728) will be used for this purpose. A direct practical application of the octave rule will take place in class by analysing and writing short classical and early romantic minuets, as described in Joseph Riepel's Grundregeln zur Tonordnung insgemein (1755). This also includes modulations and secondary chords. In addition, we will observe how, for example, the compositional models typical of the galant style continued to be used in 19th-century music, even though they were often subject to an intensive process of chromatisation, as Gjerdingen suggests in Gebrauchs-Formulas (2011).

Assessment and permitted materials

Sufficient attendance and active participation are expected for successful completion of the course. In addition, various composition and analysis tasks will be set, which students are required to complete. Towards the middle of the semester there will be an examination involving the analysis of the harmony of a piece from the period around 1800.

Minimum requirements and assessment criteria

Familiarity with the notes and the treble and bass clefs is a prerequisite. It is also advisable to have already come into contact with figured bass.

Due to the nature of this course (exercise), regular attendance in class is required, with a maximum of three absences. The written exam should also be successfully taken and all homework completed. The overall grade is made up of the partial grades achieved during the semester

Examination topics

Solid knowledge of figured bass, octave rule, compositional models in the Classical and Romantic periods, secondary chords, modulations, harmonic analysis and small binary and ternary form

Reading list

Among others, the following texts will be considered:

Gjerdingen, R. O. (2007). Music in the Galant Style, Oxford University Press.
Gjerdingen, R. O. (2011). Gebrauchs-Formulas. Music Theory Spectrum, 33(2), 191–199. https://doi.org/10.1525/mts.2011.33.2.191
Heinichen, J. D. (1728). Der General-Bass in der Composition, Dresden.
Paisiello, G. (1782). Regole per bene accompagnare il Partimento, o sial il Basso Fondamentale sopra il cembalo, St. Petersburg: Napechatano v Tipografii Morskogo Shliakhetskogo Kadetskogo Korpusa.
Riepel, J. (1755). Grundregeln zur Tonordnung insgemein, Frankfurt/Leipzig.

Association in the course directory

BA: TON

Last modified: Mo 07.10.2024 00:02