At the end of the course, the student will be able to elaborate a chorale melody in the general style of J.S. Bach, to understand the evolution of the tonal language from its formalisation in Bach’s chorales to its 19th-century developments, and to use the acquired knowledge in musical analysis and for the understanding of tonal music.
Course Prerequisites
General knowledge of tonal harmony of the common practice (harmonic functions; triads, seventh chords and inversions; classification in species of seventh chords, secondary dominants and tonicization of scale degrees; suspensions and other embellishing tones; altered chords; voice leading; cadences; projection of cadences on the tonal space and form construction; expansion of the tonal space: sequences and modulations). NB: The above-mentioned requirements can be acquired by passing the final exam of Counterpoint and Harmony 1 or of a similar course at a music Conservatoire.
Teaching Methods
Lectures with exercises in the elaboration of chorale melodies and harmonic analysis of selected 18th- and 19-century compositions.
Assessment Methods
Written harmonization of a chorale melody in the style of J.S. Bach; oral examination verifying the knowledge of the diachronic evolution of harmony from Beethoven to Debussy.
Texts
– D. DE LA MOTTE, Manuale di armonia, ed. it. a cura di L. Azzaroni, Roma, Astrolabio, 20072, Introduzione e capp. 4, 5, 7, 8 e 9. – M. MANGANI, L’armonizzazione del corale secondo lo stile di Johann Sebastian Bach, Pavia, Pavia University Press, 2009. Further readings will be suggested during the course (please refer to the e-learning platform Kiro).
Contents
Historical survey of the evolution of tonal language of the common practice. Particular emphasis is placed on melodic analysis and harmonisation of the chorale in the style of J.S Bach (with practical exercises) and on the development of harmonic tonality from Beethoven to Debussy (by the analysis of selected case-studies).
Course Language
Italian
More information
Students unable to attend classes are invited to contact the teacher as soon as possible to arrange additions to the program on an individual basis. They should in any case study all the chapters of De La Motte's textbook.
The final examination of each part of the course of Harmony and musical analysis 2, from the summer session onwards, can be taken also separately, provided that both parts are completed within a maximum of three exam sessions and the part concerning Harmony is completed before the part concerning Analysis. The examination of the Harmony part can be taken also as “in itinere” test at the end of the first part of the course.
Students authorized to benefit from "didattica inclusiva" must contact the teacher, who will find on a case-by-case basis the most suitable teaching material according to the relevant categories, as proposed by the Senato Accademico.
