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MUS 1110 Elementary Harmony, Counterpoint, and Ethnic Music Writing Description: This course is designed for students who have a background in music as one of the subjects offered for the Uganda Advanced Certificate of Education (UACE) or the equivalent or a good diploma certificate in which music was a specialization. The course builds on the introductory courses in harmony that students offered at UACE and diploma training. It equips students with elementary skills in harmony, counterpoint, orchestration, and ethnic music writing, and music transcription. The course offers a strong theoretical and practical component all geared towards giving background to music composition. Objectives: 1. To review the Uganda Advanced Certificate of Education (UACE) music composition skills. 2. To enhance the techniques of counterpoint writing in western art music 3. To enhance skills of transcription and ethnic music writing 4. To enhance skills in writing for both western musical and ethnic music Course Outline Western Music Topic 1: Topic 2: Topic 3: Topic 4: Key Signatures Sharp and Flats Keys Major and Minor As written on treble, alto, tenor, and bass clefs Types of Intervals Perfect Major Minor Diminished and Doubly Diminished Augmented and Doubly Augmented Inversions of Intervals Triads Root, Third, and Fifth of Triads Major, Minor, Diminished, and Augmented Triads Inversions of Triads Types of Triads Built on Scale Degrees (i.e. Tonic, Super Tonic, Mediant etc. or I, II, III etc.) of Both Major and Minor Keys Open and Close Positions of Triads Tonality and Modality In Major and Minor Keys Tonal and Modal Tones Tonal and Modal Triads Topic 5: Motion Similar Parallel Contrary Oblique Topic 6: Harmonic Progression Voice-leading Principles Root Position Progression in Four Part Harmony; Treatment of the Tritone, and Leading Tone Harmonic Functions of each Scale Degree Triad in Root Position in Both the Major and Minor Modes Topic 7: Phrase Beginnings and Endings Cadences: Perfect, Imperfect, Deceptive or Interrupted, Plagal Topic 8: Harmonizing in Four-parts When Given Soprano or Bass Part/the Figured Bass Topic 9: Writing for Strings (Violin, Viola, Cello, and Double Bass) Musical Terminologies Associated Used Clefs, Range, and Performance Possibilities Single, Double, Triple, and Quadruple Stopping Positions (First, Second etc.) Orchestrating a Chorale for Strings Topic 10: Harmonic Function of Sixth Chords: The Tonic, Super-tonic, Mediant, Sub-dominant, Dominant, Submediant, and Leading Tone in Both Major and Minor Keys Topic 11: Modulation In Major Keys to the Dominant, Sub-dominant and Relative minor In Minor Keys to the Dominant, Sub-dominant and Relative Major Ugandan Ethnic Music Topic 12: Topic 13: Topic 14: Classifications of Musical Instruments Aerophones, Membranophones, Chordophones, Idiophones and examples of Ugandan ethnic instruments The Pentatonic Scales Intervallic Relationship of Scale Degrees The Equidistant Pentatonic Scale Forms of Ugandan Ethnic Music Strophic Strophic-modified Super-imposition Partial Super-imposition Topic 15: Topic 16: Topic 17: Full Super-imposition Leader and Response Recitatives Rhythmic and Intonation Aspects of Ethnic Languages in Uganda Natural Use of Text and Ethnic Music Transcription of Ethnic Play Songs Fitting Text to Music; Breaking Syllables in A Word; Erasing Vowels in Adjacent Words Simple Score Arrangements for Ethnic Music Leader and Response Voice and Drums Appropriation of Clefs in Ethnic Music Transcriptions Guidelines for Ordering Ethnic Instruments on A Score Learning Outcomes 1. Ability to use triads in both root position and first inversion, and even effect modulation in order to musically harmonize a given soprano or bass line in four parts 2. Ability to arrange a given chorale/hymn for a string orchestra 3. Ability to transcribe an ethnic children’s play song, and arrange it on a score for leader, response, and drums 4. Ability to recognize the different rhythms and intonation of ethnic texts 5. Ability to break words in ethnic languages in syllables Methods of Teaching/Delivery Lectures, tutorials, demonstrations, singing, group and individual assignments, and individual instruction Modes of Assessment Course work Final examination Written: 60% Attendance and Participation in class Discussions: 5% Weekly composition assignments: 20% Mid-semester test: 15% Selected Readings Charles Horton and Lawrence Ritche. 2000. Harmony Through Melody. New York: Ardsley House Publishers. Gauldin, Robert. 1995. A Practical Approach to Eighteenth-Century Counterpoint. Waveland Press. Schachter, Carl. Hedi Siegel. 1999. Schenker Studies 2: Cambridge Composer Studies.Cambridge:Cambridge University Press. Wilson, Mortimer. 2009. The Rhetoric of Music: Harmony, Counterpoint, Musical Form. New York: BiblioLife.