Compositional Language(s) Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture III

Announcements Assignement I submission? Course website: Missing addresses!!

0. Review: Typical Musical Parameters Pitch ( 고 저 ) Rhythm (Pulse/Meter) Melody Harmony ( 학 성 ) Dynamic Register Timbre ( 음 색 ) Texture ( 결 ) Orchestration

I. The Harmony of the Spheres

A. Pythagoras Sun, Moon and Planets: emit resonances Frequency = speed of revolutions Musical ratios ( 비 율 )

B. Plato Harmony of the soul’s proportions = harmony of the universe (e.g.: Timaeus dialogue)

C. Boethius ( AD) Musica mundana: music of the universe Musica humana: music of the human body Musica quae in quibusdam constituta est instrumentis: sounds made by singers ( 가수 ) and instrumentalists ( 역 주 자 ) all in agreement with each other

D. The Harmony of the Spheres: Realisation zY zY Harmonic series ratios (of Pythagoras and later Kepler) = ratios between 2+ sounding frequencies 2+ frequencies sounding at the same time = harmony Musica universalis = components of single tone and multiple resonating tones

II. Common Practice Harmony

A. The Common Practice Period The period between ca is known (in English) as the common practice period. It is the period during which tonality ( 음 샘 ) was dominant in Western Europe

B. Definition of Tonality Tonal harmony ≠ tertian ( 삼 일 열 ) harmony! These pieces use triads, but NOT tonal syntax: 7Q 7Q nxE nxE

C. Tonal Syntax vs. Linguistic Syntax Syntax ( 구 문 론 ) in natural language ( 언 어 ) = a set of rules ( 규 정 ) for ordering words ( 단 어 )in a sentence based upon function (part of speech) ( 명 사, 동사, etc.) Syntax in tonal harmony = a set of rules for ordering chords ( 한 음 ) based upon function Rules allow for ambiguity ( 모호 )

D. Tonal Function Categories Tonic Dominant Pre-Dominant

E. Tonal Function Rules 1) Tonic -> Anywhere 2) Dominant -> Tonic; 3) Pre-dominant -> Other Predominant; -> Dominant E.g.: V-> IV-> I = retrogression = ILLEGAL!

III. Analysis

A. Inversions: Symbols and Reference 1st inversion: “six-three” 2 nd inversion: “six-four” Figured bass symbols

B. Triad Qualities Major Minor Augmented Diminished

C. Seventh Chord Qualities Major Dominant Minor Half Diminished Fully Diminished

Seventh Chord Inversions Root Position 1 st Inversion 2 nd Inversion 3 rd Inversion

D. Tonicisation NOT modulation Approached via secondary dominant Return to original key, or continuation to new key areas Context: Typical of sequences ( 일 련 ), episodes in fugues and sonata development sections occurs on pivot ( 회 전 죽 ) chord (analysed in both original and new key)

Pivot Example

E. Modulation ( 조 장 ) “in” a key Longer time spent in new key than for tonicisation Context: sonata exposition modulates from I/i-> new key Occurs on pivot chord

F. Cadences Phrygian VI-> V (in minor ONLY)

Cadences: PAC vs. IAC

III. Non-Chord Tones (NCT) Passing tone (PT) Upper/lower neighbour (UN/LN) Suspension (SUS) Retardation (RET) Appoggiatura (APP) Echappée (escape tone) (ET) Anticipation

A. Commonalities All are dissonances ( 불협화음 ) All resolve to chord tones Types of ornamentation ( 장 식 )

B. Passing Tone

C. Upper Neighbour/Lower Neighbour

C. Suspension Preparation Suspension Resolution Resolves downwards

Suspension Types (BASS ONLY)

Suspension Examples

D Retardation Suspension, but resolves upwards Typically found at cadences in minor keys

E. Appoggiatura Approached by leap (if unaccented) Approached by step (in accented Resolved by step Common ornamentation in Baroque and early Classical works

F. Echappée (escape tone) Approached by step Resolved by leap Inverse of appoggiatura

G. Anticipation