Curricula
Description
| MM00EC03 | Historical and Structural Awareness of Music: World Music (3 cr) |
| Prerequisites | Not applicable |
| Objectives | After completing the course, I understand the phenomena that influenced the emergence of Latin American musical styles, as well as the influence of tresillo rhythm in the history of rhythm music. I can aurally identify the most important Latin American musical styles as well as the early jazz styles of the 1900s-1920s, as well as their most important composers, performers and musical pieces. I have become acquainted with the different formal structures of African-American music and deepened my understanding of functional harmony by studying various ordinary and unusual cadenzas (II-V-I, secondary dominants, tritone substitution). I have begun to better understand the formal structures and chords of jazz music and their connection to pop and rock music. Course goals regarding Ear Training: I can perceive melody, harmony, rhythm, form and timbre in music throughout various musical styles. I can notate rhythmic, melodic and harmonic content and to reproduce rhythms and melody, while maintaining a pulse, through my voice and body. I can also add note names to a given melody in different keys. I perceive harmony and melody with the names of the notes and chord symbols, alongside the scale degrees, and the roles of the melody notes regarding the key and the chord they’re on. I am also able to improvise with my own voice inside the harmonic situations I am hearing. |
| Content | The teaching consists of audio-visual lectures on the history of music, which help the student to internalize and auditorily identify the musical, social and historical conditions and phenomena that influenced the emergence of various Latin American musical styles, as well as North American jazz. The theory section discusses, among other things, blues structure, chord / scale connection, chording and functional harmony, which is linked to studies in the history of music. The course also includes listening tasks (e.g. singing and writing a melody, reading rhythms and dictates, and recognizing chords). Ear training topics: Expanding on the topics of the previous course. Different methods for identifying church modes. Tonicizations within the key. Modal interchange chords, secondary dominants, the dominant chord families. The triplet feel in 6/8 and 12/8-meters, rhythmic phenomena from Central and South America |
| Recommended optional programme components | If necessary, the student advisor will recommend optional programme components for each student based on their individual study plan. |
| Accomplishment methods | Participation in contact teaching (history lectures, theory and solfage lessons). Absences should be compensated by additional tasks. Other ways of completing the course must always be negotiated separately with the teacher. |
| Execution methods | Not applicable |
| Materials | Not applicable |
| Literature | Not applicable |
| Evaluation Criteria | Approved/Failed |
| Evaluation Criteria |
pass/fail Assessment (pass/fail) for attending classes, doing homework and possible group work. Passed: The student demonstrates an understanding of the phenomena that influenced the emergence of African-American music, as well as completing all the given homework and group work. |
| Assessment Frameworks | Not applicable |
| Further Information | Not applicable |
| Responsible persons | Not applicable |
| Links | Not applicable |
Implementations
Show old implementations
- 28.10.2024 - 31.12.2024 (MM00EC03-3001 | MPE23SPPJ)
20.5.2024 10:54:06