MUSA 222 Music Theory III
Previously MUSC 210A. Third in the four-semester Music Theory sequence required of music majors, Music Theory III builds on the concepts of analysis and writing studied in MUSA 124, Music Theory II, and MUSA 125, Ear Training and Musicianship II. Students will develop knowledge and understanding of advanced tonal analysis, altered non-harmonic tones and secondary dominants, augmented and Neapolitan sixth chords, foreign modulations, and extended chords. An introduction to eighteenth century counterpoint and classical forms will also be included. The practice of sight singing, rhythm reading, and melodic dictation will be continued through MUSA 223, Ear Training and Musicianship III.
Prerequisite
MUSA 124 with a C or better, or MUSC 111A with a C or better
Hours Weekly
4 hours lecture and additional practice time weekly
Course Objectives
- Analyze two-voice compositions which use 16th or 18th century counterpoint.
- Analyze sonata form, rondo form, theme and variation, and fugue.
- Identify intervals, chord qualities inversions, and function in a key within 10 seconds for any
given example. - Identify seventh chords and secondary dominants within 30 seconds for any given example.
- Realize a figured bass at sight which includes a secondary dominant, Neapolitan, or augmented
sixth chord.
- Analyze and part-write musical excerpts containing the following devices: borrowed chords,
Neapolitan 6th chords, augmented 6th chords, 9th, 11th, and 13th chords, altered dominants, and
chromatic mediants. - Recognize and describe romantic and post-romantic innovations to harmony in a given musical
excerpt.
- Harmonize and transpose melodies with primary and additional diatonic chords.
Course Objectives
- Analyze two-voice compositions which use 16th or 18th century counterpoint.
- Analyze sonata form, rondo form, theme and variation, and fugue.
- Identify intervals, chord qualities inversions, and function in a key within 10 seconds for any
given example. - Identify seventh chords and secondary dominants within 30 seconds for any given example.
- Realize a figured bass at sight which includes a secondary dominant, Neapolitan, or augmented
sixth chord.
- Analyze and part-write musical excerpts containing the following devices: borrowed chords,
Neapolitan 6th chords, augmented 6th chords, 9th, 11th, and 13th chords, altered dominants, and
chromatic mediants. - Recognize and describe romantic and post-romantic innovations to harmony in a given musical
excerpt.
- Harmonize and transpose melodies with primary and additional diatonic chords.