Module: Composition, Theory & Applied Techniques 2

Module Specifications.

Current Academic Year 2024 - 2025

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Date posted: September 2024

Module Title	Composition, Theory & Applied Techniques 2
Module Code	MC102 (ITS) / MPA1003 (Banner)
Faculty	Humanities & Social Sciences	School	Theology, Philosophy & Music
Module Co-ordinator	Barbara Dignam
Module Teachers	-
NFQ level	6	Credit Rating	7.5
Pre-requisite	Not Available
Co-requisite	Not Available
Compatibles	Not Available
Incompatibles	Not Available

None

Description

This module extends students’ musical knowledge, music writing, composition and aural techniques throughengaging with theoretical and practical aspects of solfège, music technology, two part writing, four-part harmony, two-part counterpoint, and composition. It further develops students’ aural perception of musical techniques, and deepens their awareness of stylistic context. Students are introduced to music writing skills, and to strategies for applying these skills in subsequent professional activities. Students are expected to attend lectures/workshops, engage in workshops and submit regular course work.

Learning Outcomes

1. display, through solfège, analysis, written examples and music technology an understanding of polyphony and counterpoint
2. display, through solfège, analysis, written examples and music technology an understanding of harmony in three and four parts
3. sight-sing pentatonic and diatonic melodies in unison and in canon, and with rhythmic ostinati
4. display, through analysis and written examples an understanding of chord construction, labelling and progression
5. display, through analysis and written examples an understanding of imitative and free contrapuntal techniques
6. add a bass line with chord symbols to a given soprano melody including modulation
7. display, through analysis and written examples, a grasp of the principles of functional harmony
8. complete competently four-part harmony exercises from a given soprano melody employing chords I ii IV V and vi in root position and first inversion without modulation
9. be able to add a soprano melody beginning in imitative counterpoint to a give bass line
10. Write a short piece for instrumental solo

*Type*	*Hours*	*Description*
Workload	Full-time hours per semester
Lecture	36	No Description
Independent Study	55	No Description
Class Presentation	96.5	No Description
Total Workload: 187.5

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

Solfège
Extended sight-singing repertoire and techniques Aural and vocal understanding of triads Introduction to Renaissance, Baroque and Classical polyphony, Vocal and instrumental applications of harmony

Music Technology
Student-directed learning with tutorial assistance – completion of two-part, four-part and free composition using Sibelius

Two part functional harmony
Principles of functional harmony including elementary modulation. Chord construction, labelling and progression. Primary and secondary chords (I, ii, IV, V, vi). First Inversions. Cadential figures. Adding a bass line with chordal support to a given soprano melody. Modulations to dominant and relative keys. Major and minor keys up to four flats or four sharps.

Four part harmonisation
Principles of functional harmony. Chord construction, labelling and progression. Primary and secondary chords (I, ii, IV, V, vi). First Inversions. Cadential figures. Adding parts for alto, tenor and bass to a given soprano melody. Major and minor keys up to four flats or four sharps.

Counterpoint
Principles of counterpoint. Imitative Counterpoint – adding a soprano melody to a given bass line. Labelling supporting harmony. Major and minor keys up to four flats or four sharps.

Composition
Study of range, techniques and sonorities of orchestral instruments. Composing in a contemporary style for solo instrument or duo.

Assessment Breakdown
Continuous Assessment	100%	Examination Weight	0%

Type	Description	% of total	Assessment Date
Course Work Breakdown
In Class Test	Weekly exercises	25%	n/a
Project	Composition Project	25%	n/a

Reassessment Requirement Type
Resit arrangements are explained by the following categories: Resit category 1: A resit is available for both* components of the module. Resit category 2: No resit is available for a 100% continuous assessment module. Resit category 3: No resit is available for the continuous assessment component where there is a continuous assessment and examination element.
* ‘Both’ is used in the context of the module having a Continuous Assessment/Examination split; where the module is 100% continuous assessment, there will also be a resit of the assessment
This module is category 1

Indicative Reading List

Archibald, Jean and Marmion Bernadette: 2003, Music Workout, Royal Irish Academy of Music, Dubliln,
Brindle, Reginald Smith: 1986, Musical Composition, Oxford University Press,
Butterworth, Anna: 2000, Harmony in Practice, ABRSM Publishing, London,
Gordon, Jacob (1982): 1982, Orchestration: A guide for students, Oxford Univeristy Press,
Legányné Hegyi, Erzsébet: 1972, Solfege according to the Kodály-concept, Kecskemét, Pedagogical Institute of Music, Zoltán Kodály,
Lovelock, William: 2003, Two-part writing, Allans Music Australia, Spit Junction NSW,
Lovelock, William: 2003, Melody Writing, Allans Music Australia, Spit Junction NSW,
Lovelock, William: 0, First Year Harmony, Hammond and Co, London,
Wilkinson, Roy: 1991, ABC of Harmony, Music Square, Singapore,

Other Resources

None