Module: Composition, Theory & Applied Techniques 3

Latest Module Specifications

Current Academic Year 2025 - 2026

Module Title	Composition, Theory & Applied Techniques 3
Module Code	MPA1023 (ITS: MC201)
Faculty	Humanities & Social Sciences	School	Theology, Philosophy & Music
NFQ level	8	Credit Rating	5

Description

This module extends students’ musical knowledge, music writing, composition and aural techniques through engaging with theoretical and applied aspects of four-part harmony, two-part counterpoint, and orchestration. It further develops students’ application of musical techniques through engagement with music technology, 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. 1DDFE024-C218-0001-8C1D-5E361410121B
2. Display, through analysis and written examples an understanding of chord construction, labelling and progression
5. 1
6. 1DDFE024-B28C-0001-81A0-117C417014AC
7. Display through analysis and written examples an understanding of species counterpoint (first and second species)
10. 2
11. 1DDFE024-B496-0001-9B60-34F09E307C40
12. Display an understanding of harmony in four parts in both open (choral) and closed (keyboard) positions.
15. 3
16. 1DDFE024-C774-0001-25E5-AE5497B038A0
17. Analyse melodic decoration in examples from the literature and apply the following techniques to their own writing: unaccented passing notes and auxiliary notes.
20. 4
21. 1DDFE024-C86F-0001-6D82-134B1AD01AA5
22. Display, through analysis and written examples, a grasp of elementary figured bass
25. 5
26. 1E26691E-E44B-0001-C8C3-43A01F201EEE
27. Develop and apply an understanding of voice leading and functional harmony
30. 6
31. 1DDFE024-D116-0001-571F-184615D01015
32. Complete competently four-part harmony exercises from figured bass or given soprano melody employing all triads and including 1st and 2nd inversions.
35. 7
36. 1E26691E-4BBE-0001-9171-D6901F2D78A0
37. Illustrate, both theoretically and practically, technical skills and knowledge in arranging for orchestral forces across strings and wind instruments, showing sensitivity to voice-leading and textural balance
40. 8

*Type*	*Hours*	*Description*
Workload	Full time hours per semester
Lecture	21	Lecture/workshops
Workshop	6	Music theory workshops (on-campus or equivalent)
Independent Study	98	Independent Learning
Total Workload: 125

Section Breakdown
CRN	11144	Part of Term	Semester 1
Coursework	100%	Examination Weight	0%
Grade Scale	40PASS	Pass Both Elements	N
Resit Category	RC1	Best Mark	N
Module Co-ordinator	John O'Flynn	Module Teacher	Barbara Dignam, Clare Wilson, Hamidreza Golestanisani

Type	Description	% of total	Assessment Date
Assessment Breakdown
Portfolio	4 completed counterpoint exercises (30%) 4 completed harmony exercise (30%) Orchestration project (30%)	90%	n/a
Reflective journal	Reflective notes on music theory workshops (on-campus hours or equivalent)	10%	n/a

Reassessment Requirement Type
Resit arrangements are explained by the following categories; RC1: A resit is available for both^* components of the module. RC2: No resit is available for a 100% coursework module. RC3: No resit is available for the coursework component where there is a coursework and summative examination element. ^* ‘Both’ is used in the context of the module having a coursework/summative examination split; where the module is 100% coursework, there will also be a resit of the assessment

Pre-requisite	None
Co-requisite	None
Compatibles	None
Incompatibles	None

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

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Indicative Reading List

Books:

Bowman, David and Terry, Paul: 1993, Aural Matters, Schott Educational Publications, Mainz,
Brindle, Reginald Smith: 1986, Musical Composition, Oxford University Press,
Brings, Alan: 1979, A New Approach to Keyboard Harmony, Norton,
Butterworth, Anna: 2000, Harmony in Practice, ABRSM Publishing, London,
Carse, Adam: 1932, Counterpoint Exercises, Stainer and Bell, London,
Gordon, Jacob: 1982, Orchestration: A guide for students, Oxford University Press,
Kesztler, Lörinc: 1952, Össhangzattan, Zenemükiado, Budapest,
Legányné Hegyi, Erzsébet: 1975, Solfege according to the Kodály-concept, Kecskemét, Zoltán Kodály Pedagogical Institute of Music, Kecskemét,
Lovelock, William: 2003, Two-part writing, Allans Music Australia, Spit Junction NSW,
Lovelock, William: 2003, Melody Writing, Allans Music Australia, Spit Junction NSW,
Oszkàr, Frank: 1978, A Funkciós Zene-Harmònia, Zenemükiado, Budapest,
Wilkinson, Roy: 1991, ABC of Harmony, Music Square, Singapore,

Articles:
None

Other Resources

None