Module: Composition, Theory & Applied Techniques 4

Latest Module Specifications

Current Academic Year 2025 - 2026

Module Title	Composition, Theory & Applied Techniques 4
Module Code	MPA1024 (ITS: MC202)
Faculty	Theology, Philosophy & Music	School	Humanities & Social Sciences
NFQ level	8	Credit Rating	5

Description

This module extends students’ musical knowledge, music writing, composition and aural techniques through engaging with theoretical and practical aspects of four-part harmony, two-part counterpoint, and composition. It further develops students’ application of musical techniques through engagement with solfège, keyboard harmony and 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. Display, through solfège, analysis, written examples and music technology an understanding of melody writing and extension
2. Display, through solfège, analysis, written examples and music technology an understanding of free counterpoint with modulations
3. Display, through solfège, analysis, written examples, keyboard harmony and music technology an understanding of harmony in four parts in both open (choral) and close (keyboard) positions, with modulations.
4. Display, through solfège, analysis and written examples an understanding of trio writing in 18th century style; including the use of figured bass
5. Analyse and write all root position chords and 1st inversions of all triads, root position and all inversions of the dominant 7th chord, and a range of passing and cadential figures combining root, 1st inversions and second inversions chords.
6. Display, through analysis and written examples an understanding of chord construction, labelling and progression
7. Display, through analysis and written examples an understanding of free counterpoint techniques
8. Analyse melodic decoration in examples from the literature and apply a full range of techniques to their own writing
9. Display, through analysis and written examples, a grasp of the principles of harmonising a Bach chorale
10. Compose a short original piece in a given or chosen style utlising musical and technological skills

*Type*	*Hours*	*Description*
Workload	Full time hours per semester
Lecture	36	Lecture/workshops
Independent Study	89	Independent Learning
Total Workload: 125

Section Breakdown
CRN	20762	Part of Term	Semester 2
Coursework	0%	Examination Weight	0%
Grade Scale	40PASS	Pass Both Elements	Y
Resit Category	RC1	Best Mark	N
Module Co-ordinator	Barbara Dignam	Module Teacher	Roisin Nic Athlaoich

Type	Description	% of total	Assessment Date
Assessment Breakdown
Assignment	Four set Harmony exercises	40%	n/a
Assignment	Four Set Counterpoint Exercises	40%	n/a
Portfolio	Composition project	20%	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

Applied music theory
Close position harmony exercises; use of solfege; intervals

Harmony
• Theory of functional harmony with emphasis on Bach chorales • Chord construction, labelling and progression – authentic v. plagal steps • All primary and secondary chords, first Inversions and passing and cadential 6/4 chords • Cadences and modulations to near related keys • Writing/performing from a given chorale melody • Arranging/completing a short piano piece (or vocal/instrumental solo with piano) in late 18th century style.

Counterpoint
• Florid counterpoint • Prepared dissonances • Imitative entries • Suspensions in upper and lower parts • Melodic elaboration and contrapuntal writing • Rhythmic counterpoint in simple and compound metres • Modulation in counterpoint • Writing for string or woodwind duos or piano

Composition
• Theory and practice of music composition techniques in different styles; Composing for instrumental ensemble; Stylistic devices in manipulating thematic content; Digital musicianship skills

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,
Cope, David: 1997, Techniques of the Contemporary Composer, Schirmer, New York,
Gordon, Jacob: 1982, Orchestration: A guide for students, Oxford Univeristy Press,
Kesztler, LÃ¶rinc: 1952, Ã–sshangzattan, ZenemÃ¼kiado, Budapest,
LegÃ¡nynÃ© Hegyi, ErzsÃ©bet: 1975, Solfege according to the KodÃ¡ly-concept, ZoltÃ¡n KodÃ¡ly Pedagogical Institute of Music, KecskemÃ©t,
Lovelock, William: 2003, Two-part writing, Allans Music Australia, Spit Junction NSW,
Lovelock, William: 2003, Melody Writing, Allans Music Australia, Spit Junction NSW,
OszkÃ r, Frank: 1978, A FunkciÃ³s Zene-HarmÃ²nia, ZenemÃ¼kiado, Budapest,
Wilkinson, Roy: 1991, ABC of Harmony, Music Square, Singapore,

Articles:
None

Other Resources

None