Pantriadicism & Chromatic Mediants: Difference between revisions
m 9 revisions imported |
|||
| (4 intermediate revisions by the same user not shown) | |||
| Line 3: | Line 3: | ||
==Objectives== | ==Objectives== | ||
*Students will become familiar with different levels of pantriadicism and suspended tonality, including | *Students will become familiar with different levels of pantriadicism and suspended tonality, including chromatic mediants and non-functional harmony. | ||
*Students will become familiar with the basic concepts of neo-Riemannian theory. | |||
==Resources== | ==Resources== | ||
====Readings==== | |||
*''Musicology Now:'' | |||
**[http://www.musicologynow.org/2017/12/optigan-allusions-sonic-dislocation-in.html Lehman, "Optigan Allusions: Sonic Dislocation in The Return"] | |||
==== Listening or Videos ==== | |||
* 12tone: | |||
** [https://www.youtube.com/watch?v=_VxN4rnOpho "What the Heck is Neo-Riemannian Analysis?"] | |||
==Class Activities== | ==Class Activities== | ||
*Discussion and definition of | *Discussion and definition of chromatic mediants and non-functional harmony, both within otherwise tonal constructs and as independent forms | ||
*Macro-harmonic analysis of pantriadicism in different styles of music | *Macro-harmonic analysis of pantriadicism in different styles of music | ||
*Improvisation of pantriadic chord sequence | *Improvisation of pantriadic chord sequence | ||
| Line 19: | Line 29: | ||
*Analysis of quasi-tonal and post-tonal techniques in written and recorded music | *Analysis of quasi-tonal and post-tonal techniques in written and recorded music | ||
==== Files ==== | ====Files==== | ||
*Harmonizing a melody using pantriadicism ([https://drive.google.com/file/d/1sdoptz1HKC43ppdn2x3dy-VIzJoQ0XE1/view?usp=sharing Finale] | [https://drive.google.com/file/d/1GWXiUGnFKciNB39FLqDBQ1aPFIiXTWh9/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1y7kijWzEi-1g_q0k6baAhMsfn6SItCOm/view?usp=sharing PDF]) | *Harmonizing a melody using pantriadicism ([https://drive.google.com/file/d/1sdoptz1HKC43ppdn2x3dy-VIzJoQ0XE1/view?usp=sharing Finale] | [https://drive.google.com/file/d/1GWXiUGnFKciNB39FLqDBQ1aPFIiXTWh9/view?usp=sharing MusicXML] | [https://drive.google.com/file/d/1y7kijWzEi-1g_q0k6baAhMsfn6SItCOm/view?usp=sharing PDF]) | ||
| Line 26: | Line 36: | ||
{{HarmonyNavbox}} | {{HarmonyNavbox}} | ||
{{Theory3Navbox}} | |||
[[Category:Harmony]] | [[Category:Harmony]] | ||
[[Category:Theory 3]] | [[Category:Theory 3]] | ||
[[Category:Twentieth-Century Techniques]] | [[Category:Twentieth-Century Techniques]] | ||
Latest revision as of 19:04, 21 December 2024
| This lesson is part of the Harmony category. |
Objectives
- Students will become familiar with different levels of pantriadicism and suspended tonality, including chromatic mediants and non-functional harmony.
- Students will become familiar with the basic concepts of neo-Riemannian theory.
Resources
Readings
- Musicology Now:
Listening or Videos
Class Activities
- Discussion and definition of chromatic mediants and non-functional harmony, both within otherwise tonal constructs and as independent forms
- Macro-harmonic analysis of pantriadicism in different styles of music
- Improvisation of pantriadic chord sequence
- Composition of pantriadic chord sequence to accompany a given melody
Assignments
- Analysis of quasi-tonal and post-tonal techniques in written and recorded music