Large Forms: Difference between revisions
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==Resources== | ==Resources== | ||
==== Reading: ==== | |||
*[https://global.oup.com/us/companion.websites/fdscontent/uscompanion/us/static/companion.websites/9780199990870/online_ch4.pdf Chapter 4: “Classical Forms”] | * [https://global.oup.com/us/companion.websites/9780199990870/online/ Snodgrass, ''Contemporary Musicianship:''] | ||
**[https://global.oup.com/us/companion.websites/fdscontent/uscompanion/us/static/companion.websites/9780199990870/online_ch4.pdf Chapter 4: “Classical Forms”] | |||
* [http://musictheory.pugetsound.edu/mt21c/MusicTheory.html Hutchinson, ''Music Theory for the 21st-Century Classroom''] | |||
** [http://musictheory.pugetsound.edu/mt21c/FormInPopularMusic.html Chapter 12: Form in Popular Music] | |||
Revision as of 21:31, 16 July 2020
| This lesson is part of the Rhythm, Meter & Form category. |
Objectives
- Students will be able to analyze a composition using formal notation (A, A’, B, etc.).
- Students will be familiar with common forms such as sonata allegro, da capo aria, and popular song form.
Resources
Reading:
Class Activities
- Discussion and definition of the concept of formal analysis, and of common large-scale forms
- Formal analysis of music in different genres and time periods
- Creation of a compositional formal blueprint based around two or three given melodies or motives
Assignments
- Comprehension questions
- Formal analysis of written and recorded music
- Creation of a formal blueprint for a piece to meet given criteria