Compositional Language(s)
Instructor: Prof. SIGMAN
Tuesday 13:00-15:00
Lecture III
Announcements
• Assignement I submission?
• Course website:
www.lxsigman.com/clgfall2012/index.htm
• Missing email addresses!!
0. Review: Typical Musical Parameters
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Pitch (고 저)
Rhythm (Pulse/Meter)
Melody
Harmony (학 성)
Dynamic
Register
Timbre (음 색)
Texture (결)
Orchestration
I. The Harmony of the Spheres
A. Pythagoras
• Sun, Moon and Planets: emit resonances
• Frequency = speed of revolutions
• Musical ratios (비 율)
B. Plato
• Harmony of the soul’s proportions = harmony
of the universe
• (e.g.: Timaeus dialogue)
C. Boethius (480-525 AD)
• Musica mundana: music of the universe
• Musica humana: music of the human body
• Musica quae in quibusdam constituta est
instrumentis: sounds made by singers (가수)
and instrumentalists (역 주 자)
• all in agreement with each other
D. The Harmony of the Spheres:
Realisation
• http://www.youtube.com/watch?v=1EFZuzgcI
zY
• Harmonic series ratios (of Pythagoras and
later Kepler) = ratios between 2+ sounding
frequencies
• 2+ frequencies sounding at the same time =
harmony
• Musica universalis = components of single
tone and multiple resonating tones
II. Common Practice Harmony
A. The Common Practice Period
• The period between ca. 1600-1900 is known
(in English) as the common practice period. It
is the period during which tonality (음 샘)
was dominant in Western Europe
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B. Definition of Tonality
• Tonal harmony ≠ tertian (삼 일 열 ) harmony!
• These pieces use triads, but NOT tonal syntax:
• http://www.youtube.com/watch?v=XqdxtFJx4
7Q
• http://www.youtube.com/watch?v=MuJLAZf5
nxE
C. Tonal Syntax vs. Linguistic
Syntax
• Syntax (구 문 론) in natural language (언 어)
= a set of rules (규 정) for ordering words (단
어)in a sentence based upon function (part of
speech) (명 사, 동사, etc.)
• Syntax in tonal harmony = a set of rules for
ordering chords (한 음) based upon function
• Rules allow for ambiguity (모호)
D. Tonal Function Categories
• Tonic
• Dominant
• Pre-Dominant
E. Tonal Function Rules
• 1) Tonic -> Anywhere
• 2) Dominant -> Tonic;
• 3) Pre-dominant -> Other Predominant; ->
Dominant
• E.g.: V-> IV-> I = retrogression = ILLEGAL!
III. Analysis
A. Inversions: Symbols and
Reference
• 1st inversion: “six-three”
• 2nd inversion: “six-four”
• Figured bass symbols
B. Triad Qualities
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Major
Minor
Augmented
Diminished
C. Seventh Chord Qualities
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Major
Dominant
Minor
Half Diminished
Fully Diminished
Seventh Chord Inversions
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Root Position
1st Inversion
2nd Inversion
3rd Inversion
D. Tonicisation
• NOT modulation
• Approached via secondary dominant
• Return to original key, or continuation to new
key areas
• Context: Typical of sequences (일 련),
episodes in fugues and sonata development
sections
• occurs on pivot (회 전 죽) chord (analysed in
both original and new key)
Pivot Example
E. Modulation (조 장)
• “in” a key
• Longer time spent in new key than for
tonicisation
• Context: sonata exposition modulates from
I/i-> new key
• Occurs on pivot chord
F. Cadences
Phrygian
VI-> V (in minor ONLY)
Cadences: PAC vs. IAC
III. Non-Chord Tones (NCT)
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Passing tone (PT)
Upper/lower neighbour (UN/LN)
Suspension (SUS)
Retardation (RET)
Appoggiatura (APP)
Echappée (escape tone) (ET)
Anticipation
A. Commonalities
• All are dissonances (불협화음)
• All resolve to chord tones
• Types of ornamentation (장 식)
B. Passing Tone
C. Upper Neighbour/Lower
Neighbour
C. Suspension
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Preparation
Suspension
Resolution
Resolves downwards
Suspension Types
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9-8
7-6
4-3
2-3 (BASS ONLY)
Suspension Examples
D Retardation
• Suspension, but resolves upwards
• Typically found at cadences in minor keys
E. Appoggiatura
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Approached by leap (if unaccented)
Approached by step (in accented
Resolved by step
Common ornamentation in Baroque and early
Classical works
F. Echappée (escape tone)
• Approached by step
• Resolved by leap
• Inverse of appoggiatura
G. Anticipation