| Course Description |
|
| Course Name |
: |
Harmony |
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| Course Code |
: |
YMOP305 |
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| Course Type |
: |
Optional |
|
| Level of Course |
: |
First Cycle |
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| Year of Study |
: |
4 |
|
| Course Semester |
: |
Fall and Spring (32 Weeks) |
|
| ECTS |
: |
4 |
|
| Name of Lecturer(s) |
: |
|
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| Learning Outcomes of the Course |
: |
Develops a competent hearing capacity thanks to the harmony knowledge acquired in the course.
Has comprehensive knowledge about the music style and the forms of polyphony.
Has comprehensive knowledge about the repertoire which is in the historical development of music regarding the polyphony of works.
Has superior ability about desiphiring musical works.
Has the ability to write the works he/she listens to in notes.
Has the ability to sing the works in his/her field with the accompaniment of piano.
Has the ability to convert works into polyphonic format.
Has the ability to create original musical works.
|
|
| Mode of Delivery |
: |
Face-to-Face |
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| Prerequisites and Co-Prerequisites |
: |
None |
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| Recommended Optional Programme Components |
: |
None |
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| Aim(s) of Course |
: |
The aim of the course is to help students to understand harmonic style features on historical stages of polyphony, the attempts in the development of harmonic language, common and distinctive features of composers using harmony and also to apply them through realization. |
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| Course Contents |
: |
In this course students learn tonal-functional harmonic system and its technique starting from the basic fifth chords and their inversions to all seventh chords, all kinds of modulation and alteration applications, and chord sounds which are out of tune. By using this technique, student tries to have a sensitive hearing ability through four-party encrypted bass studies and four-party soprano harmonization. |
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| Language of Instruction |
: |
Turkish |
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| Work Place |
: |
Classroom |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Meeting with the students. Giving information about the textbooks, and the content of the course. |
|
Lectures |
|
2 |
Basic theoritical information. The definition of chord. Building a chord. |
|
Lectures |
|
3 |
The basic position of the chord and its inversions. Types of chords. |
|
Lectures |
|
4 |
Writing the four-party three-voice chord. Ranges of chord. |
|
Lectures |
|
5 |
Dublicating sounds.Tonic, Subdominant, Dominant functions. |
|
Lectures |
|
6 |
Chord connections. Harmonic and melodic movements |
|
Lectures |
|
7 |
Moving chords.Desiphering sounds. |
|
Lectures |
|
8 |
Diatonic harmony. Using non altered chords. |
|
Lectures |
|
9 |
Cadences. |
|
Lectures |
|
10 |
Harmonizing encrypted bass by using basic position chords. |
|
Lectures |
|
11 |
Encrypted cadences bass and practical work. |
|
Lectures |
|
12 |
General revision |
|
Lectures |
|
13 |
Harmonizing the melody. |
|
Lectures |
|
14 |
Harmonizing the melody. |
|
Lectures |
|
15 |
Learned from case studies information. |
|
Lectures |
|
16 |
Sekstachords.Desiphering encrypted bass. |
|
Lectures |
|
17 |
A brief review of what has been learned in the first period and elimination of the deficiencies. |
|
Lectures |
|
18 |
Desiphering encrypted bass. Cadences. |
|
Lectures |
|
19 |
The basic position and Sekstachords. Harmonizing the melody. |
|
Lectures |
|
20 |
Sample studies on acquired knowledge. |
|
Lectures |
|
21 |
Sekstachordsr. Complex cadences. |
|
Lectures |
|
22 |
Second inversion.Kvartseksachords. |
|
Lectures |
|
23 |
Harmonizing encrypted bass with K 6/4 chord |
|
Lectures |
|
24 |
Harmonizing soprano with K 6/4 chord |
|
Lectures |
|
25 |
Sample studies on acquired knowledge. |
|
Lectures |
|
26 |
General revision |
|
Lectures |
|
27 |
6/4 chord in a weak position. |
|
Lectures |
|
28 |
Harmonizing encrypted bass with K 6/4 chord in weak position. |
|
Lectures |
|
29 |
General revision and detection of deficiencies. |
|
Lectures |
|
30 |
Harmonizing soprano with 6/4 chords in weak position. |
|
Lectures |
|
31 |
General revision and exam preparation. |
|
Lectures |
|
32/33/34 |
Final exam |
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
Gains the ability to review advanced knowledge and skills acquired in the field critically |
0 |
|
2 |
As a performing artist, has a sense of ethics of art and professional disipline. |
4 |
|
3 |
Gains the musical and technical ability to interpret national and international works of literature on the stage through Opera singing techniques and methods. |
1 |
|
4 |
Gains the ability to use voice mechanism accurately and efficiently on the stage, to ensure breath coordination and to protect voice health. |
0 |
|
5 |
Gains the ability to review universal values with the knowledge acquired in their field of study. |
3 |
|
6 |
Gains the sensitivity of being an artist who is aware of the responsibilities towards his nation, himself and humanity. |
3 |
|
7 |
Besides singing technique, controls his body successfully thanks to the abilities acquired through dance, stage and fencing disciplines. |
0 |
|
8 |
Improves the practical ability of singing ability which is developed through acquiring technical knowledge together with the acting ability on the stage. |
0 |
|
9 |
Gains the ability to provide all kinds of national and international singing literature documents, equipments, resources and archive related to his field. |
1 |
|
10 |
Gains the ability to individually maintain the process of practicing on works which he is responsible for. |
3 |
|
11 |
Constantly improves himself as a man of art, and follows the current activities related to his art closely. |
0 |
|
12 |
Gains the ability to use his natural mechanism on the stage as an instrument by improving his coordination abilities and by recognizing and analyzing his own body, emotions, and thoughts. |
0 |
|
13 |
As well as having a sense of social responsibility, owns communication and social skills requried by performing arts. |
0 |
|
14 |
Gains the ability to transfer his knowledge on the art of opera singing to different audiences. |
0 |
|
15 |
Has the ability of focusing on the scene, using his imagination and observation skills, the ability to have a reflex and to use the memory of the musical scene. |
0 |
|
16 |
Develops the ability of creating a character on the stage, maintaining mastery of work, singing with a partner and feeling the partner. |
0 |
|
17 |
As a man of art, tries to establish ties with other art fields by associating his knowledge and skills according to the rules of professional ethics. |
4 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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