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Course Description Course Name : Harmony Course Code : YM ÜVÇ 205 Course Type : Optional Level of Course : First Cycle Year of Study : 2 Course Semester : Fall and Spring (32 Weeks) ECTS : 4 Name of Lecturer(s) : Learning Outcomes of the Course : Has a competent perception with the knowledge of harmony he acquired. Has comprehensive knowledge about the music styles and forms of polyphony. Has comprenehsive knowledge about repertoire that takes place in the historical development of music related with polyphony of the works of art. Gains an advanced level of ability to decipher the musical works. Has the ability and knowledge about how to notate the works he listened. Will have the ability to vocalize the works he did related to his field with piano. Will have the ability to convert the works into polyphonic format. Will have the ability to create an original musical works. Mode of Delivery : Face-to-Face Prerequisites and Co-Prerequisites : None Recommended Optional Programme Components : None Aim(s) of Course : The aim of the course is to help students comprehend Harmonic stylistic features on the historical stages of polyphony, progresses in the development of harmonic language, the common and distinctive features of composers in the use of harmonics and carry out these through realizations. Course Contents : The aim is to teach students each kind of modulations and alteration use, sound off chord, and the system and technique of tonal-functional harmonics starting from basic three-to-five chords and their conversion to all the seven chords. Using this technique, the students try to reach refined sensation level throguh a four-party encrypted bass work and four-party singing harmonization. Language of Instruction : Turkish Work Place : Classroom   Course Outline /Schedule (Weekly) Planned Learning Activities Week Subject Student's Preliminary Work Learning Activities and Teaching Methods 1 general revision of the information learned in the first grade. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 2 types of four-voiced chords, D7 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 3 resolving encrypted bass with D7 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 4 resolving encrypted bass with D7. Cadenses 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 5 harmonizing melody with D7 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 6 Case studies within the framework of the information learned. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 7 cycles of D7 chords 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 8 resolving encrypted bass with cycles of D7 chords 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 9 resolving encrypted bass with cycles of D7 chords. Cadanses 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 10 a brief revision of what students have learned so far. making up the deficiencies. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 11 D7 chord. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 12 harmonizing melody with cyles of D7 chord. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 13 Case studies. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 14 harmonizing melody with cyles of D7 chord. Cadanses 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 15 Important cases in the use of D7 chord. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 16 revision of what has been learned in the first term. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 17 a brief revision of what students have learned so far. making up the deficiencies. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 18 Creativity in harmony. Review of some of the well-known compositions. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 19 Cadences. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 20 Secondary degree chords. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 21 Second-degree three-voice (tritone) chords. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 22 Resolving encrypted bass using the second degree chord 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 23 Resolving encrypted bass using the second degree chord. Cadenses 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 24 harmonizing melody with second degree chord. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 25 harmonizing melody with second degree chord. Cadenses 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 26 case studies with the information learned. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 27 General revision 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 28 Second-degree four-voiced chords. (Septakort) and cycles. 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 29 harmonizing second degree four-voiced chord and its cycles with the encrypted bass 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 30 harmonizing second degree four-voiced chord and its cycles with the encrypted bass 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 31 harmonizing second degree four-voiced chord and its cycles with the encrypted bass 1- To have theoretical knowledge about the concept of harmony and function theory. 2- to be able to perform four- voiced encrypted / unencrypted bass and singing realizations. 3- To have theoretical knowledge about modulations and harmony paces. 4- to be able to use modulations, harmony paces, and Ç7 and baseless C7 chords in realizations . Lecture 32/33/34 Final Examination   Required Course Resources Resource Type Resource Name Recommended Course Material(s)  Paraşkev Hadjiev, Armoni  Ts.Tsvetanov, Armoni Problemler  Benzion Eliezer, Şifreli Bas  Alexander Rayçev, Armoni Required Course Material(s)   Assessment Methods and Assessment Criteria Semester/Year Assessments Number Contribution Percentage     Mid-term Exams (Written, Oral, etc.) 0 0     Homeworks/Projects/Others 0 100 Total 100 Rate of Semester/Year Assessments to Success 40   Final Assessments 100 Rate of Final Assessments to Success 60 Total 100   Contribution of the Course to Key Learning Outcomes # Key Learning Outcome Contribution* 1 Students gains the ability to fulfil the Wind-Percussion Instruments Education Program. 2 2 Students perform the works of art contained in the Wind-Percussion Instruments Education Program in technical and musical sense. 4 3 Students can do theoretical studies with their professional knowledge to get to get information about the national and international music literature. 2 4 Students can do practical studies with their professional knowledge to get to get information about the national and international music literature. 2 5 Students perform the selected Works in the education programme in technical and musical sense. 3 6 Students are able to independently carry out an advanced study related to their own field. 3 7 Students gain a positive attitude towards learning and improving the Wind-Percussion Instruments education 4 8 Students evaluate and perform the advanced level of skills and knowledge acquired in their own field with a critical perspective. 4 9 Students gain an awareness of being a national and international artist who knows the responsibility he should undertake. 4 10 Students gain the habit and awareness of getting the art ethics and professional discipline 4 11 Students gain the ability to have musical synergy working together with their colleagues during the performance period. 2 12 Students gain the ability to decipher the works of art in technical and musical sense. 5 13 This programme helps students to perform the works of art that will be played on the stage with the group. 4 14 In addition to Professional development, students improve themselves continually in scientific, social, cultural and sports fields for their personal development. 1 * Contribution levels are between 0 (not) and 5 (maximum).   Student Workload - ECTS Works Number Time (Hour) Total Workload (Hour) Course Related Works     Class Time (Exam weeks are excluded) 32 2 64     Out of Class Study (Preliminary Work, Practice) 32 1 32 Assesment Related Works     Homeworks, Projects, Others 0 0 0     Mid-term Exams (Written, Oral, etc.) 0 0 0     Final Exam 1 2 2 Total Workload: 98 Total Workload / 25 (h): 3.92 ECTS Credit: 4