| Course Name | Code | Semester | T+U Hours | Credit | ECTS |
|---|---|---|---|---|---|
| Harmoni Iv | TBB 430 | 8 | 2 + 2 | 3 | 5 |
| Precondition Courses | |
| Recommended Optional Courses | <p> Counterpoint, Polyphonic Choir, Piano III-IV</p> |
| Course Language | Turkish |
| Course Level | Bachelor's Degree |
| Course Type | Optional |
| Course Coordinator | Arş.Gör. HACI BEKİR KURŞUNET |
| Course Lecturers | Arş.Gör. HACI BEKİR KURŞUNET, |
| Course Assistants | |
| Course Category | |
| Course Objective | Advanced learning of Modulation and Alteration on Harmony |
| Course Content | Modulation to distant tones, Alteration of chords, Seven chords. |
| # | Course Learning Outcomes | Teaching Methods | Assessment Methods |
|---|---|---|---|
| 1 | comprehension of harmonize alteration | Lecture, Motivations to Show, Brain Storming, Self Study, Problem Solving, | Testing, Homework, Project / Design, Performance Task, |
| 2 | practise on piano modulations with chords | Lecture, Motivations to Show, Brain Storming, Self Study, Problem Solving, | Testing, Homework, Project / Design, Performance Task, |
| 3 | comprehend and practice the dominant consecutive chords | Lecture, Motivations to Show, Brain Storming, Self Study, Problem Solving, | Testing, Homework, Project / Design, Performance Task, |
| 4 | apply modulation to distant tones | Lecture, Motivations to Show, Brain Storming, Self Study, Problem Solving, | Testing, Homework, Project / Design, Performance Task, |
| Week | Course Topics | Preliminary Preparation |
|---|---|---|
| 1 | Repetition of the first semester topics | |
| 2 | Non-chordal sounds, transient sounds (diatonic and chromatic) | |
| 3 | Alterated dual dominants adjuncts | |
| 4 | Alterated dual dominants adjuncts and more practise | |
| 5 | practise on the piano | |
| 6 | seventh chords I 7 IV 7, VI 7 | |
| 7 | practise on piano with seventh chords | |
| 8 | Consecutive Dominant chords | |
| 9 | Enharmonic modulation with dominant seventh chord | |
| 10 | Enharmonic modulations with VII degree chord | |
| 11 | Enharmonic modulations with VI degree chord | |
| 12 | Modulation to distant tones (6 sharp and flat major minor tones) | |
| 13 | Modulation to distant tones (6 sharp and flat major minor tones) | |
| 14 | Modulation to distant tones (6 sharp and flat major minor tones) and practise on piano |
| Resources | |
|---|---|
| Course Notes | <div> Zarife BAKİHANOVA Armoni,</div> <div> </div> <div> TCHAIKOVSKY, Armoni,</div> <div> </div> <div> Nurhan CANGAL, Armoni,</div> <div> </div> <div> Aynur ELHANKIZI, Harmony, Russian School Approaches to Classical Western System,</div> <div> </div> <div> Robert GAULDIN, Harmonic Practice in Tonal Music.</div> |
| Course Resources |
Zarife BAKİHANOVA Armoni,
TCHAIKOVSKY, Armoni,
Nurhan CANGAL, Armoni,
Aynur ELHANKIZI, Harmony, Russian School Approaches to Classical Western System,
Robert GAULDIN, Harmonic Practice in Tonal Music.
|
| Order | Program Outcomes | Level of Contribution | |||||
|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Musicologist; learns the music with all respects by searching, arrives information and synthesis, at the same time; forms a critics view that he can percevie his environment and world. | X | |||||
| 2 | renews, interogates himself continuously in change and development, analyses new information and methods. Besides the contributions secured to musicology, works with the other diciplines and connects relations. | X | |||||
| 3 | takes up music art in many respects like education, esthetics, history; examines it; arrives deductions. | X | |||||
| 4 | follows the renevals in writing musical note and music technology. Has the ability of using technological possibilities in moving traditional music and today’s music to the future. | X | |||||
| 5 | analyses the music culture which is the very important part of national culture in historical perspektive and moves it to future. | X | |||||
| 6 | has the ability of transfering the characteristics of musicology by using the effective communication techniques of public relations to listener who are the expert or not expert. | X | |||||
| 7 | has the ability of using technological possibilities in moving traditional music and today’s music to the future. | X | |||||
| 8 | has the ability of taking up culture with the critics view which popular culture has formed, by resting on scientific information and anaylsing popular culture | X | |||||
| 9 | is candidate for science and art expertise. | X | |||||
| 10 | Besides the theories and solfej of West music, musicologist illuminates the theories and solfej, history, literature of Turkish music by supporting with instrument information. While compassing his own national music and moving it to future, musicologist gives scientific information to examine and compare Europa and world music at adequate level. | X | |||||
| 11 | secures sufficient materials, source and archive support retaled to area. | X | |||||
| 12 | gives methods and tecniques that interrogate, analyse and synthese the themes of musicology. | X | |||||
| 13 | teaches necessary team and informations in writing musical note and music Technologies themes | X | |||||
| 14 | gives social, scientific and ethical rules in the stages of gathering, interpreting and making heard of scientific datums entered musicology. | X | |||||
| Evaluation System | |
|---|---|
| Semester Studies | Contribution Rate |
| 1. Ara Sınav | 70 |
| 1. Performans Görevi (Uygulama) | 10 |
| 2. Performans Görevi (Uygulama) | 10 |
| 3. Performans Görevi (Uygulama) | 10 |
| Total | 100 |
| 1. Final | 40 |
| 1. Yıl İçinin Başarıya | 60 |
| Total | 100 |
| ECTS - Workload Activity | Quantity | Time (Hours) | Total Workload (Hours) |
|---|---|---|---|
| Course Duration (Including the exam week: 16x Total course hours) | 16 | 4 | 64 |
| Mid-terms | 1 | 4 | 4 |
| Performance Task (Application) | 3 | 12 | 36 |
| Final examination | 1 | 4 | 4 |
| Hours for off-the-classroom study (Pre-study, practice) | 4 | 4 | 16 |
| Total Workload | 124 | ||
| Total Workload / 25 (Hours) | 4.96 | ||
| dersAKTSKredisi | 5 | ||