| Ders Adı | Kodu | Yarıyıl | T+U Saat | Kredi | AKTS |
|---|---|---|---|---|---|
| Harmony | TMB 456 | 8 | 2 + 2 | 3 | 5 |
| Ön Koşul Dersleri | |
| Önerilen Seçmeli Dersler | |
| Dersin Dili | Türkçe |
| Dersin Seviyesi | Lisans |
| Dersin Türü | Seçmeli |
| Dersin Koordinatörü | Arş.Gör.Dr. HACI BEKİR KURŞUNET |
| Dersi Verenler | Arş.Gör.Dr. HACI BEKİR KURŞUNET, |
| Dersin Yardımcıları | Research assistant Hacı Bekir Kurşunet |
| Dersin Kategorisi | Diğer |
| Dersin Amacı | It is aimed to introduce and apply the polyphony by teaching the classical harmony rules in a gradual way. |
| Dersin İçeriği | the contents of our lesson are Based on the tampere system, major and minor chords, chord combinations, and all of them in the piano |
| # | Ders Öğrenme Çıktıları | Öğretim Yöntemleri | Ölçme Yöntemleri |
|---|---|---|---|
| 1 | Student distinguishes the concept of Scale and seperates concept of major and minor | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Homework, |
| 2 | Student knows that minor scales are eolic, harmonic or melodic. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Homework, |
| 3 | student distinguishes intervales and solves disonance intervals. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Homework, |
| 4 | student analyzes the rules for establishing a chord and connecting the different chords. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Homework, |
| 5 | Student makes the vocalization of the bass or soprano melody in accordance with its rules. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Homework, |
| 6 | Student evaluates the unnatural notes and rules for the chord with the help of appropriate exercises. | Lecture, Question-Answer, Drilland Practice, Motivations to Show, | Homework, |
| Hafta | Ders Konuları | Ön Hazırlık |
|---|---|---|
| 1 | Basic information about harmony, diatonic scales formation and chord formation | |
| 2 | Tonic subdominant and dominant chord setups in tampere system, Narrow and wide chord setups, mistakes that should not be done in connection of chords | |
| 3 | The melodic positions of the chords, the connection forms of the chords (melodic, harmonic and mixed) | |
| 4 | Tonic-dominant, tonic-subdominant, subdominant-dominant connections | |
| 5 | Harmonization of soprano melody | |
| 6 | Harmonization of soprano melody, triple jumps in the connections of the chords | |
| 7 | Six Chords and ace and five chord jumps | |
| 8 | Practise on the Piano | |
| 9 | Six-four chords, Transitional Six-four chords | |
| 10 | practise on the piano by Six-four chords | |
| 11 | cadence six-four chords and usage principles | |
| 12 | repeating general subjects | |
| 13 | dominant seveth chord and principles of connection with tonic chord | |
| 14 | Practise on the Piano |
| Kaynaklar | |
|---|---|
| Ders Notu |
Zarife Bakihanova Armoni
Aynur Elhankýz Harmony (Russian school approaches)
Tchaikovsky
Robert Gauldin Harmonic practice in tonal music.
|
| Ders Kaynakları |
Zarife Bakihanova Armoni
Aynur Elhankýz Harmony (Russian school approaches)
Tchaikovsky
Robert Gauldin Harmonic practice in tonal music.
|
| Sıra | Program Çıktıları | Katkı Düzeyi | |||||
|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Besides the Turkish music ,while searching the music with all respesct, musicologist also forms a critics view by synthesing the learned information considering requirements of time | X | |||||
| 2 | Musicologist;improves himself as a music person continuously; tries to connect informations and abilities which are appropriate for Professional ethics rules with other science areas | X | |||||
| 3 | examines the music considering its place in the education area, watches cultural developments and take up it in historical process while the music is one arm of the art | X | |||||
| 4 | Because Turkish music carries a nations name, musicologist analizes the trade among the other cultures considering its place and importance in the history. Student moves this to future | X | |||||
| 5 | Culture, history, literature, theories and solfej of Turkish music is supported with instrument information. Musicologist gives sufficient information to move it to future together with its past by compasing his music | X | |||||
| 6 | Musicologist;shows and secures the way of finding necessary document, materials, source and archive related to his own area | X | |||||
| 7 | While musicologist educates students who are candidate for science expertise, he also teaches lessons which have the formation to educate in education area. | X | |||||
| 8 | While learning to analyze our culture with scientific wiew, musicologist also gains the ability to make synthese with other cultures | X | |||||
| 9 | gives the ability to apply esthetic wiew in other art areas by the help of music art | X | |||||
| 10 | secures to have adequate information about applying technology in music area | X | |||||
| 11 | gains the ability of examining universe information related to his own area | X | |||||
| 12 | gains the ability of presenting information to other mass related to his own area. | X | |||||
| Değerlendirme Sistemi | |
|---|---|
| Yarıyıl Çalışmaları | Katkı Oranı |
| 1. Ara Sınav | 70 |
| 1. Kısa Sınav | 10 |
| 2. Kısa Sınav | 10 |
| 1. Performans Görevi (Uygulama) | 10 |
| Toplam | 100 |
| 1. Final | 50 |
| 1. Yıl İçinin Başarıya | 50 |
| Toplam | 100 |
| AKTS - İş Yükü Etkinlik | Sayı | Süre (Saat) | Toplam İş Yükü (Saat) |
|---|---|---|---|
| Course Duration (Including the exam week: 16x Total course hours) | 16 | 4 | 64 |
| Mid-terms | 1 | 4 | 4 |
| Quiz | 2 | 16 | 32 |
| Performance Task (Application) | 1 | 16 | 16 |
| Final examination | 1 | 4 | 4 |
| Toplam İş Yükü | 120 | ||
| Toplam İş Yükü / 25 (Saat) | 4,8 | ||
| Dersin AKTS Kredisi | 5 | ||