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Page 31 text:
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Louisville Conservatory of Music FORM ANALYSIS AND APPRECIATION This subject is a logical continuation of Theory, and deals with musical composition from the standpoint of construction. The composition is first heard as a whole and discussed with reference to its mood, and its most obvious char- acteristics, after which it is taken up in more minute detail. The thorough recog- nition ofthe cadence is followed by that of the period, the phrase divisions, and so on, down to the smallest figure, after which the composition is reassembled, and the period forms are followed in their growth to the larger forms, including the sonata and symphony in the instrumental, and the oratorio and opera in the vocal fields. Allthe varied forms into which the great composers have poured their thoughts, together with the various types of compositions are illustrated and studied. Credit 4 semester hours. EAR AND EYE TRAINING This course is one of the most vital in the list, and is designed to correlate with, and apply the material of the course in Theory and Form, and to demon- strate as far as possible all that is taught in these subjects. The object of the course is to establish the fullest intimacy between eye and ear, and a visual and aural recognition between the printed page and the sounds that are indicated thereon. The course covers four semesters, divided as follows: EAR AND EYE TRAINING I: ' This deals with the recognition of sounds as regards pitch and length, and the building of these into the scale forms and simple rhythms, together with the establishing of tonality. Dictation and reading are an integral part of the course throughout. Credit 2 scmesler hours. E.-XR AND EYE TRAINING II! This consists of the relation of tones as expressed by the interval. All kinds of intervals are thoroughly studied and identified in compositions submitted to the class. Dictation and the reading of two part music is n feature of this semester. Credit 2 semeslcr hours. EAR AND EYE TRAINING III: The three tone relation as expressed by the triad is the basis of this period of study. These :ire identified in compositions that are familiar, and especially in those that are being studied :xt the time by the student, and dictation in larger rhythms is given. The student should recognize by sound and sight the various triads in their several positions, and should become thoroughly acquainted with the different cadences by sound and sight. The class is divided into three divisions, and in the singing of three part music, each division will sing any part that is assigned. Credit 2 semester hours. EAR AND EYE TRAINING IV: This deals with the seventh chords, and dictation in larger rhythm, such as the phrase. All seventh chords are to be identified in compositions with which the student is familiar, und particularly those which he is studying at the time. Singing will be from more ambitious purl songs, the aim being to make a finished chorus of those who finish this semester. Credit 2 semester hours. page thirty-one
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Page 30 text:
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Loztisville C47nsei'vato1'y of' Mwesic HARMONY ELEMENTARY: In both the major and harmonic minor modes the principal and subordinate triads in root position, and first and second inversions are studied from the standpoint of a given Hgured bass, and a given ehorded soprano. This course is required of all excepting those matriculating in Junior and Senior Classesain studio subjects. HARMONY I: A review is made ol' that part of the Elementary course which deals with the principles of chord building, inversions of chords, and the naming of the different kinds of chords. After the review, the active and inactive scale steps are presented. Then in' open position, the principal triads are used in harmonizing given melodiesp following which, cadences, rhythmic variety, and the subordinate triads are introduced. Next, the minor mode is studied in con- nection with the material already learned. After the minor mode has been taken up, there follows a contrasted study of repetition and sequences, and phrases and periods. A thorough exposition of the first and second inversions of the triads already studied closes this semester's study. This course is a requirement in all departments. ffredil 2 semester hours. HARMONY II: This is a continuation of the subjects as outlined in the previous class, taking up as new material a close study of the first, second, third and fourth class discords. This course is required in all departments. C'7'erlil 2 scnzcslcr hours. HARMONY III: ' A thorough study of altered and mixed chords in both the major and minor modes and thorough instruction in next related and extraneous modulations is taken up in this class. This course is required in all departments. f'1'cdil 2 scmeslcr lmurs. HARMONY IV: A study of the different kinds of inharmonic tones. The organ point, the suspension. the anticipation, the neighboring note, the passing note, and the appoggiatura cover the mate- rial used in this division of Harmony. This course is required in all departments. Crcrlil 2 scmcsler hours. HARMONY V: Work in this class consists of harmonizing figured basses, unchordcd soprano, alto, tenor, and unfigured bass melodies both in the open and close positions in two, three, four and five part writing. Stress is placed on original illustrations of the different phases of the work as it is being studied, and on broader and more comprehensive discussions of the different natural divisions of the subject than is possible to have in the initial presentation of the same sub- jects in Harmony I, II, III and IV. The course of study is required of all postgraduates but is elective with graduates and undergraduates. Crcflzl 2 semester hours. HARMONY VI: A very exhaustive study of modulation is made in this class. The different points under discussion are treated in the same manner as those in Harmony V. This course of study is required of all postgraduates but is elective with graduates and undergraduates. Creflil 2 semcslcr hours. page thirty
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