MUS 304 E Advanced Musicianship II (Theory)
University of Nevada, Las Vegas
Dr. Nolan Stolz

contact your instructor at Nolan.Stolz@unlv.edu

Download the class syllabus HERE

Download the facebook group assignmnet HERE

H/W for 3/8 (you can turn it on 3/9 if you wish): Chp. 5 Part B (choose 2 of the 7 questions to answer), Part C no. 1-5 (#1 circle all Bb's, #2 circle all D's, #3 label all chords, #4 write a diatonic melody w/ pandiatonic harmony, #5 use any 2 keys, ending on a single tonality), Compose an atonal melody (need not be 12-tone), Using Hindemith's approach, compose a chord progression that begins consonant, becomes dissonant, and becomes consonant again. Part C examples need not be long (4 measures or so)
3/8:Harmonic Progression and Tonality Review and MidTerm review
3/10: MidTerm (Chapters 1-5)
3/22: Rhythm, chapter 6
H/W for 3/24: Read Chapter 6. Compose a rhythm using several different unusual meters. Assign a different pitch to each of the members of your group (each performer plays the same pitch throughout)
3/24: In groups, rehearse each rhythm. Hand out parts.
3/29: Performance of your rhythms. We will play the rhythm first in the original time signatures, then in 4/4.
H/W for 3/31: Each group member will renotate theirs and other group members' work in 4/4 meter. Turn in your original rhythm too.
3/31: Chapter 6 continued.
Concert 3/31: Matt Sargent with Nolan Stolz and members of Nextet. Arts Factory 730pm
H/W for 4/5: Compose a clapping rhythm for two people using tactus-preserving polymeter, then a passage using measure-preserving polymeter. Compose a clapping rhythm that uses time signatures and strict tempos, yet sounds ametric to the listener.
Concert 4/2: Nextet (works of Matt Sargent): Doc Rando 330pm
4/2:Review of Rhythm
H/W for 4/7: Compose a clapping rhythm employing tempo modulation. Compose a clapping rhythm using added values.
4/7:Rhythm. Read Chapter 9
4/12:Quiz on Rhythm. Nonserial Atonality
H/W for 4/14: Chp 9 Part A no. 1 (a-j)
4/14:Nonserial Atonality
H/W for 4/19Do Part B nos. 1-5. Facebook comment on the six pieces: Schoenberg's Pno Pieces Op. 11 (nos. 1 and 2 only), Pno Pieces Op. 19 (no. 2 only), Pierrot Lunaire op. 21 (no. 1 only) and Webern's 6 Bagatelles for S.Q. Op. 9 (no. 5 only) and 5 movements for S.Q. (no. 4 only)
4/19: Nonserial Atonality (cont.)
H/W for 4/21:Compose a duet that uses a trichord and a tetrachord of your own creation. Be sure to transpose the chords, invert them, and arrange them in various orders. Label the prime form of your trichord and tetrachord.
4/21: Performance of your duets, Nonserial Atonality review and intro to twelve-tone music
H/W for 4/26: Read chp. 10. Compose a 12-tone row based on a single trichord (you may use its original form, inversion, retrograde, and/or retrograde inversion). Write the inversion of the row, its retrograde, and its retrograde inversion.
4/26: Classical Serialism
4/28: Serialism after 1945
5/3: Chance Music
5/5: Review for Final Exam (with Neal Facciuto. Stolz artist-in-residence at the Univ. of Arizona that day)

5/10 Final Exam (10:10-12:10)