Musical theory and creativity

Summary

This course provides an introduction into music theory and analysis, composition, and creativity, and combines theoretical teaching with hands-on practical exercises and music making.

Content

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Keywords

Music, music theory and analysis, computational musicology, creativity, composition, improvisation, musical practice

 

POLY-perspective :

• creative perspective
• interdisciplinary perspective

https://www.epfl.ch/schools/cdh/cdhs-vision/

 

 

 

Learning Prerequisites

Important concepts to start the course

Prior knowledge of score reading and music theory (harmony & counterpoint) is desirable, but the class can be completed without.

A good start for a background in basic music theoretical concepts is provided by the literature below as well as:

• https://www.musictheory.net/lessons
• http://musictheory.pugetsound.edu/mt21c/MusicTheory.html

 

Learning Outcomes

By the end of the course, the student must be able to:

• Apply musical theoretical concepts
• Analyze musical pieces and performances
• Use practical musical techniques
• Contextualise musical principles and aesthetic outccomes
• Apply and broaden listening and appraisal skills
• Critique musical pieces and performances
• Compose musical phrases and pieces

Transversal skills

• Demonstrate a capacity for creativity.
• Summarize an article or a technical report.
• Demonstrate the capacity for critical thinking
• Use a work methodology appropriate to the task.

Teaching methods

Weekly sessions including ex-cathedra lecturing, readings and discussion, group work, and practical exercises.

Expected student activities

1.     Regular presence and active participation in discussions
2.     Completing readings and assignments, and practicing the music theoretical and practical concepts
3.     Engagement in practical parts and exercises

Assessment methods

1.     Active participation in the class
2.     Class project, essay, presentation or final exam on the concepts covered in the class

Supervision

Office hours	Yes
Assistants	Yes
Forum	Yes

Resources

Bibliography

The following general texts are a good starting point. Further specialized literature will be suggested throughout the class.

 

Aldwell, E., Schachter, C. & Cadwallader, A. (2018). Harmony and voice leading. Cengage Learning.
Boosey & Hawkes; or: Laitz, S.G. (2003). The complete musician: an integrated approach to tonal harmony, analysis, and listening. Oxford University Press.Gauldin, R. (1997). Harmonic Practice in Tonal Music. New York: Norton.
Hofstadter, D. (1979). Gödel, Escher, Bach: An Eternal Golden Braid. Basic Books, New
York, 1979.
Hallam, S., Cross, I., & Thaut, M. (Eds.). (2011). Oxford handbook of music psychology. Oxford University Press.

Ressources en bibliothèque

• Aldwell, E., Schachter, C. & Cadwallader, A. (2018). Harmony and voice leading
• Hallam, S., Cross, I., & Thaut, M. (Eds.). (2011). Oxford handbook of music psychology
• Laitz, S.G. (2003). The complete musician: an integrated approach to tonal harmony, analysis, and listening
• Hofstadter, D. (1979). Gödel, Escher, Bach: An Eternal Golden Braid

Moodle Link

• https://go.epfl.ch/HUM-274