Abstract
I designed and taught a theory elective for Tianjin Juilliard graduate students. This course ran in the spring of AY 2021 and again in the spring of AY 2022.
Course Description
The 18th century saw countless foundations of and developments in Western chamber music. This course will dive into its rich repertoire and traditions, spanning different regions, genres, forms, styles, and musical eras. We will begin with an overview of figured bass principles and an introduction to improvised ornamentation, both focal points of the semester. An exploration of the Baroque sonata will follow, concentrating largely on Italian composers, style, and influence. Chamber music for two strings and basso continuo will then take us across Europe via the works of Corelli, the elder Marais, Loeillet, Rameau, and the two Couperins. Lastly, we will study the germination and solidification of the piano trio and string quartet from the 1760s to 1800, each cornerstones of today’s chamber music traditions.
Course Objectives
Students will gain a deep knowledge of and appreciation for the bedrock and influential early directions of chamber music as it flourished from 1700 to 1800. Along with this will come a fresh perception of counterpoint and bass-driven harmony, a departure from the standardized 21st century notion of four-part triadic harmony. As composition, performance, and demonstrations with instruments will be a regular part of class, students will consistently apply their findings directly to their practice both within and outside of the course. Regular keyboard work will help solidify familiarity with figured bass and a foundation for improvisational ornamentation. Students will also take away an increased general awareness of the rich relationship between analysis, composition, and performance.