Department Head - Music Theory

James Chang received his Ph.D. degree in music theory. His earlier education included science and economics.

His compositions—including several commissioned works—and arrangements have been published and performed in the U.S. and in European and Asian countries. Most recently, he has received a commission to compose the music for the dedication of a Memorial Concert Hall in China.

In previous years, Dr. Chang has served as a charter editorial board member of several music journals. He was appointed an honorary member of China's Society. He was a guest professor in Taiwan (1996) and Hong Kong (1984-86). He has presented numerous lectures and clinics in six countries, and leads field study in China and Taiwan. Presently, he is on the editorial review board of the Journal of Music and a member of the Hong Kong Council.


Introductory Harmony

This course introduces the student to chord symbols, diatonic triads, melody writing, two and four-part textures and the analysis of harmony, phrasing and dance forms.


Grade 3 Harmony

This course explains the use of all triads, dominant and supertonic sevenths as well as elementary secondary dominants. Also covered are beginning modulations, non-chord notes and pedal points.  Melody writing is continued from introductory harmony as well as the further study of four-part major key harmonization, harmonic and structural analysis.

Grade 4 Harmony

This course covers all inversions of all Tribes as well as dominant sevenths, ninths and thirteenths.  Secondary or applied dominants of all degrees are explored as well as the secondary leading note chords. Close modulations together with tonic major to minor modulations are also explored.  There is a further discussion of non-chord notes and pedal points.  There is a continuation of melody writing and harmonization as well as harmonic and structural analysis.

Grade 5 Harmony and Counterpoint

This course examines advanced applications of all chords and there are versions as well as the secondary variety and chromatic alterations.  Modulations to remote keys are now required.  More elaborate noncore notes are explained.  Continuing a given opening to create a two-part contrapuntal binary composition is explored.  Naturally, motivic unity and key relationships must be in accordance with the historical requirements of the form. The ability to harmonize in Chorale style with appropriate modulation in a four-part texture is assumed.



Composition and Theory:

Judy Hogan
Donald Happen

David Neale, Coordinator



©The Salzburg Institute 2012