| RESPONSE: OK—try this: NASM login is 4897 and the password is d032d869 | | http://office.microsoft.com/en-us/access/FX100646911033.aspx?CTT=96&Origin=CL100570041033 Access help Add a category for those who respond and say they have nothing to do with freshman theory | Where I left off: Qualitative Data Analysis Software | Questions for advisor: Quote from Taebel article about questionnaire design: "Teachers were instructed to base their rating on their own teaching experience rather than on an ideal or highly desirable situation. In this article, 51 musical competencies were grouped under the following broad categories: 1) aural skills; 2) conducting skills; 3) vocal skills; 4) analytic and composition skills; 5)knowledge of history, literature, and teaching materials; 6) skills in dance and movement; 7) primary performance medium skills; and 8)accompanying skills.
| Abilene Christian University www.acu.edu/music website http://www.acu.edu/catalog/2007_08/departments/cas/music.html degree plans http://www.acu.edu/catalog/2007_08/courses/must.html courses | Req theory course | Title | Credit hours | Description | | MUST 111 | Elementary Theory: Sight Singing and Ear Training | 1 | MUST 111 Elementary Theory: Sight Singing and Ear Training (1-1-1), fall. Singing in treble, bass, alto, and tenor clefs; major and minor modes, elementary melodic and harmonic diction. Prerequisite: concurrent enrollment in MUST 131. | | MUST 112 | Elementary Theory: Sight Singing and Ear Training | 1 | MUST 112 Elementary Theory: Sight Singing and Ear Training (1-1-1), spring. Prerequisites: MUST 111, 131; concurrent enrollment in MUST 132. | | MUST 131 | Elementary Theory II: Analysis and Keyboard | 3 | MUST 131 Elementary Theory I: Analysis and Keyboard (3-0-3), fall. Introduction to analysis, part-writing, figured bass realization, and harmonization using diatonic harmony. Prerequisite: A Music Entrance Exam score of greater than 40 percent or satisfactory completion of MUST 120. Concurrent enrollment in MUST 111 required. | | MUST 132 | Elementary Theory II: Analysis and Keyboard | 3 | MUST 132 Elementary Theory II: Analysis and Keyboard (3-0-3), spring. Continuation of analysis, part writing, figured bass realization and harmonization covering the harmonic vocabulary of 18th century music including diatonic chords, secondary dominants, and modulation. Prerequisites: MUST 111, 131; concurrent enrollment in MUST 112. | | MUST 211 | Advanced Theory: Sight Singing and Ear Training | 1 | MUST 211 Advanced Theory: Sight Singing and Ear Training (1-1-1), fall. Includes chromaticism and modulations to closely related keys. Prerequisites: MUST 112, 132. | | MUST 212 | Advanced Theory: Sight Singing and Ear Training | 1 | MUST 212 Advanced Theory: Sight Singing and Ear Training (1-1-1), spring. Continuation of MUST 211 with modulations to all keys. Emphasis on development of improvisational skills. Prerequisite: MUST 211. | | MUST 231 | Advanced Theory I: Analysis and Keyboard | 3 | MUST 231 Advanced Theory I: Analysis and Keyboard (3-0-3), fall. Analysis, part-writing, and figured bass realization and harmonization covering the extended harmonic vocabulary of the nineteenth century including modulation, altered chords, chromatic harmony, and modes. Prerequisites: MUST 112, 132; concurrent enrollment in MUST 211 required. | | MUST 232 | Advanced Theory II: Analysis and Keyboard | 3 | MUST 232 Advanced Music Theory II: Analysis and Keyboard (3-0-3), spring. Literature, analysis and theoretical concepts of music since 1900. Emphasis will be placed on computer applications in music. This course satisfies the computer literacy requirements for music majors seeking teacher certification. Prerequisite: MUST 231; concurrent enrollment in MUST 212 required | | MUST 332 | Forms and Analysis | 2 | MUST 332 Forms and Analysis (2-0-2), spring. An analytical study of selected compositions from the late 17th through the early 20th centuries. Prerequisite: MUST 232. | | MUST 432 | Orchestration and Arranging | 2 | MUST 432 Orchestration and Arranging (2-0-2), fall. Ranges, transpositions, timbres, and individual characteristics of band and orchestra instruments, with experience in scoring for small ensembles, full band, and orchestra. Prerequisites: 12 hours of music including MUST 231, 232, or by permission. | | | | | 0 | MUST 120 Music Fundamentals (2-0-2), fall. A review of the fundamentals of music including clefs, key signatures, time signatures, and notation. Designed to prepare students for the music theory sequence. | | | | Total | 20 | | | Angelo State University www.angelo.edu/dept/artmusic website http://www.angelo.edu/dept/artmusic/music_maj_all_level.html degree plans http://www.angelo.edu/dept/artmusic/courses_in_music.html courses Music 1451, 1452, 2343, 2344, 2451, 2452 = 22 hours
Music 3163, 3164, 3251, 3252, 3263, 3264, 3341, 3342, 4281, 4282, 4253 = 22 hours Don't know exactly how many credit hours for all courses. | Req theory course | Title | Credit hours | Description | | MUS 1361 | Fundamentals of Music | 0 | 1361 Fundamentals of Music (3-0). This course is concerned with elementary musical materials and is designed for non-music majors. However, entry-level music majors may take the course to gain a working knowledge of music fundamentals, but it does not meet requirements for the music major. | | MUS 1451 | Comprehensive Musicianship I | 4 | 1451 Comprehensive Musicianship I (3-2). A study of music fundamentals followed by a stylistic approach to the diatonic harmony of the 17th and 18th centuries. Training in sight-singing and ear-training of rhythms, intervals, scales, melodies, and harmony parallels written assignments.
Prerequisite for 1451: Successful completion of freshman theory placement examination. | | MUS 1452 | Comprehensive Musicianship I | 4 | 1452 Comprehensive Musicianship I (3-2). A study of music fundamentals followed by a stylistic approach to the diatonic harmony of the 17th and 18th centuries. Training in sight-singing and ear-training of rhythms, intervals, scales, melodies, and harmony parallels written assignments.
Prerequisite for 1452: Successful completion of 1451. | | MUS 2451 | Comprehensive Musicianship II | 4 | 2451 Comprehensive Musicianship II (3-2). A study of the harmonic and melodic techniques of the 19th and 20th centuries with emphasis on the changes in musical style from romanticism to the present time. Training in ear training and sight singing skills is coordinated with the study of harmony.
Prerequisite for 2451: successful completion of freshman theory. | | MUS 2452 | Comprehensive Musicianship II | 4 | 2452 Comprehensive Musicianship II (3-2). A study of the harmonic and melodic techniques of the 19th and 20th centuries with emphasis on the changes in musical style from romanticism to the present time. Training in ear training and sight singing skills is coordinated with the study of harmony.
Prerequisite for 2451: successful completion of freshman theory. | | MUS 3251 | Analytic Techniques | 2 | 3251 Analytic Techniques (0-3). A study of methods of analysis currently being applied to music of all periods. Students will learn to approach a piece of music with tools for understanding the work as a whole and the relationship of its parts.
Prerequisite: Successful completion of sophomore evaluation. | | MUS 3252 | Counterpoint | 2 | 3252 Counterpoint (0-3). An introduction to the contrapuntal techniques of the sixteenth, eighteenth, and twentieth centuries, based primarily on learning to write in these styles. The class will include in-class performance of contrapuntal music being studied.
Prerequisite: Successful completion of sophomore evaluation. | | MUS 4253 | Orchestration | 2 | 4253 Orchestration (0-3). A study of the capabilities of voices and all orchestral and wind ensemble instruments, including arranging and transcribing music for vocal and instrumental ensembles. This course includes a lab portion with hands-on experience.
Prerequisite: Successful completion of sophomore evaluation. | | | | Total | 22 | | | Baylor University http://www.baylor.edu/music/ website http://www.baylor.edu/content/services/document.php/70570.pdf degree plans http://www.baylor.edu/music/theory/index.php?id=48165 courses Required theory courses for Music Ed majors: Theory I, II, III, IV, V, (all 3 hours) Musicianship I, II, III, IV (all 1hours) Introductory courses do not count towards degree. total hours required = 19 | Req theory course | Title | Credit hours | Description | | MUS 1100 | Introductory Musicianship | 0 | The aural skills complement to MUS 1200; emphasizes rudimentary skills in sight singing, rhythm reading, and ear training. Prerequisite(s): Concurrent enrollment in MUS 1200 or 1301, or a passing score on the Theory Placement Exam, or divisional consent. | | MUS 1101 | Musicianship I | 1 | The aural skills complement to MUS 1301, this course emphasizes solfège singing of major and minor melodies at sight, rhythm reading in both simple and compound meters, and melodic, rhythmic, and harmonic dictation. Prerequisite(s): MUS 1100 or a passing score on the aural portion of the Theory Placement Exam; and credit or concurrent enrollment in MUS 1301. | | MUS 1102 | Musicianship II | 1 | A continuation of MUS 1101, designed as the aural skills complement to MUS 1302. Prerequisite(s): A minimum grade of C in MUS 1101, and either credit or concurrent enrollment in MUS 1302. | | MUS 1200 | Introductory Music Theory | 0 | The study of rudiments of written theory, including notation, scales, key signatures, music terminology, intervals, rhythm and meter, chord construction, and music reading. Does not count as credit toward a degree with a major in music. | | MUS 1301 | Theory I | 3 | The first course in a systematic study of the organization of music of the Common Practice Period. Students acquire a basic understanding of the structure of tonal music through analysis and written exercises in harmony and counterpoint. Prerequisite(s): MUS 1200, or a passing score on the Music Theory Placement Exam. | | MUS 1302 | Theory II | 3 | A continuation of MUS 1301, including non-chord tones, 2:1 counterpoint, seventh chords, and basic formal structure. Prerequisite(s): Minimum grade of C in MUS 1301. | | MUS 2101 | Musicianship III | 1 | A continuation of MUS 1102, designed as the aural skills complement to MUS 2301. Prerequisite(s): Minimum grade of C in MUS 1102; and credit or concurrent enrollment in MUS 2301. | | MUS 2102 | Musicianship IV | 1 | A continuation of MUS 2101, designed as the aural skills complement to MUS 2302. Emphasizes singing and dictating melodies, rhythms, and chords commonly encountered in late nineteenth and twentieth-century music. Prerequisite(s): Minimum grade of C in MUS 2101; and credit or concurrent enrollment in MUS 2302. | | MUS 2301 | Theory III | 3 | A continuation of MUS 1302, emphasizing chromaticism in tonal harmony and introducing standard musical forms. Prerequisite(s): Minimum grade of C in MUS 1302. | | MUS 2302 | Theory IV | 3 | A survey of late nineteenth and twentieth-century compositional techniques and methods of analysis, including scales, chords, rhythmic techniques, approaches to tonality, set theory, and serialism. Prerequisite(s): Minimum grade of C in MUS 2301. | | MUS 3301 | Theory V | 3 | Harmonic and structural analysis of larger forms, including variations, rondo, sonata, and contrapuntal forms. Prerequisite(s): MUS 2302 and credit or concurrent enrollment in 2102. | | | | Total | 19 | | | | Dallas Baptist University http://www.dbu.edu/fine_arts/music.asp http://www.dbu.edu/fine_arts/m_choral_with_cr.asp http://www.dbu.edu/academics/course_description.asp?course_num=MUSI | Req theory course | Title | Credit hours | Description | | | MUSI 1111 | Musicianship I | 1 | MUSI 1111 (1-2-0) Musicianship I
A skill-building course in sightsinging and ear-training, to include solfege singing of major and minor melodies in both simple and compound meters, aural and rhythmic reading exercises, and melodic and harmonic dictation. Fall, Spring, Summer. Prerequisite: MUSI 1300 or a passing score on the Music Theory Placement Exam; and MUSI 1311, or concurrent enrollment in MUSI 1311. | | | MUSI 1112 | Musicianship II | 1 | MUSI 1112 (1-2-0) Musicianship II
A continuation of MUSI 1111. Fall, Spring, Summer. Prerequisite: MUSI 1111, 1311, 1312, or concurrent enrollment in MUSI 1312.
| | | | | 3 | MUSI 1311 (3-3-0) Music Theory I
A step-by-step study of the basic organization of music, from scale and chord structure to traditional four-part harmony. Students develop skills in analyzing music, writing elementary tonal music, and improvising written harmonizations to melodic lines. Fall, Spring, Summer. Prerequisite: MUSI 1300 or a passing score on the Music Theory Placement Exam.
| | | | | 3 | MUSI 1312 (3-3-0) Music Theory II
A continuation of MUSI 1311. Fall, Spring, Summer. Prerequisite: MUSI 1311.
| | | | | 1 | MUSI 2111 (1-2-0) Musicianship III
A continuation of MUSI 1112. A skill-building course in solfege sightsinging and ear-training. Emphasis will be placed on sightsinging and aural exercises that involve chromaticism, altered chords, and modulations. Fall. Prerequisite: MUSI 1112, 1312, 2311, or concurrent enrollment in MUSI 2311.
| | | | | 1 | MUSI 2112 (1-2-0) Musicianship IV
A continuation of MUSI 2111. Spring. Prerequisite: MUSI 2111, 2311, 2312, or concurrent enrollment in MUSI 2312.
| | | | | 3 | MUSI 2311 (3-3-0) Music Theory III
The study of advanced harmony (including larger Baroque and Classical forms, modulations, altered chords, and the harmonic vocabulary of the late eighteenth and nineteenth centuries) with emphasis on analysis, part-writing, improvisational composition projects in various styles. Fall. Prerequisite: MUSI 1312.
| | | | | 3 | MUSI 2312 (3-3-0) Music Theory IV
Continuation of MUSI 2311. The study of late nineteenth-century and twentieth-century compositional techniques with emphasis on analysis, and improvisational composition projects in various styles. Spring. Prerequisite: MUSI 2311.
| | | | | 2 | MUSI 3201 (2-2-0) Analysis of Musical Structure
An in-depth study of the analysis of musical forms, including sonata form, sonata-rondo, classical concerto, Baroque variation forms, and fugue. Fall. Prerequisite: MUSI 2312.
| | | | | 2 | MUSI 4201 (2-2-0) Orchestration
Study of the capabilities and limitations of orchestral and band instruments, analysis of scores, and scoring projects for small and large instrumental ensembles. Fall. Prerequisite: MUSI 2312.
| | | | Total | 20 | | | | | | | | | East Texas Baptist University http://www.etbu.edu/Academics/Semester_by_Semester_Plans/School_of_Fine_Arts/Music/default.htm http://www.etbu.edu/php/semesterplans/view.php?planid=400 https://www.etbu.edu/Forms/Catalogs/2008-2009.pdf | Req theory course | Title | Credit hours | Description Required coursesMUSI 1100 Introduction to Music.......................................................................................................1 MUSI 1116, 1117 Elementary Ear Training I, II...............................................................................2 MUSI 2116, 2117 Advanced Ear Training I, II..................................................................................2 MUSI 1311, 1312 Elementary Harmony I, II....................................................................................6 MUSI 2312 Advanced Harmony...........................................................................................................3 MUSI 3303 Form and Analysis.............................................................................................................3 MUSI 3203 20 th Century Analytical Techniques................................................................................2 | | | MUSI 1100 | | 1 | MUSI 1100 Introduction to Music (1,0,1)
This course is designed to acquaint the beginning student with an overview of the field of classical music. It will
deal with styles, major periods, media of performance, textures, literature, and music research. It is designed for
majors and minors in music and any others interested in a brief survey of the field. | | | MUSI 1116 | Elementary Ear Training I | 1 | MUSI 1116 Elementary Ear Training I (1,0,1)
Elementary Ear Training I is an applied skills course designed to develop skills in sight singing, rhythmic reading, improvising short melodic and rhythmic phrases and notating melodies, rhythms and chords using
folk, western and non-western melodies. Prerequisites: MUSI 1311 or concurrent enrollment. | | | MUSI 1311 | Elementary Harmony I | 3 | MUSI 1311 Elementary Harmony I (3,0,3)
Elementary Harmony I is a study of the principal chords in both major and minor modes with emphasis upon
part-writing and keyboard harmony. | | | MUSI 1117 | Elementary Ear Training II | 1 | MUSI 1117 Elementary Ear Training II (1,0,1)
This course is an extension of MUSI 1116 in the development of sight singing and ear training ability. The
class meets two hours per week. Prerequisites: MUSI 1116 and 1311. | | | MUSI 1312 | Elementary Harmony II | 3 | MUSI 1312 Elementary Harmony II (3,0,3)
This course is a continuation of MUSI 1311 with the addition of secondary chords, the dominant seventh, the
supertonic seventh, modulation to the closely related keys, and harmonization of chorale melodies based on the
study of harmonies and non-harmonic devices as used in the chorales of J. S. Bach. Prerequisites: Music 1311 | | | MUSI 2116 | Advanced Ear Training I | 1 | MUSI 2116 Advanced Ear Training I (1,0,1)
Development of advanced sight singing ability and aural acuity relative to intervals, chords, and rhythms is
experienced in Advanced Ear Training I. This class meets two hours per week. Prerequisites: MUSI 1117. | | | MUSI 2312 | Advanced Harmony | 3 | MUSI 2312 Advanced Harmony (3,0,3)
Through extensive analysis and part-writing exercises, this course examines the altered and chromatic harmonies
of the common practice period through the late 19th century. Prerequisite: MUSI 1312. | | | MUSI 2117 | Advanced Ear Training II | 1 | MUSI 2117 Advanced Ear Training II (1,0,1)
This is an extension of MUSI 2116 in the development of advanced sight singing and ear training ability.
Advanced Ear Training II meets two hours each week. The student must make application for a degree plan
to avoid a grade of “I” (Incomplete) and to avoid losing music scholarships. Prerequisites: MUSI 2116 and
2312. | | | MUSI 3303 | Form and Analysis | 3 | MUSI 3303 Form and Analysis (3,0,3)
This course is an introduction to the principle formal structures and processes of the 18th and 19th centuries,
including fugue, binary, ternary, rondo, variation, and sonata forms. Prerequisite: MUSI 2312. | | | MUSI 3203 | 20th Century Analytical Techniques | 2 | MUSI 3203 20th Century Music Analytical Techniques (2,0,2)
This course provides the student with the necessary language and techniques for analyzing a range of 20th
Century musical styles, from Impressionism to nonserial atonality, serialism, and integral serialism. Analysis
is supported by the writing of short compositions reflecting specific compositional styles. Prerequisite:
MUSI 3303. | | | | | | Note: MUSI 3306 (Orchestration) is marked as recommended (3 hours) but perhaps not required? MUSI 3306 Orchestration (3,0,3)
Practical experience in arranging music compositions for the orchestra is gained from this course.
Accompaniments for solo voices and/or instruments will be arranged to acquaint students with the tone colors
of the orchestra. Some choral arranging will also be included. Prerequisite: MUSI 2312. | | | | Total | 18 | | | | | | | | | Hardin-Simmons University http://www.hsutx.edu/academics/music/index.html http://www.hsutx.edu/academics/music/NewFiles/Bachelor%20of%20Music%20EducChoral.pdf http://www.hsutx.edu/Media/Website%20Resources/pdf/registrar/08-09Catalog.pdf | Req theory course | Title | Credit hours | Description | | | MUTC 1131 | Ear Training I | 1 | 1131, 1132 Ear-Training I, II (1-2-0) [#] Includes the development of musical hearing through exercises and organized drill in melodic and harmonic singing (using solfege), and melodic, harmonic, and rhythmic dictation. Must be taken concurrently with MUTC 1133, 1134, 1235 and 1236. Fall (1131) - Spring (1132) | | | MUTC 1133 | Keyboard I | 1 | 1133, 1134 Keyboard I, II (1-1-0) [#] The practical application of harmonic materials studied in MUTC 1131, 1132, 1235 and 1236 on the keyboard. Must be taken concurrently with MUTC 1131, 1132, 1235 and 1236. Fall (1133) - Spring (1134) | | | MUTC 1235 | Harmony I | 2 | 1235, 1236 Harmony I, II (2-2-0) [#] A study of the basic materials of music. Also includes principles of voice leading and composition in four-part chorale style. Must be taken concurrently with MUTC 1131, 1132, 1133 and 1134. Fall (1235), Spring (1236) | | | MUTC 1132 | Ear Training II | 1 | | | | MUTC 1134 | Keyboard II | 1 | | | | MUTC 1236 | Harmony II | 2 | | | | MUTC 2131 | Ear Training III | 1 | 2131, 2132 Ear-Training III, IV (1-2-0) [#] A continuation of 1131 and 1132. Correlated with the materials studied in 2235 and 2236. Includes the study of chromaticism and an introduction to contemporary art music. Must be taken concurrently with MUTC 2133, 2134, 2235, and 2236. Fall (2131) - Spring (2132) | | | MUTC 2133 | Keyboard III | 1 | 2133, 2134 Keyboard III, IV (1-1-0) [#] Practical application of harmonic materials studied in MUTC 2131, 2132, 2235, and 2236. Includes some transposition. Must be taken concurrently with MUTC 2131, 2132, 2235, and 2236. Fall (2133) - Spring (2134) | | | MUTC 2235 | Harmony III | 2 | 2235, 2236 Harmony III, IV (2-2-0) [#] A continuation of 1235 and 1236. The study of chromatic harmony from secondary chords to 12-tone music. Also includes basic composition, writing a musical analysis paper, and an introduction to post-tonal analysis. Must be taken concurrently with MUTC 2131, 2132, 2133, and 2134. Fall (2235) - Spring (2236) | | | MUTC 2132 | Ear Training IV | 1 | | | | MUTC 2134 | Keyboard IV | 1 | | | | MUTC 2236 | Harmony IV | 2 | | | | MUTC 2338 | Computers in Music | 3 | 2338 Computers in Music (3-3-0) This course is an introduction to the use of computers for declared music majors who are preparing for professional music careers. This course satisfies the University General Education Technological Competency requirement. Note: this is a required class and is listed as a theory course | | | MUTC 3231 | Form & Analysis | 2 | 3231 Form and Analysis (2-3-0) A study of form in music from motives and phrases to large-scale musical organization. Also includes writing a musical analysis paper. Fall. Prerequisite: First and second year music theory sequence and successful completion of Sophomore Comprehensive Exam | | | MUTC 4231 | Orchestration I | 2 | 4231 Orchestration I (2-2-0) An exploration of the characteristics of band and orchestral instruments through score study. Emphasis is placed on idiomatic writing and knowledge of the timber of each instrument and combinations of instruments, and how these sounds are applied in symphonic scoring. Also includes scoring for various orchestral and band groups, with some emphasis on instruments with voices. There will be some performance in class or studio. Prerequisite: Sophomore Comprehensive and/or consent of instructor. Fall | | | | Total | 20 | Counted keyboard since it seems to be integrated, but not the computer course | | Howard Payne University http://www.hputx.edu/s/668/howardpayne.aspx?pgid=1065 http://www.hputx.edu/s/668/howardpayne.aspx?sid=668&gid=1&pgid=1067 http://www.hputx.edu/s/668/howardpayne.aspx?sid=668&gid=1&pgid=1071 | Req theory course | Title | Credit hours | Description | | | MUS 1413 | Musicianship I | 4 | MUSIC 1413. MUSICIANSHIP I. An introductory course in the basic written and aural materials of music. Fall. Prerequisite: Placement examination. Four semester hours | | | MUS 1414 | Musicianship II | 4 | MUSIC 1414. MUSICIANSHIP II. A study of the diatonic harmonic practices of the seventeenth and eighteenth centuries. Includes written and aural exercises in analysis, harmonization, and composition in common practice style. Spring. Prerequisite: Music 1413 with a grade of “C” or better. Four semester hours. | | | MUS 2413 | Musicianship III | 4 | MUSIC 2413. MUSICIANSHIP III. A continuation of Musicianship II concentrating on the chromatic materials of common practice and romantic periods. Includes written and aural exercises in analysis, harmonization, and composition in the appropriate style. Fall. Prerequisite: Music 1414 with a grade of “C” or better. Four semester hours | | | MUS 2414 | Musicianship IV | 4 | MUSIC 2414. MUSICIANSHIP IV. A written and aural study of the techniques found in Impressionism through current practices with an emphasis on major | | | MUS 4213 | Form and Analysis | 2 | MUSIC 4213. FORM AND ANALYSIS A study of the structure of music; motif and phrase, lied, rondo, variation, sonata and programmatic forms. Fall. Prerequisite: Music 2414. Two semester hours | | | MUS 3233 or MUS 4253 | Choral Arranging Orchestration | 2 | MUSIC 3233. CHORAL ARRANGING. A practical course in arranging for various combinations of voices and practice in writing piano accompaniments in both the traditional and contemporary styles. Fall, even years. Prerequisite: Music 2414. Two semester hours
MUSIC 4253. ORCHESTRATION. A study of the principles of orchestration. The course is designed also for original productiveness in the instrumental areas of composition. Spring, even years. Prerequisite: Music 2414. Two semester hours
[Note: Depending upon choral or instrumental] | | | | | | MUSIC 1301. FUNDAMENTALS OF MUSIC. An introductory course in the principles of music reading, writing of scales, intervals, correlation of meter and rhythmic patterns, sight reading, ear training, keyboard techniques and elementary conducting. Required of students unprepared to enter Music 1213. Credit will not apply on music major course of study for graduation. Fall, Spring. Prerequisite: None. Three semester hours [Note that MUSIC 1213 is not listed in any of their courses - perhaps they renumbered it to 1413, but it is still obviously a remedial course] | | | | Total | 20 | | | | | | | | | | | | | | | | | | | | | | | | | | | Lamar University http://dept.lamar.edu/cofac/deptmusic/ http://www.lamar.edu/pdfs/FineArtsAndComm.pdf http://www.lamar.edu/pdfs/FineArtsAndComm.pdf | Req theory course | Title | Credit hours | Description | | | MUTY 1311 | | 3 | 1311, 1312 Theory I, II Elementary Harmony 3:5:0 Elementary keyboard and written harmony, sight singing; ear training. Prerequisite: MUTY 1370 or by advanced standing exam. | | | MUTY 1312 | | 3 | | | | MUTY 2311 | | 3 | 2311, 2312 Theory III, IV Advanced Harmony 3:5:0 Advanced keyboard and written harmony; sight singing; ear training. Prerequisite: MUTY 1312. | | | MUTY 2312 | | 3 | | | | MUTY 4420 | | 2 | 4220 Orchestration 2:2:0 Techniques of writing and arranging for orchestral instruments in small combinations and for full orchestra. Prerequisite: MUTY 2312. | | | MUTY 4210 | | 2 | 4210 Form and Analysis 2:2:0 Analytical study of musical forms and styles. Prerequisite: MUTY 2312. | | | MUSI 2377 | | 3 | Computers in Music 3:3:0 An overview of computer technology as related to the field of music. Includes study in technological developments and software applicable to the student’s area of specialization. [Computer course required, but not listed as a theory course] | | | | | | 1370 Elements of Music 3:3:0 Designed to prepare students for advanced study in music theory. A study of scales, chords, musical terminology, key signatures, sight-singing, musical notation and the harmonic, melodic and rhythmic structure of music. | | | | | | | | | | | 16 | not counting the computer course | | | | | | | | | | | | | | Midwestern State University http://finearts.mwsu.edu/music/ http://www.msumusic.org/degrees.html http://www.msumusic.org/catalog.html | Req theory course | Title | Credit hours | Description MUSC 1601/1603 Music Theory I
MUSC 1611/1613 Music Theory II
MUSC 2603 Music Theory III
MUSC 2613 Music Theory IV
MUSC 3662 Orchestration
MUSC 3632 Analysis of Musical Form | | | MUSC 1601 | | 1 | MUSC 1601. Elementary Sight-Singing and Ear Training. Singing in treble and bass clefs with introduction to alto clef, major, and minor modes. Recognition of intervals and triads and melodic dictation. Enrollment limited to students who are enrolled in or have completed MUSC 1603 | | | | | 3 | MUSC 1603. Theory I. Part writing of figured bass exercises and melody harmonizations using triads. Composing on a small scale will be introduced. MUSC 1601 should be taken concurrently | | | | | 1 | MUSC 1611. Elementary Sight-Singing and Ear Training. Prerequisite: MUSC 1601. A continuation of MUSC 1601. Enrollment limited to students who are enrolled in or have completed MUSC 1613 | | | | | 3 | MUSC 1613. Theory II. Prerequisite: MUSC 1603. A continuation of MUSC 1603. MUSC 1611 should be taken concurrently | | | | | 3 | MUSC 2603. Theory III. Prerequisite: MUSC 1613. Sight-singing more difficult melodies. Dictation of more advanced melodies. Introduction of two-part and four-part dictation. Part-writing of figured basses and melodies using altered chords, modulations, 9th, 11th, and 13th chords. Students will also have the opportunity to freely compose several short works in various styles using some of the more advanced chords as they are studied | | | | | 3 | MUSC 2613. Theory IV. Prerequisite: MUC 2603. A continuation of MUSC 2603 | | | | | 2 | MUSC 3662. Orchestration. Prerequisite: MUSC 2613. Techniques of scoring and part extraction for orchestra. Special consideration to aspects of school and church ensembles. Problems involving combinations of instrumental groups with other media. As part of the final projects, students will orchestrate an original composition of 16-24 measures in length. The original will be in a keyboard style of the student's choosing with the approval of the instructor | | | | | 2 | MUSC 3632. Analysis of Musical Form. Analysis of musical structure including simple binary and ternary forms, the rondo and sonata-allegro forms, and contrapuntal applications | | | | | | | | | | Total | 18 | | | | | | | | | | | | | | | Saint Mary's University of San Antonio www.stmarytx.edu/acad/music http://www.stmarytx.edu/acad/music/?go=acad http://www.stmarytx.edu/acad/music/?go=acad B.A. degree with All Level Teaching Certification (Instrumental) (56 hours)
Broad Teaching Field: Required: MU 1001-4002 (taken each semester), 1321, 1322, 1121, 1122, 2230, 2331W, 3323, 3324, 3224, 3245, 3125, 3332W, 3333W, 3445, 4125, 4341, 4110 (5 semesters), 4111 (3 semesters) 7 hours in major instrument, to be taken every semester, (3 must be advanced), 4 hours in piano , to be taken in 4 semesters, participation in Concert Band every semester, with the exception of the student teaching semester. B.A. degree with All Level Teaching Certification (Choral) (54 hours)
Broad Teaching Field: Required: MU 1001-4002 (taken each semester), 1321, 1322, 1121, 1122, 2230, 2331W, 3245, 3323, 3324, 3224, 3125, 3332W, 3333W, 3445, 4110 (strings), 4125, 4249, 4340, 4342, 7 hours in major instrument, to be taken every semester, (3 must be advanced), 4 hours in piano (or other secondary instrument if the student's major instrument is piano), to be taken in 4 semesters, participation in Concert Choir every semester, with the exception of the student teaching semester. | Req theory course | Title | Credit hours | Description | | MU 1321 | Basic Musicianship | 3 | Basic music theory. Clefs. Key signatures. Scales. Elementary forms. Basic music vocabulary. Melody-writing. Multi-voice writing (Common Practice Period). Analysis. Lab will include ear-training, solfeggio, rhythm drill, keyboard harmony, transposition, and improvising accompaniments.For music majors and minors only. | | MU 1322 | Basic Musicianship | 3 | Basic music theory. Clefs. Key signatures. Scales. Elementary forms. Basic music vocabulary. Melody-writing. Multi-voice writing (Common Practice Period). Analysis. Lab will include ear-training, solfeggio, rhythm drill, keyboard harmony, transposition, and improvising accompaniments.For music majors and minors only. | | MU 1121 | Aural Skills | 1 | Basic music theory lab to include ear-training, solfeggio, rhythm drill, keyboard harmony, transposition, and improvising accompaniments. This course is taken with Basic Musicianship (MU 1321, 1322). | | MU 1122 | Aural Skills | 1 | Basic music theory lab to include ear-training, solfeggio, rhythm drill, keyboard harmony, transposition, and improvising accompaniments. This course is taken with Basic Musicianship (MU 1321, 1322). | | MU 3323 | Harmony | 3 | Traditional harmony and ear training. Analysis of harmonic idioms as used into the 20th century. Continuation of melody writing. Elementary counterpoint. Prerequisite: MU 1321, 1322 or equivalent and piano proficiency. For music majors and minors only. | | MU 3324 | Harmony | 3 | Traditional harmony and ear training. Analysis of harmonic idioms as used into the 20th century. Continuation of melody writing. Elementary counterpoint. Prerequisite: MU 1321, 1322 or equivalent and piano proficiency. For music majors and minors only. | | MU 3125 | Arranging and Orchestration | 1 | Composition, arrangement and orchestration for school performing groups, including band, jazz band, and choir. | | MU 4125 | Improvisation | 1 | Fundamental improvisation skills, style interpretation, theory, and common performance practices in the evolution of improvisation. | | MU 3224 | Form and Analysis | 2 | Melody writing. Motif and development. Song forms. Classical forms. | | MU 3245 | Accompanying | 2 | Sight reading, transposition, reducing operatic and orchestral scores, improvising simple chordal accompaniments, solo vocal and choral warmups, accompanying UIL vocal solo and choral literature. Prerequisite: four semesters of applied piano, passing the piano proficiency exmination. | | | | | | | | | | Sam Houston State University www.shsu.edu/music http://www.shsu.edu/catalog/mus.html http://www.shsu.edu/catalog/mus.html | Req theory course | Title | Credit hours | Description | | | | | 2 | MUS 122 Theory of Music I. [MUSI 1211]This course provides an intensive drill in the fundamentals of music theory followed by an introduction to tonal music of the Western tradition. After mastering basic concepts involving the visual recognition and written reproduction of key signatures, scales, intervals, rhythm, meter, triads, and seventh chords, students will study figured bass, Roman Numeral analysis, and four-voice part writing of diatonic music using triads
in all inversions. This course’s content is coordinated with that of MUSICIANSHIP I (MUS 124).Credit 2. | | | | | 2 | MUS 123 Theory of Music II. [MUSI 1212] This course expands the study of the fundamentals of music theory to focus on diatonic elements of the Western tradition. In addition to the continuing focus on four-voice part writing and Roman numeral analysis, students are introduced to non-chord tones and basic studies of counterpoint and phrase structure. This course’s content is coordinated with that of MUSICIANSHIP II (MUS 125). Prerequisite: MUS 122 with minimum of “C” grade; MUS 124 with a “C” or better; or by placement exam. Credit 2. | | | | | 2 | MUS 124 Musicianship I. [MUSI 1216] This course provides intensive drill in identifying and reproducing the fundamental structures of music. The course content, which is coordinated with that of THEORY I (MUS 122), is divided into practical skills and aural skills. Practical skills develop your ability to perform music. They include activities such as performing rhythmic patterns and sight-singing solfege patterns and written melodies. Aural skills improve your ability to hear music and interpret what you hear. These include exercises such as interval identification, chord identification, scale identification, rhythmic dictation, melodic dictation, and harmonic dictation. Credit 2. | | | | | 2 | MUS 125 Musicianship II. [MUSI 1217] This course provides intensive drill in identifying and reproducing the fundamental structures of music. The course content, which is coordinated with that of THEORY II (MUS 123), is divided into practical skills and aural skills. Practical skills develop your ability to perform music. They include activities such as performing rhythmic patterns and sight-singing solfege patterns and written melodies. Aural skills improve your ability to hear music and interpret what you hear. These include exercises such as chord identification, rhythmic dictation, melodic dictation, and harmonic dictation. Prerequisites: MUS 122 and 124 with grade of “C” or better; or by placement exam. Credit 2. | | | | | 2 | MUS 222 Theory of Music III. [MUSI 2211] This course expands the study of diatonic Western musical elements to include chromatic conventions, including secondary functions, modal borrowing, Neapolitan and augmented sixth chords. A brief introduction to binary, ternary, and other formal designs expands on the study of phrase structure from THEORY II (MUS 123). This course’s content is coordinated with that of MUSICIANSHIP III (MUS 224). Prerequisites: MUS 123 and 125 with “C” or better; or by placement exam. Credit 2. | | | | | 2 | MUS 223 Theory of Music IV. [MUSI 2212] This course continues the study of the chromatic elements of Western music, followed by an introduction to Twentieth-Century music. Special emphasis is made on the analysis of tonal and post-tonal harmony and structures through score study, composition projects, and class performances. Prerequisites: MUS 222 and 224 with “C” or better; or by placement exam. Credit 2. | | | | | 2 | MUS 224 Musicianship III. [MUSI 2216] This course provides intensive drill in identifying and reproducing the fundamental structures of music. The course content, which is coordinated with that of THEORY III (MUS 222), is divided into practical skills and aural skills. Practical skills develop your ability to perform music. They include activities such as performing rhythmic patterns and sight-singing solfege patterns and written melodies. Aural skills improve your ability to hear music and interpret what you hear. These include exercises such as chord identification, rhythmic dictation, melodic dictation, and harmonic dictation. Prerequisites: MUS 123 and 125 with grade of “C” or better; or by placement exam. Credit 2. | | | | | 3 | MUS 362 Orchestration And Analysis. A study of basic techniques of instrumentation, including ranges, transpositions, and characteristics of band and orchestral instruments. Practical application in the form of projects for various instrumental combinations. Prerequisite: MUS 222 with “C” or better. Credit 3. | | | | | 3 | MUS 363 Structure and Analysis. An exploration of formal Western musical structures from the common practice period, including classroom discussions, daily/weekly assignments, and one large individual analysis project. Prerequisite: MUS 223 with “C” or better. Credit 3. | | | | Total | 20 | | | | | | | | | | | | | | | Southern Methodist University http://smu.edu/meadows/music/ http://smu.edu/meadows/music/degree-bmme.asp http://smu.edu/meadows/music/courses-ug.asp | Req theory course | Title | Credit hours | Description | | | | | 1 | (MUTH) 1129, 1130. Aural Skills I and II. Beginning studies in solfeggio, melodic, and harmonicdictation. Must be taken in sequence. Fall and spring terms. Corequisites: MUTH 1229, 1230. | | | | | 1 | | | | | | 2 | 1229, 1230. Theory I and II. Rudiments (notation, clefs, key signatures, intervals, scales, modes), diatonic and chromatic harmony, figured bass, part-writing, analysis. Must be taken in sequence. Fall and spring terms. Corequisites: MUTH 1129, 1130. | | | | | 2 | | | | | | 1 | 2129, 2130. Aural Skills III and IV. Continuation of Aural Skills I and II. Solfeggio, melodic and harmonic dictation employing chromaticism, 20th-century materials. Must be taken in sequence. Fall and spring terms. Prerequisites: MUTH 1130, 1230. Corequisites: MUTH 2229, 2230. | | | | | 1 | | | | | | 2 | 2229, 2230. Theory III and IV. Continuation of Theory I and II covering the Romantic and 20thcentury repertoires. Emphasis on traditional harmonization exercises, beginning studies in musical form and introduction to current analytical methods. Must be taken in sequence. Fall and spring terms. Prerequisites: MUTH 1130, 1230. Corequisites: MUTH 2129, 2130. | | | | | 2 | | | | | | 3 | 5330. Instrumentation and Arranging. An overview of the ranges and performing characteristics of orchestral/band instruments and vocalists, with practical application via scoring and arranging for a variety of small instrumental and vocal ensembles. Fall term. Prerequisites: MUTH 2130, 2230. | | | | | | | | | | Total | 15 | Credit hours not given for each course, but the total was specificed for these courses | | | | | | | MUTH 1129, 1130, 1229, 1230, 2129, 2229, 2130, 2230, 5330 = requirements | 15 | 15 |
| | Southwestern University http://www.southwestern.edu/departments/music/index.php http://www.southwestern.edu/departments/music/curriculum.php http://www.southwestern.edu/departments/music/curriculum.php | Req theory course | Title | Credit hours | Description | | | | | 1 | | | | | | 1 | | | | | | 3 | | | | | | 1 | | | | | | 3 | | | | | | 1 | | | | | | 3 | | | | | | 3 | | | | | | | | | | 76-103 | | | FUNDAMENTALS OF MUSIC THEORY. A survey of the rudiments of musical notation and analysis, beginning with basics of pitch and rhythm notation: the grand staff, clefs, major and minor scales and key signatures; identification and notation of the basic triad and seventh chord types in tonal harmony, chord inversions, Roman numeral analysis; harmonic progression; and introduction to part writing with triads. Some prior study on voice or an instrument and experience with reading basic musical notation is strongly recommended. This course is a prerequisite to 76-113. Qualified students may place out of this class by examination. To be taken concurrently with 76-101. (Fall) (FAL) [This is the remedial class and is not listed as a requirement as below] | | | | Total | 16 | not counting the fundamentals class | | | | | | Music Theory 76-101, 111, 113, 121, 123, 131, 223, 233 (required theory courses) | | Stephen F. Austin University www.music.sfasu.edu http://www.music.sfasu.edu/prospective_students/undergrad/pdf/INSTRUMENTAL.pdf http://www.sfasu.edu/bulletin/docs/general/2008-2009/gen08_web_finearts.pdf Music Theory Requirements for Music Ed majors: MTC 151, 152,161, 162, 251, 252, 261, 262, 461 [These numbers refer to the line number in the catalog] | Req theory course | Title | Cr. hrs. | Description | | MUSI 1116 | Aural Skills I | 1 | 151. Aural Skills I (MUSI 1116) - One semester hour credit, three hours lab per week. Studies in ear training: sight singing, error detection, 254 Stephen F. Austin State University
keyboard harmony, and melodic, harmonic, contrapuntal, and rhythmic dictation. Must be taken concurrently with MTC 161. Fall. | | MUSI 1117 | Aural Skills II | 1 | 152. Aural Skills II (MUSI 1117) - One semester hour credit, three hours lab per week. Continuation of MTC 151. Prerequisite: MTC 151. Must be taken concurrently with MTC 162. Spring. | | MUSI 1211 | Theory I | 2 | 161. Theory I (MUSI 1211) - Two semester hours, two hours lecture per week. Fundamental functions of musical texture: major and minor tonalities, triads and part writing. Must be taken concurrently with MTC 151. Fall. | | MUSI 1212 | Theory II | 2 | 162. Theory II (MUSI 1212) - Two semester hours, two hours lecture per week. Continuation of MTC 161. Must be taken concurrently with MTC 152. Prerequisite: MTC 161. Spring. | | MUSI 2116 | Aural Skills III | 1 | 251. Aural Skills III (MUSI 2116) - One semester hour credit, three hours lab per week. Continuation of MTC 152. Must be taken concurrently with MTC 261. Prerequisite: MTC 152. Fall. | | MUSI 2117 | Aural Skills IV | 1 | 252. Aural Skills IV (MUSI 2117) - One semester hour credit, three hours lab per week. Continuation of MTC 251. Must be taken concurrently with MTC 262. Prerequisite: MTC 251. Spring. | | MUSI 2211 | Theory III | 2 | 261. Theory III (MUSI 2211) - Two semester hours, two hours lecture per week. Study of 18th- and 19th-century harmonic and counterpoint techniques. Must be taken concurrently with MTC 251. Prerequisite: MTC 162. Fall. | | MUSI 2212 | Theory IV | 2 | 262. Theory IV (MUSI 2212) - Two semester hours, two hours lecture per week. Continuation of MTC 261 including 20th century techniques. Must be taken concurrently with MTC 252. Prerequisite: MTC 261. Spring. | | | | Music Form and Analysis | 2 | 461. Music Form and Analysis - Exploration and analysis of musical styles and major structural forms. Assimilation of theoretical and historical knowledge of all major periods. Completion of in-depth analysis projects that demonstrate an understanding of theoretical analysis, historical context, research techniques and scholarly writing. Prerequisites: MHL 245, 345, 346. | | | | | | Counted Form and Analysis as 2 hours - could not find it anywhere | | | Tarleton State University www.tarleton.edu/~music http://www.tarleton.edu/~music/documents/Curr_BA_Music_Option_1.pdf http://www.tarleton.edu/~music/documents/music_courses.pdf | Req theory course | Title | Credit hours | Description | | MUSC | | | 213-3 Fundamentals of Music. (3-1) Development of music reading,
performance, and listening skills. May be taken by all who desire to develop
basic music skills. Course fee $10. Lab fee $10. | | MUSC 1474 | Theory I | 4 | 147-4 Theory I: Basics of Music. (3-2) Introduction to music fundamentals, staff,
clefs, key signatures, scales, time signatures and notation; meter and
rhythm; chords; harmony; melodic organization and structure; use of
Musical Instrument Digital Interface (MIDI); aural skills. Computer software
used for some written and ear-training assignments. Prerequisite: A passing
grade on the placement examinations in theory and aural skills. Course fee
$10. Lab fee $5. | | | | | 4 | 148-4 Theory II: Diatonic Harmony. (3-2) Part writing of figured bass requiring all
diatonic triads and seventh chords; nonharmonic tones and elementary
Course Descriptions 18
M
modulation, harmonization of melodies in eighteenth-century style; aural
skills. Prerequisite: MUSC 147. Course fee $10. Lab fee $5. | | | | | 4 | 247-4 Theory III: Counterpoint. (3-2) Practice in contrapuntal composition in
eighteenth-century tonal styles. A review of Musical Instrument Digital
Interface (MIDI) systems will be presented early in the semester. Computer
software will be used for some written and ear-training assignments.
Prerequisites: MUSC 147, 148. Course fee $10. Lab fee $5. | | | | | 4 | 248-4 Theory IV: Chromatic Harmony. (3-2) Part writing of figured bass
exercises and melody harmonizations requiring altered chords, 9th, 11th,
and 13th chords; remote modulations, study of sonata, rondo, variation and
other nineteenth-century forms; aural skills. Introduction to analysis of tonal
music according to the theory of structural levels. Prerequisites: MUSC 147,
148, 247. Course fee $10. Lab fee $5. | | | | | 2 | 349-3 Twentieth Century Theory. (2-1) A study of scales, chords, key centers,
set-theory, polytonality, sound mass, electronic and computer techniques in
analysis and writing. Course fee $10. Lab fee $5. | | | | | 2 | 448-2 Scoring and Arranging for Ensembles. (2-0) A practical study of the skill
of scoring music for various instrumental and choral groups. Projects in
adapting music from a variety of sources. Emphasis is placed on
transcribing and arranging for elementary, junior, and senior high
ensembles. Prerequisite: MUSC 248 or approval of department head. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Texas A&M University - Commerce www7.tamu-commerce.edu/music http://www.tamu-commerce.edu/music/currentstudents/ http://catalog.tamu-commerce.acalog.com/content.php?catoid=3&navoid=78 | Req theory course | Title | Credit hours | Description | | | | | | All music majors must pass with a grade of C or better a four-semester sequence of basic theory and analysis (Mus 114/115, 125, 215, 225) and aural skills (Mus 117, 127, 217, 227) as part of the Music Core. In their first semester of music study, all freshmen take a diagnostic exam. Based upon the results of the test, the entering freshmen students take 4 hours of Fundamental Theory (Mus 114) or 3 hours of Theory I (Mus 115); then, at the conclusion of the first semester, all freshmen music majors—regardless of their initial class assignment—must pass the Theory I final exam before proceeding in the theory sequence to Theory II (Mus 125) in their second semester. Similarly, music majors who transfer to A&M-Commerce who have not completed the 12 semester hours of theory take a music theory diagnostic exam and complete the prescribed theory sequence. All upper division music majors must complete one semester of Analysis of Music Form (Mus 316, 2 hours) and Counterpoint (Mus 318, 2 hours) or Orchestration/Arranging (Mus 416, 2 hours). | | | | | 4 | MUS 114 - Fundamental Theory
Hours: Four
Theory for students whose placement scores indicate insufficient background for Theory I.
When Offered (1)
| | | | | 3 | MUS 115 - Theory I
Hours: Three
A study of fundamentals, chords, keys, voice leading, harmonic progression, inversions, cadences, phrases and periods. Prerequisite Pass placement test for 115 or Theory 114 with a grade of “C” or better. Corequisite Concurrent enrollment with Music 117.
Texas Common Course Number (MUSI 1311)
When Offered (1, 2) | | | | | 1 | MUS 117 - Ear Training I
Hours: One Lecture Lab/ Clock Hours (2 lab)
Fundamentals of music through sight singing, ear training and the incorporation of movable solemnizations. Studies involve elementary sight singing, dictation of melodic and harmonic intervals and dictation of rhythm and melody. | | | | | 3 | MUS 125 - Theory II
Hours: Three
A study of non-chord tones and seventh chords. Prerequisite Music 115 with a grade of “C” or better. Corequisite Concurrent enrollment with Mus 117. | | | | | 1 | MUS 127 - Ear Training II
Hours: One Lecture Lab/ Clock Hours (2 lab)
A course designed to enable students to sight-sing and take dictation in complex rhythms and melodies. Prerequisite Music 117 with a grade of “C” or better. | | | | | 3 | MUS 215 - Theory III
Hours: Three
A study of secondary functions, modulation, mode mixture, Neapolitan chord and augmented sixth chords. Prerequisite Music 125 with a grade of “C” or better. Corequisite Concurrent enrollment with Music 217. | | | | | 1 | MUS 217 - Ear Training III
Hours: One Lecture Lab/ Clock Hours (2 lab)
A course designed to enable students to hear, sing, and Notate complex rhythms, modulating melodies, and harmonies. Prerequisite Music 125 and 127 with a grade of “C” or better. | | | | | 3 | MUS 225 - Theory IV
Hours: Three
A study of augmented sixth chords, enharmonic spellings and modulations, chromatic harmony in the late nineteenth century and An Introduction to twentieth-century practices. Prerequisite Music 215 with a grade of “C” or better. Corequisite Concurrent enrollment with Music 227. | | | | | | MUS 227 [Assume this is Ear Training IV, although the entire course was missing in the school catalog - perhaps an inadvertent omission because 225 requires concurrent enrollment with 227] | | | | | 2 | MUS 316 - Analysis of Music Form
Hours: Two
Analysis of musical structure from simple binary and ternary forms, the rondo and sonata-allegro forms, and contrapuntal applications. Prerequisite Music 215 with a grade of “C” or better. | | | | | 2 | MUS 318 - Counterpoint
Hours: Two
Principles of contrapuntal writing in the style of J.S. Bach and his successors in the Eighteenth and Nineteenth Centuries. Prerequisite Music 215 with a grade of “C” or better Concurrent enrollment with Music 225 is permitted when necessary. OR MUS 416 - Orchestration/Arranging
Hours: Two
Arranging for various vocal/instrumental ensemble combinations. Prerequisite Music 215 with a grade of “C” or better.
| | | | | | | | | | | | | | Texas A&M University - Corpus Christi http://music.tamucc.edu/ http://catalog.tamucc.edu/catalog09/undergraduate/liberal_arts1.pdf http://catalog.tamucc.edu/catalog09/undergraduate/courses_descriptions.pdf | Req theory course | Title | Credit hours | DescriptionTeacher Certification Common Music Core Note that the first course in the
Musicianship sequence (MUSI 1312) requires a passing score on the Music Department
Theory Fundamentals Placement Exam OR prior completion of MUSI 1311 with a grade of
“C” or better. Similarly, the first course in the Aural Training sequence (MUSI 1117) requires
a passing score on the Music Department Theory Fundamentals Placement Exam OR prior
completion of MUSI 1116 with a grade of “C” or better. MUSI 1312, 2311, 2312 Musicianship II, III, IV MUSI 1117, 2116, 2117 Aural Training II, III, IV MUSI 3346 Form and Analysis of Tonal Music MUSI 4346 Orchestration and Arranging MUSI 1307 Elements of Musical Style (Meets core curriculum Fine Arts requirement) | | | | | 1 | MUSI 1116 (MUSI 1116) 1 sem. hr.
AURAL TRAINING I
A companion course to MUSI 1311, designed to
strengthen the understanding of theoretical principles
through the development of aural perception and skills;
exercises in melodic, harmonic, and rhythmic dictation;
and drill in sight singing. | | | | | 1 | MUSI 1117 (MUSI 1117) 1 sem. hr.
AURAL TRAINING II
Continuation of MUSI 1116; a companion course to
MUSI 1312. Prerequisite: Passing score on the Music
Department Theory Fundamentals Placement Exam OR
prior completion of MUSI 1116 and MUSI 1311 with
grades of “C” or better. | | | | | 3 | MUSI 1311 (MUSI 1311) 3 sem. hrs.
MUSICIANSHIP I
First principles of chord progression and phrase
harmonization. Theory assessment required prior to
enrollment. | | | | | 3 | MUSI 1312 (MUSI 1312) 3 sem. hrs.
MUSICIANSHIP II
Continuation of MUSI 1311, with a study of more
advanced chord structures and their placement within the
phrase through written exercises, analysis, and correlated keyboard projects. Prerequisite: Passing score on the
Music Department Theory Fundamentals Placement
Exam OR prior completion of MUSI 1311 and MUSI
1116 with grades of “C” or better. | | | | | 1 | MUSI 2116 (MUSI 2116) 1 sem. hr.
AURAL TRAINING III
Continuation of MUSI 1117; a companion course to MUSI
2311. Designed to further the understanding of advanced
theoretical principles and techniques through related aural
exercises, dictation, and sight singing. Prerequisite: Prior
completion of MUSI 1117 and MUSI 1312 with a grade
of “C” or better. | | | | | 1 | MUSI 2117 (MUSI 2117) 1 sem. hrs.
AURAL TRAINING IV
Continuation of MUSI 2116; a companion course to MUSI
2312. Prerequisite: Prior completion of MUSI 2116 and
MUSI 2311 with a grade of “C” or better. | | | | | 3 | MUSI 2311 (MUSI 2311) 3 sem. hrs.
MUSICIANSHIP III
Continuation of MUSI 1312. A broad summary of
classical and chromatic harmony, explored through
written exercises, analysis, and. correlated keyboard
drill. Prerequisite: Prior completion of MUSI 1312 and
MUSI 1117 with a grade of “C” or better. | | | | | 3 | MUSICIANSHIP IV
Continuation of MUSI 2311. An exploration of 20thcentury
techniques through written exercises, analysis,
and correlated keyboard drill. Prerequisite: Prior
completion of MUSI 2311 and MUSI 2116 with a grade
of “C” or better. | | | | | 3 | MUSI 3346. 3 sem. hrs.
FORM AND ANALYSIS OF TONAL MUSIC
Analysis of the melodic and harmonic design of tonal
music, including the aural and visual analysis of scores
for piano, voice, chamber ensembles, and orchestra.
Prerequisite: Prior completion of MUSI 2312 and MUSI
2117 with a grade of “C” or better. | | | | | 3 | MUSI 4346. 3 sem. hrs.
ORCHESTRATION AND ARRANGING
The compass, timbre, and techniques of arranging and/
or orchestration for instruments and/or voices. Practical
experience in arranging for orchestra, band, and other
instrumental and vocal combinations. Prerequisite: Prior
completion of MUSI 2312 and MUSI 2117 with grades
of “C” or better. | | | | | | Note: this seems to fall under theory, but is not counted as theory core by the department, even though it is a required course. Music History and Literature
MUSI 1307 (MUSI 1307) 3 sem. hrs.
ELEMENTS OF MUSICAL STYLE
A survey of selected western and non-western musical
styles, based upon the analysis of the characteristic use
of the elements of music. Required for music majors and
recommended for non-majors with a significant high
school music background. Satisfies the university core
curriculum requirement in fine arts. | | | | | | | | Texas A&M University - Kingsville http://www.tamuk.edu/music/ http://www.tamuk.edu/music/DegreePlans/Degree%20Plans/index.htm http://www.tamuk.edu/music/student/coursesoffered.html | Req theory course | Title | Credit hours | Description MUSI 1316* (3), 1116* (1), 1317 (3), 1117 (1), 2316 (3), 2116 (1), 2317 (3), 2117 (1), 3312 (3), 4318 (3), 3314 (3) = TOTAL HOURS 21 * MEANS NOT REQUIRED FOR THE DEGREE | | | | | | 1116. Introduction to Basic Aural Training. (MUSI 1116) 1(0-2)
Introduction to aural skills fundamentals including emphasis on melodic, harmonic dictation, and sight-singing of music of various ethnic origins and historical style periods. | | | | | | 1316. Introduction to Basic Musicianship. 3(3-0)
Introduction to music fundamentals and skills including pitch recognition in various clefs, rhythm competency, basic harmonic construction and recognition, harmonic and melodic usage in various historical style periods | | | | | 3 | 1317. Basic Musicianship. 3(3-0)
Introduction to the fundamental elements of music (e.g. pitch, intensity, duration, and timbre), and their interrelationship as the foundation of tonal harmonic structure. Prerequisite: MUSI 1316 with a grade of C or better or a satisfactory score on the departmental Placement Exam (Music Theory). | | | | | 1 | 1117. Basic Aural Training. (MUSI 1117) 1(0-2)
Emphasis on dictation and sight-singing of music of various ethnic origins and historical periods. Prerequisite: MUSI 1116 with a grade of C or better, or a satisfactory score on the departmental Placement Exam (Music Theory). | | | | | 3 | 2316-2317. Intermediate Musicianship. 6(3-0)
Continuation of MUSI 1317. | | | | | 3 | | | | | | 1 | 2116-2117. Intermediate Aural Training. (MUSI 2116) 2(0-2)
Continuation of MUSI 1117.
| | | | | 1 | | | | | | 3 | 3312. Orchestration. 3(3-0)
A continuation and practical application of elements of Music Theory and Aural Training. Study of the compass, techniques, and color of the instruments of the orchestra and band, and their combinations. Projects in scoring in full orchestra, band, and small ensembles. | | | | | 3 | 4318. Analytical Techniques I. 3(3-0)
Aural and visual analysis techniques in all musical styles. All elements in music; form, vocal, piano, chamber, and full orchestra scores. | | | | | 3 | 3314. Composition. 3(3-0)
The practical application of creative principles in analysis and original writing of the smaller forms. The course will include 18th Century counterpoint: two, three, and four part writing, canon, fugue, and double counterpoint. Prerequisites: MUSI 2316, MUSI 2217. | | | | Total | 21 | Only place so far that requires composition | | | | | | | | Texas Christian University www.music.tcu.edu http://catalog.tcu.edu/undergraduate/1726.htm http://catalog.tcu.edu/undergraduate/3461.htm | Req theory course | Title | Credit hours | Description Music Theory (20 hours)
MUSI 10201
Elementary Ear Training
MUSI 10203
Elementary Theory
MUSI 10211
Elementary Ear Training
MUSI 10213
Elementary Theory
MUSI 20201
Advanced Ear Training
MUSI 20203
Advanced Theory
MUSI 20211
Advanced Ear Training
MUSI 20213
Advanced Theory
MUSI 30202
Form and Analysis
MUSI 30312
Orchestration
| | | | | 1 | MUSI 10201 - Elementary Ear Training
Melodic, harmonic, and rhythmic dictation; sight-singing
| | | | | 3 | MUSI 10203 - Elementary Theory
Musical notation and definitions, intervals, scales and keys. Emphasis on writing four-voice exercises in major and minor keys using triads and dominant sevenths. Harmonic analysis. Keyboard harmony
| | | | | 1 | MUSI 10211 - Elementary Ear Training
Prerequisite: MUSI 10201. Continuation of MUSI 10201
| | | | | 3 | MUSI 10213 - Elementary Theory
Prerequisite: MUSI 10203. Continuation of MUSI 10203, including study of suspensions and other non-chord tones, the remaining diatonic seventh chords and secondary functions. Harmonic analysis, as well as study of cadences, phrases and periods. Keyboard harmony.
| | | | | 1 | MUSI 20201 - Advanced Ear Training
Prerequisite: MUSI 10211. Increasingly difficult melodic and rhythmic dictation. Harmonic dictation including seventh chords and modulations. Sight-singing of single line, two-voice, and four-voice music
| | | | | 3 | MUSI 20203 - Advanced Theory
Prerequisite: MUSI 10213. Modulatory techniques, simple binary and ternary forms, modal mixture, and chromatic chords. Harmonic analysis and compositional exercises. Keyboard harmony
| | | | | 1 | MUSI 20211 - Advanced Ear Training
Prerequisite: MUSI 20201. Continuation of MUSI 20201
| | | | | 3 | MUSI 20213 - Advanced Theory
Prerequisite: MUSI 20203. Continuation of MUSI 20203, including tonal harmony in the late 19th century and an introduction to 20th century practice. Harmonic analysis and compositional exercises. Keyboard harmony
| | | | | 2 | MUSI 30202 - Form and Analysis
Prerequisites: MUSI 20211, 20213. Structural analysis of simple and compound part forms, rondo, sonata and fugue. Emphasis on the standard designs found in instrumental music from Bach on
| | | | | 2 | MUSI 30312 - Orchestration
Prerequisites: MUSI 20211, 20213. Practical consideration of techniques, capabilities and effective uses of orchestral and band instruments in various combinations. Arranging and scoring
| | | | Total | 20 | | | | | | | | | Texas State University - San Marcos www.finearts.txstate.edu/music http://www.music.txstate.edu/prospectivestudents/degreeplans/degreemusicstudies.html http://www.music.txstate.edu/resources/courses/undergradcourses.html | Req theory course | Title | Credit hours | Description Introduction to Music Technology (MU 1150)
Aural Learning I-IV (MU 1210, MU 1212, MU 2260, MU 2262)
Music Theory I-IV (MU 1211, MU 1213, MU 2261, MU 2263)
Survey of Music Literature (MU 2303)
History and Analysis of Music (MU 3315, MU 3316)
| | | | | | 1312 Essential Musicianship [this could be the remedial class](3-0) Detailed instruction in fundamentals of music theory, including but not limited to notation, meters, scales, key signatures, intervals, and chords. This course is designed primarily for music majors and minors. | | | | | | 1150 Introduction to Music Technology [required, but I probably won't count it](1-0) Introduction to current computer applications in music. Including MIDI and sequencing, notation, internet communication, and digital audio. | | | | | 1 | 1210 (MUSI 1216) Aural Learning I(0-2) The course materials from Music Theory I as applied through lessons in singing, playing, and music dictation. Prerequisite: MU 1312 with a grade of “C” or higher or pass by exam. | | | | | 3 | 1211 (MUSI 1211) Music Theory I(3-0) A comprehensive study of the materials of counterpoint and harmony. The study is made through listening and observation of the literature; lessons in application include activities in musical writing and analysis. Prerequisite: MU 1312 with a grade of “C” or higher or pass by exam. | | | | | 1 | 1212 (MUSI 1217) Aural Learning II(0-2) The course materials from Music Theory II as applied through lessons in singing, playing, and music dictation. Prerequisites: MU 1210, 1211 with a grade of “C” or higher. | | | | | 3 | 1213 (MUSI 1212) Music Theory II(3-0) A comprehensive study of the materials of counterpoint and harmony. The study is made through listening and observation of the literature; lessons in application include activities in musical writing and analysis. Prerequisites: MU 1210, 1211 with a grade of “C” or higher. | | | | | 1 | 2260 (MUSI 2216) Aural Learning III(0-2) The course material from Music Theory III as applied through lessons in singing, playing, and music dictation. Prerequisites: MU 1212, 1213 with a grade of “C” or higher. | | | | | 3 | 2261 (MUSI 2211) Music Theory III(3-0) A continuation of the comprehensive approach used in Music Theory I and II, with an emphasis upon traditional forms and harmony using altered chords. Lessons in application include activities in composition and analysis. Prerequisites: MU 1212, 1213, MUSP 1108W with a grade of “C” or higher (or equivalents). | | | | | 1 | 2262 (MUSI 2217) Aural Learning IV(0-2) The course materials from Music Theory IV as applied through lessons in singing, playing, and music dictation. Prerequisites: MU 2260, 2261 with a grade of “C” or higher. | | | | | 3 | 2263 (MUSI 2212) Music Theory IV(3-0) A continuation of the comprehensive approach used in Music Theory I, II, and III, with an emphasis upon traditional forms and harmony, and twentieth century materials. Lessons in application include activities in composition and analysis. Prerequisites: MU 1150, 2260, 2261, MUSP 1110W with a grade of “C” or higher (or equivalents). | | | | | | 3315, 3316 History and Analysis of Music (3-0) A comprehensive musicianship approach to the study of music from the earliest times to the present using techniques of stylistic and structural analysis. Prerequisites: MU 2303 or consent of instructor. | | | | Total | 16 | If music history comprehensive musicianship and music technology are not counted. They do have regular courses in Form and Analysis and Orchestration, but are not required of music ed majors | | | | | | | | Texas Tech University www.depts.ttu.edu/music http://www.depts.ttu.edu/officialpublications/catalog/01_curriculum/VPA_MusicProfEd_Vocal.gif http://www.depts.ttu.edu/officialpublications/courses/MUSI.php | Req theory course | Title | Cr. hrs. | Description | | MUTH 1101 | Developmental Aural Skills | | MUTH 1101: Developmental Aural Skills (taken concurrently with MUTH 1103 if required by results of placement exam) 1101. Developmental Aural Skills (1). For music majors or with consent of instructor. Developmental diction, sight singing, and keyboard skills. [This is the remedial course] | | MUTH 1103 | Elementary Aural Skills I | 1 | MUTH 1103: Elementary Aural Skills I In this course, you will develop sightsinging and dictation skills necessary for the performance and teaching of tonal music MUTH 1103 focuses primarily on rhythmic performance, but also includes exercises that drill intervals, scales, triads, and simple melodies. (from linked syllabus) 1103. [MUSI 1116, 1216, 1316] Elementary Aural Skills I (1:0:2). Prerequisite: Placement test; corequisite: MUTH 1303. For music majors or with consent of instructor. Dictation, sight-singing, and keyboard skills. | | MUTH 1104 | Elementary Aural Skills II | 1 | MUTH 1104: Elementary Aural Skills II In this course, you will develop sightsinging and dictation skills necessary for the performance and teaching of tonal music. MUTH 1104 focuses primiarily on melodic performance, melodic and harmonic dictation. (from linked syllabus) 1104. [MUSI 1117, 1217, 1317] Elementary Aural Skills II (1:0:2). Prerequisite: Completion of MUTH 1303 and 1103 with a grade of C or better, or equivalent. Corequisite: MUTH 1304. Dictation, sight-singing, and keyboard skills. | | MUTH 1303 | Elementary Music Theory I | 3 | MUTH 1303: Elementary Music Theory I 1303. [MUSI 1311] Elementary Music Theory I (3:3:0). Prerequisite: Placement test; corequisite: MUTH 1103. For music majors or with consent of instructor. Melody, rhythm, and diatonic harmony. | | MUTH 1304 | Elementary Music Theory II | 3 | MUTH 1304: Elementary Music Theory II 1304. [MUSI 1312] Elementary Music Theory II (3:3:0). Prerequisite: Completion of MUTH 1303 and 1103 with a grade of C or better, or equivalent. Corequisite: MUTH 1104. Melody, rhythm, and diatonic harmony.
Back to Top | | MUTH 2103 | Intermediate Aural Skills I | 1 | MUTH 2103: Intermediate Aural Skills I 2103. [MUSI 2116, 2216] Intermediate Aural Skills I (1:0:2). Prerequisite: Completion of MUTH 1304 and 1104 with a grade of C or better, or equivalent. Corequisite: MUTH 2303. Dictation, sight-singing, and keyboard skills. | | MUTH 2104 | Intermediate Aural Skills II | 1 | MUTH 2104: Intermediate Aural Skills II 2104. [MUSI 2117, 2217] Intermediate Aural Skills II (1:0:2). Prerequisite: Completion of MUTH 2303 and 2103 with a grade of C or better, or equivalent. Corequisite: MUTH 2304. Dictation, sight-singing, and keyboard skills. | | MUTH 2303 | Intermediate Music Theory I | 3 | MUTH 2303: Intermediate Music Theory I 2303. [MUSI 2311] Intermediate Music Theory I (3:3:0). Prerequisite: Completion of MUTH 1304 and 1104 with a grade of C or better, or equivalent. Corequisite: MUTH 2103. Diatonic and chromatic harmony. | | MUTH 2304 | Intermediate Music Theory II | 3 | MUTH 2304: Intermediate Music Theory II 2304. [MUSI 2312] Intermediate Music Theory II (3:3:0). Prerequisite: Completion of MUTH 2303 and 2103 with a grade of C or better, or equivalent. Corequisite: MUTH 2104. Diatonic and chromatic harmony; survey of twentieth-century techniques.
| | MUTH 3303 | Form and Analysis | 3 | MUTH 3303: Form and Analysis 3303. Form, Analysis, and Synthesis (3:3:0). Prerequisite: Completion of MUTH 2304 and 2104 with a grade of C or better or equivalent. The analysis and synthesis of Classical, Romantic, Impressionist, and Contemporary styles, including harmonic and nonharmonic practices and the principles of both small and large part-forms. May be an individual study course.
| | | | Total | 19 | not counting the remedial course | | | | | | | | | Texas Wesleyan University department.txwes.edu/mus http://music.txwes.edu/music/documents/Handbook-revisedFall2007_000.doc http://music.txwes.edu/CourseDescriptions.htm | Req theory course | Title | Credit hours | Description | | | | | | 1105. Music Theory Preview 1 hour
Summer workshop designed to enhance music reading and knowledge of
fundamental music skills. Includes rhythm studies, clef reading, keys and
key signatures, intervals, triads, and seventh chords. Particularly useful as a
preparation for MUS 1202 Music Theory I. | | | | | 2 | 0256. Music Theory Fundamentals 2 hours
An introduction to the fundamentals of music theory for the beginning
music student. Music reading ability not required as a prerequisite. | | | | | 2 | 1201. Aural Skills I 2 hours
Prerequisite: Freshman placement examination
The study of melody, harmony, and rhythm through dictation and
sightsinging. | | | | | 2 | 1202. Music Theory I 2 hours
Prerequisite: Freshman placement examination
Techniques of music analysis, with an emphasis on part-writing, harmonic,
melodic, and rhythmic patterns. | | | | | 2 | 1203. Aural Skills II 2 hours
Prerequisite: MUS 1201 (A transfer student must have consent of instructor)
Second semester of applied skills in elementary melodic, harmonic, and
rhythmic dictation and sightsinging techniques. | | | | | 2 | 1204. Music Theory II 2 hours
Prerequisite: MUS 1202 (A transfer student must have consent of instructor)
Study of chromatic harmony from secondary function to augmented sixth
chords, plus modulation techniques. | | | | | | 2201. Aural Skills III 2 hours
Prerequisite: MUS 1203 (A transfer student must have consent of instructor)
Applied skills in advanced melodic, harmonic, and rhythmic dictation and
sightsinging. | | | | | | 2202. Music Theory III 2 hours
Prerequisite: MUS 1204 (A transfer student must have consent of instructor)
An introduction to the music and analytic methods of music since 1900. | | | | | 3 | MUS CAP4321 Studies in the Theory of Music (Form & Analysis or Music since 1900) 4321. Studies in the Theory of Music 3 hours
Prerequisite: Attainment Division status, MUS 2103
One in a sequence of four upper-level Attainment Division courses
required for all Bachelor of Arts in Music degree candidates. Variable
topics related to the theory of music.
| | | | | 3 | MUS CAP3322 Studies in the Creation of Music (Orchestration/Arranging) 3322. Studies in the Creation of Music 3 hours
Prerequisite: Attainment Division status, MUS 2103
One in a sequence of four upper-level Attainment Division courses
required for all Bachelor of Arts in Music degree candidates. Variable
topics related to the creative process in music.
| | | | | | | | | | Total | 16 | Not counting the Music Theory Preview. These requirements were from a MMHandbook last revised in 2007 with a total hour requirement of 143 | | | | | | | | | | | | | | | | | | | | Texas Woman's University http://www.twu.edu/soa/music/ http://www.twu.edu/soa/music/ba_degree.html http://www.twu.edu/academics/GenCAT2007-09.pdf | Req theory course | Title | Credit hours | Description | | | | | 1 | MU 1521. (MUSI 1116) Aural Skills I. Sight-singing and ear training for
music reading and analysis. Concurrent enrollment with MU 1523. Two laboratory
hours a week. Credit: One hour. | | | | | 3 | MU 1523. (MUSI 1311) Music Theory I. Basic elements of music and music
writing, beginning harmonic, melodic, and rhythmic principles. Concurrent enrollment
with MU 1521. Three lecture hours a week. Credit: Three hours. | | | | | 1 | MU 1531. (MUSI 1117) Aural Skills II. Sight-singing and ear training for music reading and analysis. Concurrent enrollment with MU 1533. Two laboratory hours a week. Credit: One hour. | | | | | 3 | MU 1533. (MUSI 1312) Music Theory II. Continuation of MU 1523 with emphasis on part-writing procedures within the diatonic system. Concurrent enrollment with MU 1531. Three lecture hours a week. Credit: Three hours. | | | | | 1 | MU 2521. (MUSI 2116) Aural Skills III. Sight-singing and ear training for
music reading and analysis. Concurrent enrollment with MU 2523. Two laboratory
hours a week. Credit: One hour. | | | | | 3 | MU 2523. (MUSI 2311) Music Theory III. Detailed studies of music theory
with emphasis on modulation and secondary harmony. Keyboard harmony, sight
singing, and ear training. Concurrent enrollment with MU 2521. Three lecture
hours a week. Credit: Three hours. | | | | | 1 | MU 2531. (MUSI 2117) Aural Skills IV. Sight-singing and ear training for
music reading and analysis. Concurrent enrollment with MU 2533. Two laboratory
hours a week. Credit: One hour | | | | | 3 | **MU 2533. (MUSI 2312) Music Theory IV. Continuation of MU 2523 with
emphasis on altered and expanded harmonies and non-tonal practices. Concurrent
enrollment with MU 2531. Three hours of lecture a week. Credit: Three hours. | | | | | 2 | MU 4512. Instrumental Arranging. Detailed study of characteristics of all
instruments and scoring problems involved in mixed ensemble. Prerequisite: MU
2523 and 2533. Two lecture hours a week. Credit: Two hours. | | | | | | | | | | Total | 18 | | | | | | | | | University of Houston www.music.uh.edu http://www.music.uh.edu/academics/undergraduate_degrees.html http://www.music.uh.edu/academics/undergraduate.html http://www.uh.edu/~adavis5/ (Andrew Davis' personal web page) | Req theory course | Title | Cr. hrs. | Description | | | | | 3 | Fundamentals of Music (MUSI 1300) Syllabus (Andrew Davis) 1300: Fundamentals of Music
Cr. 3. (3-0). Primarily for nonmusic majors. Does not require any musical background. Does not fulfill any degree requirement for music major. An introduction to music through a study of its melodic, rhythmic, and harmonic elements. | | | | | 3 | Theory I (MUSI 1310; 3CR) Syllabus Class schedule (Andrew Davis) 1310: Theory I
Cr. 3. (3-0). Prerequisite: passing grade on the Theory Entrance Exam. Review of musical rudiments; harmony and voice-leading through submediant and mediant chords; figured bass; cadences and phrase structure; basic analysis; elementary composition. (Fall) | | | | | 1 | Aural Skills I (MUSI 1170; 1CR) Syllabus Class schedule (Andrew Davis) 1170: Aural Skills I
Cr. 1. (1-1). Prerequisite: credit for or registration in MUSI 1310. Introduction to solfege, melodic and harmonic dictation. Aural skills exercises in diatonic materials, simple meters. (Fall) | | | | | 3 | Theory II (MUSI 1311; 3CR) Syllabus Class schedule (Andrew Davis) 1311: Theory II
Cr. 3. (3-0). Prerequisite: MUSI 1310. Harmony and voice-leading through modal mixture, secondary dominants and modulation; periodic structures; further analysis and composition. (Spring) | | | | | 1 | Aural Skills II (MUSI 1171; 1CR) Syllabus Class schedule (Andrew Davis) 1171: Aural Skills II
Cr. 1. (1-1). Prerequisites: MUSI 1170 and credit for or registration in MUSI 1311. Continuation of MUSI 1170, through modal mixture and diatonic sevenths; compound meter; decorative chromaticism; alto clef. (Spring) | | | | | 2 | Theory III (MUSI 2210; 2CR) Syllabus Class schedule (Andrew Davis) 2210: Theory III
Cr. 2. (2-0). Prerequisites: MATH 1310, MUSI 1311, and passing grade on Theory Proficiency Exam II. Harmony and voice-leading through linear chords, the Neapolitan and augmented sixths, advanced modulation, ninth chords; binary form; more advanced modulation and composition. (Fall) | | | | | 1 | Aural Skills III (MUSI 2170; 1CR) Syllabus Class schedule (Andrew Davis) 2170: Aural Skills III
Cr. 1. (1-1). Prerequisites: MUSI 1171 and passing grade on Aural Skills Proficiency Exam I; credit for or concurrent enrollment in MUSI 2210. Tenor clef; secondary dominants; elementary modulation; more advanced rhythmic problems, including borrowed divisions. (Fall) | | | | | 2 | Techniques of Music Since 1900 (MUSI 2214; 2CR) Syllabus Class schedule (Andrew Davis) 2214: Techniques of Music Since 1900 (formerly MUSI 3210)
Cr. 2. (2-0). Prerequisites: MATH 1310; MUSI 2210 and passing grade on Theory Proficiency Exam III. Study of compositional practices of the twentieth century and later, through analysis and composition exercises. (Spring) | | | | | 1 | Aural Skills IV (MUSI 2171; 1CR) Syllabus Class schedule (Andrew Davis) 2171: Aural Skills IV
Cr. 1. (1-1). Prerequisites: MUSI 2170 and credit for or concurrent enrollment in MUSI 2214. Advanced chromaticism; remote modulation; quintuple meters; introduction to twentieth century materials, including modes and multimeter. (Spring) | | | | | 3 | Computers and Technology for Musicians (MUSI 2320; 3CR) Syllabus Class schedule 2320: Computers and Technology for Musicians
Cr. 3. (3-0). Prerequisite: music major or minor. Introduction to the use of computers and related technology for musicians, including notation, music theory, composition, presentation, and general integrated software applications. | | | | | 2 | Intro to Large Forms (MUSI 3215; 2CR) Syllabus Class schedule (Andrew Davis) 3215: Introduction to Large Forms
Cr. 2. (2-1). Prerequisites: MUSI 2214 and passing grade on Theory Proficiency Exam IV and Aural Skills Proficiency Exam II. Introduction to the study of larger musical forms of the eighteenth through twentieth centuries; introduction to the analysis of contrapuntal textures. (Fall) | | | | | | | | | 19 total hours required | University of Mary Hardin-Baylor http://www.umhbmusic.net/ http://www.umhb.edu/academics/catalog/department/145/courses http://www.umhb.edu/academics/catalog/department/145/plans/543 | Req theory course | Title | Credit hours | Description | | | | | | MUSI 1320 [This is the remedial course] Introduction to Theory and Aural Skills Study of basic notational practices and fundamental theory concepts including scales, chord construction, key signatures, intervals, and rhythmic notation. Ear-training skills and singing accuracy developed through sight-singing, interval and chord recognition, and other aural drills. A prerequisite course to MUSI 1131 and 1331. May be passed by a satisfactory score on the Theory Placement Exam. May not be applied toward a Music major, minor, or specialization degree program. | | | | | 1 | MUSI 1120 Introduction to Music Technology A "hands-on" orientation to three major areas of music technology: computer assisted music notation; MIDI programming; and, digital recording techniques. Lab Fee. | | | | | 1 | MUSI 1131 Aural Skills 1 Study of music theory through development of analytical, critical listening skills, vocal technical exercises, and sight-singing using solfege system. Should be taken concurrently with MUSI 1331. Prerequisites: Satisfactory score on Theory Placement Exam or MUSI 1320. | | | | | 1 | | | | | | 1 | | | | | | 1 | | | | | | 3 | MUSI 1331 Theory I Basic theoretical concepts of harmony in analysis and keyboard skills, especially relating to music of the common practice style. The course covers harmonic and rhythmic notational practices and emphasizes four-voice part writing as a tool for learning harmonic structure, progression, and voice leading. Should be taken concurrently with MUSI 1131. Prerequisites: Satisfactory score on Theory Placement Exam or MUSI 1320. | | | | | 3 | MUSI 1332 Theory II Continuation of MUSI 1331. Includes all diatonic triads, seventh chords, inversions, and non-chord tones. Should be taken concurrently with MUSI 1132. | | | | | 3 | MUSI 2331 Theory III Continuation of MUSI 1332. Includes secondary dominant and leading tone chords, modulation to closely related keys, borrowed chords, Neapolitan chords, augmented 6th chords, and modal scales. Should be taken concurrently with MUSI 2131. | | | | | 3 | MUSI 2332 Theory IV Continuation of MUSI 2331. Includes study of 20th century harmonic vocabulary and techniques. Topics include chomatic modulation, exotic and synthetic scales, 12-tone and set theory, aleatoric practices, and various media techniques. Should be taken concurrently with MUSI 2132. | | | | | 2 | MUSI 3230 Form and Analysis An analytical survey showing the evolution of forms and textures of representative works from various periods of musical history. | | | | | 2 | MUSI 4223 Orchestration A survey of the characteristics of standard orchestral instruments and of arranging for various combinations of instruments. | | | | Total | 20 | This does not include the computer course (1 hour) | | University of North Texas www.music.unt.edu http://www.music.unt.edu/musiced/UndergraduateHandbook091708.pdf http://www.music.unt.edu/musiced/UndergraduateHandbook091708.pdf Course descriptions: http://www.unt.edu/catalog/undergrad/music.htm | Req theory course | Title | Credit hours | Description | | | MUTH 1400 | Theory I | 2 | 1400 (MUSI 1211 or 1311). Theory I. 2 hours. (2;0) Large-lecture format. Introduction to analysis, part writing, figured bass realization, and harmonization beginning with melody and two-part exercises. Prerequisite(s): MUTH 1410 (may be taken concurrently). | | | MUTH 1410 | Aural Skills I | 2 | 1410 (MUSI 1116 or 1216 or 1316). Aural Skills I. 2 hours. (2;1) Reinforcement of theoretical concepts presented in MUTH 1400 via singing, ear training, keyboard, and conducting experiences. Prerequisite(s): MUTH 1400 (may be taken concurrently). | | | MUTH 1500 | Theory II | 2 | 1500 (MUSI 1212 or 1312). Theory II. 2 hours. (2;0) Continuation of analysis, part writing, figured bass realization and harmonization covering harmonic vocabulary of 18th-century music and smaller forms of the Baroque period. Prerequisite(s): MUTH 1400 and 1410; MUTH 1510 (may be taken concurrently). | | | MUTH 1510 | Aural Skills II | 2 | 1510 (MUSI 1117 or 1217 or 1317). Aural Skills II. 2 hours. (2;1) Reinforcement of theoretical concepts presented in MUTH 1500 via singing, ear training, keyboard, and conducting experiences. Prerequisite(s): MUTH 1400 and 1410; MUTH 1500 (may be taken concurrently). | | | MUTH 2400 | Theory III | 2 | 2400 (MUSI 2211 or 2311). Theory III. 2 hours. (2;1) Analysis, part writing, figured bass realization and harmonization covering harmonic vocabulary of late eighteenth and nineteenth centuries, larger forms of the Baroque era and form of the Classic and Romantic eras. Computer competency skills are included. Prerequisite(s): MUTH 1500 and 1510; MUTH 2410 (may be taken concurrently). | | | MUTH 2410 | Aural Skills III | 1 | 2410 (MUSI 2116 or 2216). Aural Skills III. 1 hour. (2;0) Reinforcement of theoretical concepts presented in MUTH 2400 via singing, ear training, keyboard and conducting experiences. Prerequisite(s): MUTH 1500 and 1510; MUTH 2400 (may be taken concurrently). | | | MUTH 2500 | Theory IV | 2 | 2500 (MUSI 2212 or 2312). Theory IV. 2 hours. (2;1) Analysis, part writing and harmonization covering musical practice of the period from 1880 to 1950. Prerequisite(s): MUTH 2400 and 2410; MUTH 2510 (may be taken concurrently). | | | MUTH 2510 | Aural Skills IV | 1 | 2510 (MUSI 2117 or 2217). Aural Skills IV. 1 hour. (2;0) Reinforcement of theoretical concepts presented in MUTH 2500 via singing, ear training, keyboard and conducting experiences. Prerequisite(s): MUTH 2400 and 2410; MUTH 2500 (may be taken concurrently). | | | | | | | | | | | | | | | | | | | | | | Total | 14 | Nothing else is required that I can see | | University of Texas at Arlington www.uta.edu/music http://www.uta.edu/catalog/courses/course-catalog.php?subject=MUSI http://www.uta.edu/catalog/departments/liberalarts/music Major 1185, 1186, 1325, 1326, 2185, 2186, 2325, 2326, 3308 or 3309, 3300, 3301; eight hours performance concentration (in one instrument or voice); 1180, 1181, 2180, and 2181 (keyboard concentrates refer to appropriate options below for substitute hours), LIST 4343, EDUC 4352, and EDUC 4647. | Req theory course | Title | Credit hours | Description | | | | | 1 | MUSI 1185. SIGHTSINGING AND EAR TRAINING I (0-2) (MUSI 1116). Techniques of melodic and rhythmic sightsinging and procedures of dictation. | | | | | 1 | MUSI 1186. SIGHTSINGING AND EAR TRAINING II (0-2) A continuation of MUSI 1185 using more difficult materials. Prerequisite: MUSI 1185. | | | | | 3 | MUSI 1325. THEORY AND HARMONY I (3-0) Scales, intervals, triads, and part writing with primary triads. Prerequisite: Open to music majors or faculty approval. | | | | | 3 | MUSI 1326. THEORY AND HARMONY II (3-0) Part writing including all diatonic triads, seventh chords, and traditional non-chord tones. Prerequisite: MUSI 1325. | | | | | 1 | MUSI 2185. SIGHTSINGING AND EAR TRAINING III (0-2) A continuation of MUSI 1186 using moderately complex melodies and rhythms in more than one part. Prerequisite: MUSI 1186. | | | | | 1 | MUSI 2186. SIGHTSINGING AND EAR TRAINING IV (0-2) A continuation of MUSI 2185 using complex melodies and dictation in four parts. Prerequisite: MUSI 2185. | | | | | 3 | MUSI 2325. THEORY AND HARMONY III (3-0) Modulation, chromatic part writing, and harmonic analysis. Prerequisite: MUSI 1326. | | | | | 3 | MUSI 2326. THEORY AND HARMONY IV (3-0) Harmonic, linear, and formal analysis of 19th- and 20th-century compositional techniques. Prerequisite: MUSI 2325. | | | | | | | | | | Total | 16 | Looks like 3 hours per class and one hour per lab - couldn't find anything different | | | | | | | | | | | | | | University of Texas at Austin www.music.utexas.edu http://registrar.utexas.edu/catalogs/ug08-10/ch08/ug08.cr08b.mus-td.html http://www.music.utexas.edu/department/music-human-learning.aspx | Req theory course | Title | Credit hours | Description | | | MUS 605A | Musicianship | 3 | 605 (TCCN: MUSI 1311). Musicianship. Study of the fundamentals of music for music majors through tonal harmony, ear training, sight-singing, keyboard drill, analysis, and composition of music. Three lecture hours and two laboratory hours a week for two semesters. Music 605 and 313 may not both be counted. Prerequisite: For 605A, either satisfactory completion of the audition required for admission to the Butler School of Music and registration in class piano as assigned by the Butler School of Music, or consent of instructor; for 605B, Music 605A with a grade of at least C, and registration in class piano as assigned by the Butler School of Music or consent of instructor. | | | MUS 605B | Musicianship | 3 | | | | MUS 612A | Structure of Tonal Music | 3 | 612 (TCCN: MUSI 2311). Structure of Tonal Music. Elements of tonal harmony and form; tonal analysis. Three lecture hours a week for two semesters, with one laboratory hour a week as required. Prerequisite: For 612A, Music 605B with a grade of at least C, concurrent enrollment in Music 411A, and registration in class piano as assigned by the Butler School of Music or consent of instructor; for 612B, Music 612A with a grade of at least C, concurrent enrollment in Music 411B, and registration in class piano as assigned by the Butler School of Music or consent of instructor. | | | MUS 411A | Ear training & sight singing | 2 | 411 (TCCN: MUSI 2216). Ear Training and Sight-Singing. Material drawn from all musical styles. Two lecture hours and one laboratory hour a week for two semesters. Prerequisite: For 411A, Music 605B with a grade of at least C, and concurrent enrollment in Music 612A; for 411B, Music 411A with a grade of at least C and concurrent enrollment in Music 612B. | | | MUS 612B | Structure of Tonal Music | 3 | | | | MUS 411B | Ear training & sight singing | 2 | | | | MUS 226G | Orchestration | 2 | 226G. Orchestration and Arranging. Techniques of instrumentation, arranging, and orchestration for band, orchestra, and chamber ensembles. Two lecture hours a week for one semester. Prerequisite: Music 411 and 612. 226N. Choral Arranging for choral music ed | | | | | | | | | | | | | | | | | | | | | | Total | 18 | | | | | | | | | University of Texas at Brownsville and Texas Southmost College http://blue.utb.edu/finearts/musichome.htm http://blue.utb.edu/vpaa/ucatalog/07_001.htm http://blue.utb.edu/finearts/PDFfolder/2008-2009.pdf | Req theory course | Title | Credit hours | Description | | | | 3 | MUSI 1301 Music Fundamentals Music (MUSI) [the remedial course] An introduction to the elements of music. Includes study of music reading in notation, rhythm, time signature and meters, scales, key signatures, intervals, and chords. Includes an introduction to sight singing. Lec 3, Cr 3. | | | | | 1 | MUSI 1111
Elementary Sight
Singing and Ear
Training I
Music (MUSI)
Singing tonal music in treble, bass, and clefs. Aural
study, including dictation, of rhythm, melody, and
diatonic harmony. Lab 3, Cr 1.
Corequisite: MUSI
1211 or consent of
instructor. | | | | | 1 | MUSI 1112 Elementary Sight Singing and Ear Training II Music (MUSI) Continuation of MUSI 1111 Elementary Sight Singing & Ear Training I. Lab 3, Cr 1. Prerequisite: MUSI 1111 with a "C" or better. Corequisite: MUSI 1212 or consent of instructor. | | | | | 1 | MUSI 2111 Advanced Sight Singing and Ear Training I Music (MUSI) Singing more difficult tonal music. Aural study, including dictation, of more complex rhythm, and melody. Lab 3, Cr 1. Prerequisite: Must pass MUSI 1112 with "C" or better. Corequisite: MUSI 2211 or consent of instructor. | | | | | 1 | MUSI 2112 Advanced Sight Singing and Ear Training II Music (MUSI) Continuation of MUSI 2111 Advanced Sight Singing & Ear Training I. Lab 3, Cr 1. Prerequisite: Must pass MUSI 2111 with "C" or better. Corequisite: MUSI 2212 or consent of instructor. | | | | 2 | MUSI 1211 Music Theory I Music (MUSI) Analysis and writing of tonal melody and diatonic harmony up to and including the 7th chords. Analysis and writing of small compositional forms. Correlated study at the keyboard. Lec 3, Cr 2. Prerequisite: READ 0320 or appropriate assessment. Must be concurrently enrolled in MUSI 1111. | | | | 2 | MUSI 1212 Music Theory II Music (MUSI) Continuation of MUSI 1211 Music Theory I. Lec 3, Cr 2. Prerequisite: Must pass MUSI 1211 with "C" or better. Corequisite: Enrollment in the assigned sight singing and ear training course lab (MUSI 1111 or MUSI 1112). | | | | | 2 | MUSI 2211 Music Theory III Music (MUSI) The study of figured bass, alto and tenor clfes, elementary formal concepts, intervals, scales, chords structure, chord progressions simple cadences, use of inversions, non-harmonic tones, seventh chords, modulations and harmonization of melodies. Part-writing, sight singing, keyboard and aural skills are also included. Lec 3, Cr 2. Prerequisite: Must pass MUSI 1212 with a "C" or better. Corequisite: Enrollment in the assigned sight singing and ear training course lab (MUSI 1111, MUSI 1112, or MUSI 2111). | | | | | 2 | MUSI 2212 Music Theory IV Music (MUSI) Continuation of MUSI 2211, MUSI Theory III. Lec 3, Cr 2. Must pass MUSI 2211 with a "C" or better. Corequisite: Enrollment in the assigned sight singing and ear training course lab (MUSI 1111, MUSI 1112, MUSI 2111, or MUSI 2112). | | | | | 2 | MUSI 3211 Orchestration and Arranging Music (MUSI) A study of the basic techniques of instrumentation, including ranges, transpositions, and characteristics of band, jazz band and orchestral instruments. This course will also study the basic techniques of vocal arranging. Lec 2, Cr 2. Prerequisite: Must pass MUSI 2212 with a "C" or better and must have passed the Department Piano Proficiency Exam | | | | | 3 | MUSI 3312 Counterpoint and Analysis Music (MUSI) A survey of polyphony of the eighteenth through the twentieth centuries with emphasis on creative projects. Lec 3, Cr 3. Prerequisite: Must pass MUSI 2212 with "C" or better and must have passed the Departmental Piano/Music Proficiency Exam. | | | | Total | 17 | nott counting the remedial course | | | | | | | | | | | | | | | | | | | | | University of Texas at El Paso http://academics.utep.edu/Default.aspx?alias=academics.utep.edu/music http://www.utep.edu/catalogs/2006/2006-2008UG.pdfhttp://www.utep.edu/catalogs/2006/2006-2008UG.pdf All of the music dept syllabi are linked on this web page, but Music Theory III and Aural Skills III are not there. http://academics.utep.edu/Default.aspx?tabid=52063 | | Req theory course | Title | Cr. hrs. | Description | | | | | 3 | Music Theory I (MUST 1313; 3CR) Syllabus (Charles Leinberger) The combination, transmission, and effects of musical sounds, utilizing symbols. The logic of order in music as exemplified in acoustics, overtone series, scales, diatonic harmony, rhythm, melody writing, non-harmonic devices, and simple modulation. Prerequisites: MUST 1311 or MUST 1312 (both are MUSIC Fundamentals classes, perhaps of different levels? the course descriptions are exactly the same) | | | | | 1 | Aural Skills I (MUST 1111; 2CR) Syllabus (Charles Leinberger) Experience in aural recognition of tone relations through sight-singing, dictation, and keyboard activities. Prerequisites: MUST 1311 or MUST 1312 (both are MUSIC Fundamentals classes, perhaps of different levels? the course descriptions are exactly the same) | | | | | 3 | Music Theory II (MUST 1314; 3CR) Syllabus (Charles Leinberger) The combination, transmission, and effects of musical sounds, utilizing symbols. The logic of order in music as exemplified in acoustics, overtone series, scales, diatonic harmony, rhythm, melody writing, non-harmonic devices, and simple modulation. | | | | | 1 | Aural Skills II (MUST 1112; 2CR) Syllabus (Charles Leinberger) Experience in aural recognition of tone relations through sight-singing, dictation, and keyboard activities. | | | | | 3 | Music Theory III (MUST 2313; 3CR) Continuation of melodic and harmonic dictation and part writing; harmonic analysis and simple forms; seventh chords; altered chord, keyboard practice. | | | | | 1 | Aural Skills III (MUST 2111; 2CR) Continuation of MUST 1112 | | | | | 3 | Music Theory IV (MUST 2314; 3CR) Syllabus (Dominic Dousa) Continuation of melodic and harmonic dictation and part writing; harmonic analysis and simple forms; seventh chords; altered chord, keyboard practice. | | | | | 1 | Aural Skills IV (MUST 2112; 2CR) Syllabus (Dominic Dousa) Continuation of MUST 1112 | | | | | 2 | Analytical Processes in Music (MUST 3215; 2CR) Syllabus (Charles Leinberger) Detailed study of the logic of musical structure as exemplified in representative works of all historical periods. Introduction to graphic analysis. [Dr. Leinberger's syllabus says: Harmonic and formal analysis of orchestral scores of the music from the Period of Common Practice, including Sonata Form, Concerto-Sonata, Concerto-Rondo, Sonata-Rondo, Binary, Ternary, Theme and Variations and more. May be taken for graduate credit with the approval of the graduate advisor.] | | | | | 2 | Composing and Arranging Instruments and Voice (MUST 3218; 2CR) Syllabus (Charles Leinberger) Techniques for writing idiomatically for various performing forces. [Dr. Leinberger's syllabus says: The use of Music Notation Software to compose and arrange music for various groups of voices and instruments, including strings, brass, woodwinds and percussion. Formatting scores and parts for various ensembles. May be taken for graduate credit with the approval of the graduate advisor.] | | | | | | | | | | | | | | | University of Texas at San Antonio http://music.utsa.edu/ http://www.utsa.edu/ucat/Chapter6/MUS.htmlhttp://music.utsa.edu/mused/musedtracks.html | | Req theory course | Title | Credit hours | Description MUS 1102 Aural Skills I
MUS 1112 Basic Skills of Music I
MUS 1122 Aural Skills II
MUS 1132 Basic Skills of Music II
MUS 2102 Aural Skills III
MUS 2112 Aural Skills IV
MUS 2152 Basic Skills of Music III
MUS 2162 Basic Skills of Music IV
MUS 3113 Analysis of Tonal Music MUS 3313 Microcomputer Applications in Music | | | | | 2 | 1102 Aural Skills I [TCCN: MUSI 1216.]
(2-0) 2 hours credit. Enrollment is limited to music majors and minors.
Offers the opportunity for training in sight-singing, aural skills, and keyboard application. Should be taken concurrently with MUS 1112. | | | | | 2 | 1112 Basic Skills of Music I [TCCN: MUSI 1211.]
(2-1) 2 hours credit. Enrollment is limited to music majors and minors.
A survey of fundamentals and concepts of music. Emphasis on rudiments and melody, with an introduction to harmony. Materials from a variety of style periods are studied. Should be taken concurrently with MUS 1102. | | | | | 2 | 1122 Aural Skills II [TCCN: MUSI 1217.]
(2-0) 2 hours credit. Prerequisite: MUS 1102 or the equivalent. Enrollment is limited to music majors and minors.
Offers the opportunity to continue training in sight-singing, aural skills, and keyboard application, with emphasis on harmonic skills and 20th-century materials. Should be taken concurrently with MUS 1132. | | | | | | | | | | | 2 | 1132 Basic Skills of Music II [TCCN: MUSI 1212.]
(2-1) 2 hours credit. Prerequisite: MUS 1112 or the equivalent. Enrollment is limited to music majors and minors.
Offers the opportunity for development of harmonic analytical and writing skills. Analytical techniques are applied to music from a variety of style periods. Should be taken concurrently with MUS 1122. | | | | | 2 | 2102 Aural Skills III [TCCN: MUSI 2216.]
(2-0) 2 hours credit. Prerequisite: MUS 1122 or the equivalent. Enrollment is limited to music majors.
Sight-singing, aural skills, and keyboard techniques applied to literature and theory drawn from MUS 2152. Should be taken concurrently with MUS 2152. | | | | | 2 | 2112 Aural Skills IV [TCCN: MUSI 2217.]
(2-0) 2 hours credit. Prerequisites: MUS 2102 and MUS 2152, or their equivalents. Enrollment is limited to music majors.
Application of skills to materials drawn from MUS 2162 Basic Skills of Music IV. Should be taken concurrently with MUS 2162. | | | | | 2 | 2152 Basic Skills of Music III [TCCN: MUSI 2211.]
(2-1) 2 hours credit. Prerequisite: MUS 1132 or the equivalent. Enrollment is limited to music majors.
A survey of the chromatic materials of music with emphasis on writing and analytical skills. Includes an introduction to Schenkerian concepts of structural analysis. Should be taken concurrently with MUS 2102. | | | | | 2 | 2162 Basic Skills of Music IV [TCCN: MUSI 2212.]
(2-1) 2 hours credit. Prerequisite: MUS 2152 or the equivalent. Enrollment is limited to music majors.
The continued study of chromatic materials of music and of Schenkerian concepts of analysis. Includes a survey of form as well as an introduction to analytical techniques for early 20th-century music. Should be taken concurrently with MUS 2112. | | | | | 3 | 3113 Analysis of Tonal Music
(3-0) 3 hours credit. Prerequisites: MUS 2112, MUS 2162, and MUS 2243, their equivalents, or consent of instructor.
Analysis of forms and structures from the common practice era of tonal music beginning with a study of such smaller structural units as periods, binaries, and ternaries. Major emphasis is placed on such larger forms and genres as fugue and other contrapuntal types, sonata, and rondo. | | | | | 3 | 3313 Digital Music Production
(3-1) 3 hours credit. Prerequisite: Consent of instructor.
Survey of concepts and development of skills related to current computer-based music production. Topics include MIDI and audio sequencing, tonal synthesis, acoustics, digital audio editing, sound processing, basic live recording, and music distribution. This is the entry course for UTSA’s Certificate in Music Technology program. (Formerly titled Microcomputer Applications in Music.) | | | | Total | 19 | not counting the digital music course | | | Wayland Baptist University www.wbu.edu/music http://www.wbu.edu/academics/schools/music/courses/default.htmhttp://www.wbu.edu/academics/schools/music/degrees/bmme.htm http://www.wbu.edu/academics/schools/music/handbook/08-09MusicHandbook.pdf | | Req theory course | Title | Credit hours | Description MUSI 1401 - Theory, Form and Counterpoint I
MUSI 1402 - Theory, Form and Counterpoint II
MUSI 2401 - Theory, Form and Counterpoint III
MUSI 2402 - Theory, Form and Counterpoint IV
MUSI 4216 - Orchestration
*MUSI 3302 - Music Technology | | | | | 4 | MUSI 1401-1402. Theory, Form and Counterpoint I, II - Integrated course including the
correlation of aural and visual approaches. Fundamentals of music through sight-singing, eartraining, keyboard and improvisation. First semester topics include meter, rhythm, scales, key signatures, intervals, triads, introduction to species counterpoint, and basic harmonic principles. Second semester topics include all diatonic triads and seventh chords, secondary function, modulation to closely-related keys, melodic characteristics and basic form, texture and dramatic shape in music and binary, ternary and rounded binary formal structures. | | | | | 4 | | | | | | 4 | MUSI 2401-2402. Theory, Form and Counterpoint III, IV - An integrated course including
the correlation of aural and visual approaches. Fundamentals of music through sightsinging, ear-training, keyboard, improvisation and guided composition. First semester topics include invention, fugue, 18th Century variation technique, chromatic modulation, Neapolitan and augmented sixth chords, mode mixture, chromatic third relationships and compound ternary, rondo and sonata forms. Second semester topics include the 19th Century practices of enharmonicism, tonicization and linear processes, the solo song, plus an introduction to 20th Century compositional techniques (Impressionism, interval organization, serial procedures and recent musical developments). | | | | | 4 | | | | | | 3 | MUSI 3302. Music Technology - A survey course covering the broad areas of music technology. Topics include music notation, sequencing, computer-assisted instruction, Internet, administrative software audio technology, and integration of music technology into the K-12 public music program. | | | | | | | | | | | 2 | MUSI 4216. Orchestration - Astudy of the principles of scoring for instruments of the orchestra and band. Emphasis on range, tone, color, and technical possibilities of the instruments in addition to scoring for like and mixed groups of instruments. Prerequisites: MUSI 2401 and 2402. | | | | | | | | | | | | | | | | | | MUSI 4343 Inst Score Rdg (3hours) required of Inst majors. I don't see the Music Technology listed in the example of | | | | | | | | | | | | | | | West Texas A&M University http://www.wtamu.edu/academics/music.aspx http://www.wtamu.edu/webres/File/Academics/Catalog/2008-2009/Cat.p.231-316.A-T.pdfhttp://www.wtamu.edu/academics/music-program.aspx http://www.wtamu.edu/webres/File/Student%20Support/Advising/2008-2009%20Degree%20Checklists/Fine%20Arts%20and%20Humanities/Music/mus_ed_voi_bm_0809_rev_f_121208.pdf | | Req theory course | Title | Credit hours | Description Music core requirements: MUSI 1372, 1208, 1209, 1373, 2372, 2373, 3105, 3347, 3349. 3105 is conducting, 3347 and 3349 are music history | | | | | 3 | MUSI 1372 Theory I. [MUSI 1011 and 1016; FOSC] (3 3 2) Notation,
scales, intervals, simple chord construction and
progression; exercises in composition and improvisation;
development of aural dictation and sight-singing
techniques. Fall. Course fee $5. | | | | | 3 | MUSI 1373 Theory II. [MUSI 1012 and 1017; FOSC] (3 3 2)
Prerequisite: 1372. Style analysis, seventh chords, binary
and ternary forms, American popular music styles;
exercises in composition and improvisation; continuation
of aural dictation and sight-singing techniques. Spring.
Course fee $5. | | | | | 3 | MUSI 2372 Theory III. [MUSI 2011 and 2016; FOSC] (3 2 2)
Prerequisite: 1373. Introduction to 18th-century
counterpoint, variation technique and more complex
harmonic structures of Classic and early Romantic periods;
exercises in composition and improvisation; continuation
of aural dictation and sight-singing techniques. Fall.
Course fee $5. | | | | | 3 | MUSI 2373 Theory IV. [MUSI 2012 and 2017; FOSC] (3 2 2)
Prerequisite: 2372. Sonata and rondo forms; styles in
20th-century music and analysis systems; exercises in
composition and improvisation; continuation of aural
dictation and sight-singing techniques. Spring. Course fee
$5. | | | | | 4 | must Take two courses from: MUSI 3256* (MUS 390) Jazz Theory and Practice MUSI 3263* (MUS 391) Form and AnalysisMUSI 3264* (MUS 392) OrchestrationMUSI 3265* (MUS 393) 18th-Century CounterpointMUSI 3266* (MUS 394) Choral ArrangingMUSI 3267* (MUS 395) 20th-Century AnalysisMUSI 3268* (MUS 396) Band ArrangingMUSI 3269* (MUS 397) Advanced Ear TrainingMUSI 3270* (MUS 398) 16th-Century Counterpoint | | | | Total | 16 | | | | | | | If they have a remedial course, this would probably be it. MUSI 1374 Elementary Music Theory. (3 3,0 0) Reading pitch in all
clefs and rhythm in all meters. Sight singing, ear training,
critical listening and interval dictation. Key signatures,
scales, modes, triads, seventh chords and musical terms.
Spring. Course fee $5. | | | | | | | | | | | | | | | | | | | | Sources located Blue: Read and annotated for lit review Black: In EndNote, but no full text Green = have pdf, have not yet read | | Abrahams, F. (2005). The application of critical pedagogy to music teaching and learning: A literature review. Update: Applications of Research in Music Education, 23(2), 12-22. Abrahams, F. (2006). Critical Pedagogy for Music Education: A Best Practice to Prepare Future Music Educators. Visions of Research in Music Education, 7(January 2006). Abril, C. R., & Gault, B. M. (2008). The State of Music in Secondary Schools: The Principal's Perspective. Journal of Research in Music Education, 56(1), 68-81. Adderley, C., Christina Schneider, and Norma Kirkland. (2006). Elementary Music Teacher Preparation in U.S. Colleges and Universities Relative to the National Standards - Goals 2000. 7(January 2006). Adelman, C. (2006). The Toolbox Revisited: Paths to Degree Completion from High School Through College: U.S. Department of Education. Asmus, E. (2001). How Many Courses? What Content? Journal of Music Teacher Education, 10(2), 5-6. Asmus, E. P. (2005). The Impact of Music Education on Home, School, and Community, Sounds of Learning. Greensboro, NC. Asmus, E. P., Jr. (2004). Music Teaching and Music Literacy. Journal of Music Teacher Education, 13(2), 6-8. Asmus, E.P. (1986a). Student beliefs about the causes of success and failure in music; A study of achievement motivation. Journal of Research in Music Education, 34, 262-278. Baker, I. a. A. K. (1992). Remedial Theory Courses for Underprepared Students: An Experimental Program to Develop Successful Teaching and Learning Strategies. Journal of Music Theory Pedagogy, 6, 97-110. Ballantyne, J. (2006). 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A study of college teacher preparation programs and certain secondary programs in music as reflected by opinions from secondary music teachers and administrators (Doctoral dissertation, East Texas State University, 1968). Dissertation Abstracts International, 29, 04, 1065A. [No abstract or full text available in ProQuest] Colman, J. P. (1990). The development and validation of a computerized diagnostic test for the prediction of success in the first-year music theory sequence by incoming freshmen at Michigan State University. Unpublished Ph.D., Michigan State University, United States -- Michigan. Colwell, R. (2000). The Music Education/Arts Education Path. Arts Education Policy Review, 101(3), 19. Colwell, R. (2006). Music teacher education in this century. I. Arts Education Policy Review, 108(1), 15-27. Colwell, R. (2006). Music teacher education in this century. II. Arts Education Policy Review, 108(2), 17-29. Colwell, R. (1985). Program evaluation in music teacher education. Bulletin of the Council for Research in Music Education, 81, 18-62. Combs, S., Texas Comptroller. (2008). Education, Texas In Focus: A Statewide View of Opportunities. Austin, Texas: Texas Comptroller of Public Accounts. Conway, C. (2002). Perceptions of beginning teachers, their mentors, and administrators regarding preservice music teacher preparation. Journal of Research in Music Education, 50(1), 20. Conway, C., & Holcomb, A. (2008). Perceptions of Experienced Music Teachers Regarding Their Work as Music Mentors. Journal of Research in Music Education, 56(1), 55-67. Conway, C. M., Hibbard, S., Albert, D., & Hourigan, R. (2005). Voices of Music Teachers Regarding Professional Development. Arts Education Policy Review, 107(1), 11-14. Conway, C. (2001). What Has Research Told Us about the Beginning Music Teacher? Journal of Music Teacher Education, 10(2), 14-22. Corbett, D. L. (1977). An analysis of the opinions of recent music education graduates from Kansas teacher training institutions regarding the adequacy of their preparation to teach music (Doctoral dissertation, University of Kansas, 1977). Dissertation Abstracts International, 38, 07, 4007A. Corley, Alton L. 2003. An investigation of the predictive relationship of academic variables in three different learning environments to the intentions of music education majors to leave the degree program. Ph.D., University of North Texas, United States -- Texas. Cutietta, R. (2007). Content for Music Teacher Education in This Century. Arts Education Policy Review, 108(6), 11-18. Czaja, R. a. J. B. (2005). Designing Surveys: A Guide to Decisions and Procedures. Thousand Oaks, CA: Sage Publications. Darling-Hammond, L. (2006). Powerful Teacher Education. San Francisco, CA: Jossey-Bass. Darnell, J. (1963). An evaluation of the bachelor of music education curriculum at Murray State College through an analysis of the opinions of its teaching graduates. (Doctoral dissertation, Indiana University, 1963). Dissertation Abstracts International, 25, 05, 3016. [No abstract or full text in ProQuest] David, Samuel E. 1968. Predicting Probably Failure in College-Level Theory Courses, University of Montana. Davidian, T. (2004). The New Music Theory Curriculum in Texas Public Colleges and Universities: Causes, Components, and Challenges. Journal of Music Theory Pedagogy, 18, 127-145. Depugh, D. L. (1987). CHARACTERISTICS OF SUCCESSFUL SENIOR HIGH SCHOOL CHORAL DIRECTORS IN THE STATE OF MISSOURI: A SURVEY OF TEACHER SELF-PERCEPTION AND STUDENT AND ADMINISTRATOR ASSESSMENT. Unpublished Ph.D., University of Missouri - Columbia, United States -- Missouri. (have abstract but no pdf) [abstract states that music theory/history were neglected in class] Duyk, Joan M. "Historical-Analytical Versus Common Practice Period Approach in Junior College Music Theory." PhD dissertation, University o9f North Carolina at Chapel Hill, 1977.[No abstract or full text in ProQuest] Education. (2008). In S. Combs, Texas Comptroller (Ed.), Texas In Focus: A Statewide View of Opportunities. Austin, Texas: Texas Comptroller of Public Accounts. Elliott, David, "Rethinking Music Teacher Education," Journal of Music Teacher Education (Fall 1992): 6-15. Elsass, J. F. (1956). Evaluation of the preparation of the graduates of the music department of the University of Texas 1842-1954 (Doctoral dissertation, The University of Texas at Austin, 1956). ADD 1956, p. 119. [No abstract or full text in ProQuest] Ernest, D.J. (1970) The prediction of academic success of college music majors. Journal of Research in Music Education, 18, 273-276. Essential Knowledge and Skills, 74.1 C.F.R. (1996). Ester, D. P. (2004). Raising The Standards Music Teacher Education in a Performance-Based World. Journal of Music Teacher Education, 14(1), 34-38. Ester, D. P., & Brinkman, D. J. (2005). What Is the Role of MENC, NASM, or Other State or National Professional Organizations in Providing Leadership and Support for New Research and Models? Journal of Music Teacher Education, 14(2), 37-43. Finley, J. T. (1969). A follow-up study of the elementary and secondary school music teachers prepared at Jacksonville State University from 1956 through 1968 through a survey of graduates' opinions, college grades, employers' evaluation, and pre-college experience (Doctoral dissertation, Peabody College for Teachers of Vanderbilt University, 1969). Dissertation Abstracts International, 31, 06, 2954A.[No abstract or full text in ProQuest] Fisher, H. P. (1969). Music teacher preparation at Oklahoma State University (Doctoral dissertation, The University of Oklahoma, 1969). Dissertation Abstracts International, 30, 04, 1586A. Fonder, M. & Eckrich, D. W. (1999). A survey on the impact of the voluntary national standards on American college and university music teacher education curricula. Bulletin of the Council for Research in Music Education, 140, 28-40.[have hard copy that Jared brought me] Forsythe, J. L., Kinney, D. W., & Braun, E. L. (2007). Opinions of Music Teacher Educators and Preservice Music Students on the National Association of Schools of Music Standards for Teacher Education. Journal of Music Teacher Education, 16(2), 19-33. Forte, A. (1977). Music Theory in Re-Transition: Centripetal Signs. College Music Symposium, 17(1), 156-162. Fredrickson, W. E., & Hackworth, R. S. (2005). Analysis of first-year music teachers' advice to music education students. Update: Applications of Research in Music Education, 23(2), 4-11. Fredrickson, W. E. (2005). Editor's Commentary Assumptions. Journal of Music Teacher Education, 14(2), 44-46. Fredrickson, W. E., & Burton, J. B. (2005). 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Teaching music theory in the traditional wind band rehearsal: A rationale, survey of materials, and recommendations. Unpublished D.M.A., The University of Southern Mississippi, United States -- Mississippi. Harrison, C. S., Asmus, E. P., & Serpe, R. T. (1994). Effects of Musical Aptitude, Academic Ability, Music Experience, and Motivation on Aural Skills. Journal of Research in Music Education, 42(2), 131-144. Harrison, C. S. (1990). Predicting Music Theory Grades: The Relative Efficiency of Academic Ability, Music Experience, and Musical Aptitude. Journal of Research in Music Education, 38(2), 124-137. Harrison, C. S. (1990). Relationships between Grades in the Components of Freshman Music Theory and Selected Background Variables. Journal of Research in Music Education, 38(3), 175-186. Hickey, M., & Rees, F. (2002). Developing a Model for Change in Music Teacher Education. Journal of Music Teacher Education, 12(1), e7-11. Hope, S. (2007). Strategic Policy Issues and Music Teacher Preparation. Arts Education Policy Review, 109(1), 3-10. Howard, B. (1974). Teaching Music Theory: The University. Journal of Music Theory, 18(1), 51-58. Humphreys, J. T. (2006). 2006 Senior Researcher Award Acceptance Address: Observations about Music Education Research in MENC's First and Second Centuries. Journal of Research in Music Education, 54(3), 183-202. Humphreys, J. T. a. J.-c. W. (2006). An Unbalanced Diet: Multicultural and Popular Music in the Teacher Education Curriculum. Paper presented at the Diennial In-Service Conference of MENC. Ingersoll, R. M. (2005). The Problem of Underqualified Teachers: A Sociological Perspective. Sociology of Education, 78(2), 175-178. Ingersoll, R. M. (1999). The Problem of Underqualified Teachers in American Secondary Schools. Educational Researcher, 28(2), 26-37. Ingersoll, R. M. (2001). Teacher Turnover and Teacher Shortages: An Organizational Analysis. American Educational Research Journal, 38(3), 499-534. Jellison, J. A. (2005). It's About Time. Arts Education Policy Review, 106(5), 29-36. Jones, P. M. (2006). Developing strategic thinkers through music teacher education: A "best practice" for overcoming professional myopia and transforming music education. Arts Education Policy Review, 108(6), 3-10. Jones, P. M. (2005). Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities. Arts Education Policy Review, 106(4), 5-12. Jones, P. M. (2006). Returning Music Education to the Mainstream: Reconnecting with the Community. Visions of Research in Music Education, 7(January 2006) Jorgensen, E. R. (2005). Four philosophical models of the relationship between theory and practice. Philosophy of Music Education Review, 13(1), 21-36. Karpinski, G. S. (2000). Lessons from the past: Music theory pedagogy and the future. Paper presented at the Plenary session, United States. Kerman, Joseph. 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Kohs, E. B. (1980). Current Needs and Problems in the Teaching of Undergraduate Music Theory. Music Theory Spectrum, 2, 135-142. Lekberg, S. (1942). The Problem of the Music Student. Music Educators Journal, 28(6), 48-50. Leonhard, C. (1985). Toward Reform in Music Teacher Education. Bulletin of the Council for Research in Music Education, 81(Winter 1985), 10-17. Lindeman, C. (2002). Proceedings. Paper presented at the The 78th Annual Meeting of the National Association of Schools of Music. Livingston, C. (2003). Changing Trends in Preparing Students for College Level Theory. American Music Teacher, 53(1), 26-29. Lofgren, N. R. (1974). A task-analysis approach to determine musical and extramusical competencies of school music teachers (Doctoral dissertation, Baylor University, 1974). Dissertation Abstracts International, 35, 11, 7171A. Louk, D. P. (2002). National standards for music education: General music teachers' attitudes and practices. 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Reflections from 10 Music Education Majors Concerning Their Three Semesters of Field Experience. Journal of Music Teacher Education, 16(2), 45-60. Meaux, R. J. (2004). A descriptive analysis of twenty-six undergraduate music education programs at Texas four-year colleges and universities accredited by the National Association of Schools of Music. Unpublished doctoral dissertation, University of Houston. Millican, J. S. (2008). A New Framework for Music Education Knowledge and Skill. Journal of Music Teacher Education, 18(1), 67-78. Millican, J. S. (2007). Secondary instrumental music teachers' evaluation of essential knowledge and skills for successful teaching. Unpublished Ph.D., The University of Oklahoma, United States -- Oklahoma. Muller, Patricia M., The Relationship of fluency in fundamental skills of pitch notation and Music Theory Achievement, Ph.D. Dissertation, Florida State University, 1993. Napoles, J. (2006). The Relationship between Type of Teacher Talk and Student Attentiveness. Journal of Music Teacher Education, 16(1), 7-19. NASM. (2007). Texas Accredited Institutions. Retrieved July 7, 2008. from http://nasm.arts-accredit.org/index.jsp?page=Member%20Lists. Niermen, G. E., Ken Zeichner, and Nikola Hobbel. (2002). Changing Concepts of Teacher Education. In R. C. a. C. Richardson (Ed.), The New Handbook of Research on Music Teaching and Learning (pp. 818-839). New York, NY: Oxford University Press. Orman, E. K. (2002). Comparison of the National Standards for Music Education and Elementary Music Specialists' Use of Class Time. Journal of Research in Music Education, 50(2), 155-164. Palisca, C. V. a. I. D. B. (2008). Theory, theorists, Grove Music Online: Oxford University Press. Pembrook, R. G. a. H. L. R. (1990). "Send Help!": Aural Skills Instruction in U.S. Colleges and Universities. Journal of Music Theory Pedagogy, 4(2), 231-241. Quinn, I. (2005). 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J.M.T.E.: Journal of music teacher education. XIV/2 (spring 2005): The future of music teacher education, 14(2), 22-29. Roby, A.R. (1962). A study in the correlation of music theory grades with the Seashore Measures of Musical Talents and the Aliferis Music Achievement Test. Journal of Research in Music Education, 10, 137-142. Rodeheaver, R.E. (1972). An investigation of the vocal sight-reading ability of college freshmen music majors, Unpublished doctoral dissertation, University of Oklahoma, Norman. Rogers, M. R. (2000). How much and how little has changed? Evolution in theory teaching. College Music Symposium, 40, 110-116. Rogers, M. R. (2004). Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies (2nd ed.). Carbondale, IL: Southern Illinois University Press. Rose, A. M. (1990). Music education in culture: A critical analysis of reproduction, production and hegemony. Unpublished Ph.D., The University of Wisconsin - Madison, United States -- Wisconsin.\ Rohwer, D. a. W. H. (Spring 2004). University Teachers' Perceptions of Requisite Skills and Characteristics of Effective Music Teachers. Journal of Music Teacher Education, 18-27. Roulston, K., Legette, R. M., & Womack, S. T. (2005). Beginning music teachers' perceptions of the transition from university to teaching in schools. Music Education Research, 7(1), 59-82. Scheib, J. W., & Burrack, F. W. (2006). Enhancing Interaction between University and Public School Music Teachers: The Design and Impact of a Local Needs Assessment Project. Journal of Music Teacher Education, 16(1), 32-40. Schiano, M. J. (1999). The Role of Musical Set Theory in Undergraduate Education. Journal of Music Theory Pedagogy, 39, 64-86. Schachter, Carl. "Diversity and the Decline of Literacy in Music Theory." CMS 17/1 (Spring 1977), 150-53. Sheldon, D. A., & DeNardo, G. (2004). Comparing Prospective Freshmen and Preservice Music Education Majors' Reflections of Music Interactions. Journal of Music Teacher Education, 14(1), 39-44. Sheldon, D. A., & DeNardo, G. (2005). Comparisons of Higher-Order Thinking Skills among Prospective Freshmen and Upper-Level Preservice Music Education Majors. Journal of Research in Music Education, 53(1), 40-50. - Sherman, Robert W. 1969. As Taught, Music Theory Is an Anachronism. Music Educators Journal 56 (2):39-41.
- Sherman, Robert W. 1971. Creativity and the Condition of Knowing in Music: Part 2. Music Educators Journal 58 (3):59-61.
- Shires, L., Jr. (1990). Teacher preparation needs of music education graduates from Northern Arizona University. Unpublished Ed.D., Northern Arizona University, United States -- Arizona.
- Shulman, L. (1986). Those who understand: Knowledge growth in teaching. Educational Researcher, 15(2), 6.
Smith, T. A. (1994). An ExSPRT Systems Approach to the Assessment of Students Needing Remediation in Music Theory. Journal of Music Theory Pedagogy, 8, 179-200. Smith, T. A. (1999). Predictive Validity of the "Ready or Not" System for the Assessment of Students Needing Remediation in Music Theory. Journal of Music Theory Pedagogy, 13, 1-25. Sogin, D. W., & Wang, C. C. (2002). An Exploratory Study of Music Teachers' Perception of Factors Associated with Expertise in Music Teaching. Journal of Music Teacher Education, 12(1), e12-18. Spurgeon, A. (2004). Proposed Changes for the Undergraduate Elementary Music Education Curriculum. General Music Today, 17(3), 28-32. Stanton, H. M., & Clark, F. E. (1926). Report on Use of Seashore Tests at Eastman School of Music. Music Supervisors' Journal, 12(4), 20-26. State Teacher Policy Yearbook, National Summary, 2007 (Washington, DC: National Council on Teacher Quality, 2007): 92. - Stegall, J. R., Blackburn, J. E., & Coop, R. H. (1978). Administrators' Ratings of Competencies for an Undergraduate Music Education Curriculum. Journal of Research in Music Edu
Stutes, A. B. (1995). Connected teaching: Integrating learning styles with developmental stages in the freshman music theory classroom. Unpublished Ph.D., Texas Tech University, United States -- Texas. Taba, H. (1962). Curriculum Development. New York, NY: Harcourt, Brace, and World. TAC, Educator Assessment, 230.5 C.F.R. (2001). Taebel, D. K. (1990). Is evaluation fair to music educators? Music Educators Journal, 76(6), 50. Taebel, D. K. (1980). Public School Music Teachers' Perceptions of the Effect of Certain Competencies on Pupil Learning. Journal of Research in Music Education, 28(3), 185-197. Taylor, B.P. 1980. The Relative Importance of Various Competencies Needed by Choral-General Music Teachers in Elementary and Secondary Schools as Rated by College Supervisors, Music Supervisors and Choral-General Music Teachers, Indiana University. Teachout, D. J. (2005). A call for action in music teacher education. J.M.T.E.: Journal of music teacher education. XIV/2 (spring 2005): The future of music teacher education, 14(2), 5-7. Teachout, D. J. (1997). Preservice and Experienced Teachers' Opinions of Skills and Behaviors Important to Successful Music Teaching. Journal of Research in Music Education, 45(1), 41-50. Teachout, D. J. (2005). The future of music teacher education. Journal of Music Teacher Education, 14(2), 3-69. Teachout, D. J. (2006). Understanding the ties that bind and the possibilities for change. Arts Education Policy Review, 108(6), 19-32. Texas Essential Knowledge and Skills for Fine Arts, 28.002 C.F.R. § 117.51 (1998). Thomas, S. J. (2004). Using Web and Paper Questionnairs for Data-Based Decision Making. Thousand Oaks, CA: Corwin Press. Thompson, E. D. (1964). A Philosophy of Teaching Music Theory. Music Educators Journal, 50(6), 72-73. Thompson, L. K. (2007). Considering Beliefs in Learning to Teach Music. Music Educators Journal, 93(3), 30-35. Toch, T. a. R. R. (2008). Rush to Judgment: Teacher Evaluation in Public Education. Washington, DC. Wagner, M. J., & Strul, E. P. (1979). Comparisons of Beginning versus Experienced Elementary Music Educators in the Use of Teaching Time. Journal of Research in Music Education, 27(2), 113-125. Walton, C. W. (1981). Targeting the Teaching of Theory. Music Educators Journal, 67(6), 40-68. Wason, R. W. (2002). Musica practica: Music theory as pedagogy. In The Cambridge history of Western music theory (pp. 46-77). United Kingdom: Cambridge University Press. Webster, P. R. (1999). Preparing Teachers of Music for a Lifetime. Journal of Aesthetic Education, 33(4), 179-192. White, J. D. (2002). Guidelines for College Teaching of Music Theory (2nd ed.). Lanham, Maryland: Scarecrow Press. White, J. (2000). Music theory and pedagogy before and after the millennium. 375-390. Wiggins, J. (2007). Authentic Practice and Process in Music Teacher Education. Music Educators Journal, 93(3), 36-42. Yarbrough, C. (1975). Effect of Magnitude of Conductor Behavior on Students in Selected Mixed Choruses. Journal of Research in Music Education, 23(2), 134-146. Yarbrough, C., & Madsen, K. (1998). The Evaluation of Teaching in Choral Rehearsals. Journal of Research in Music Education, 46(4), 469-481. Yarbrough, C., & Price, H. E. (1989). Sequential Patterns of Instruction in Music. Journal of Research in Music Education, 37(3), 179-187.
| Absolutely have to find these - can't get them online: College Music Symposium Boston has all of these Bland, Leland. "The College Music Theory Curriculum: The Synthesis of Traditional and Comprehensive Musicianship Approaches." College Music Symposium (Fall 1977): 167-74. Gamer, Carlton. "Sketch of a Foundation for Music Theory Today." CMS 17/1 (Spring 1977), 153-56. Rogers, M. R. (2000). How much and how little has changed? Evolution in theory teaching. College Music Symposium, 40, 110-116.
Merrit, A. T. (2000). Undergraduate training in music theory. College Music Society Symposium, 40, 91-100. (Reprinted from College Music Society Symposium, 5, 1965)
American Music Teacher (back issues) Boston has it in microform Bowman, Judith. "Please Teach Music Theory in High School: A Rebuttal of Earl Henry's 'Please Stop Teaching College Theory in High School.' " The American Music Teacher 32, no. 1, September-October 1982, 34-35. Ehle, Robert C., ''What Should Be Taught in Freshman Music Theory Class?'' The American Music Teacher, 32 (2), (September/October 1982): 44-45. [Journal not available online that far back] Henry, Earl, ''Please Stop Teaching College Theory in High School,'' The American Music Teacher, 31 (1), (September/October 1981): 2-3
| | Sources still needed Journal of Research in Music Education: Sage only has 2005 on | Adderley, C. L. (2000). Preparation of Future K-4 Music Teachers Relative to the National Standards--Goals 2000, Contributions to Music Education, 27(2), 59-70, Spring 2000. Ballantyne, J., & Packer, J. (2004). Effectiveness of preservice music teacher education programs: Perceptions of early-career music teachers. Music Education Research, 6(3), 299-312. Bartel, Lee R. "Questioning the Music Education Paradigm" (Toronto: CMEA, 2004) Bent: ‘History of Music Theory: Margin or Center?’, Theoria, v (1993), 1–21 Bernhard, H. C. (2005). Burnout and the college music education major. Journal of Music Teacher Education, 15(1), 43-51. [I have the 2007 version published in the College Student Journal] Bland, Leland. "The College Music Theory Curriculum: The Synthesis of Traditional and Comprehensive Musicianship Approaches." College Music Symposium (Fall 1977): 167-74. Cass, Jeanette. "Living Principles of Essential Musicianship: Static but Dynamic." College Music Association: Papers 1957, 5-17. Cohn, Richard. "Music Theory's New Pedagogability." Music Theory Online 4/2 March 1998). Gagne, David. "The Place of Schenkerian Analysis in Undergraduate and Graduate Curricula." Indiana Theory Review 15/1 (1994). - Gates, J. Terry. "Music Education in the United States: Contemporary Issues" (Tuscaloosa: University of Alabama Press, 1988).
- Gauldin, Robert. "Some Personal Reflections on Past Methods of Teaching and What They Can Tell Us About Current and Future Initiatives" Journal of Music Theory Pedagogy, vol. 17 (2003)
Gordon, Philip. "Major Objectives in Teaching Theoretical Music." MEJ 28/1 (September-October 1941), 63-4. Schleuter, S.L. & Schleuter, L.J. (1978). The development of a college version of the Musical Aptitude Profile. Psychology of Music, 6, 39-42. Harrison, C. S. (1987). The validity of the Musical Aptitude Profile for predicting grades in freshman music theory. Educational and Psychological Measurement, 47, 477-482. - Haydon, Glen. "The Adjustment to the College Student of Teaching Methods in Theory." PMTNA 29 (1935), 138-43.
- Hickey, Maud and Fred Rees. "Designing a Blueprint for Curricular Reform in Music Teacher Education" College Music Symposium, vol. 40, 2000.
Hoffman, M. E. (1988). Teacher competence and the balanced music curriculum. Reston, VA: Music Educators National Conference. Krenek, Ernst. "Traditional and New Techniques in Teaching Theory." PMTNA 37 (1944), 283-87. Lee, R. E. (1967). An investigation of the use of the Musical Aptitude Profile with college and university freshman music students. Journal of Researchin MusicE ducation, 15, 278-288. - Charles Leonhard, "The Challenge," Bulletin of the Council for Research in Music Education 117 (Summer 1993): 1-8.
Lewin, David. "Some Problems and Resources of Music Theory." Journal of Music Theory Pedagogy 5/2 (1991), 1-32. Louk, D. (2003, March). National standards for music education: general music teachers’ attitudes and practices. Paper presented at the MENC Eastern Division Biennial In-Service Conference, Providence, RI. Madsen, C.K., & Hancock, C.B. (2002). Support for music education: A case study of issues concerning teacher retention and attrition. Journal of Research in Music Education, 50, 6-19. Moore, Earl V. "Standardizing Theory Courses In Universities." PNTNA 19 (1925), 225-31. National Board for Professional Teaching Standards. (2004). What teachers should know and be able to do. Arlington, VA: Author. Retrieved from www.nbpts.org/about/coreprops.cfm#knowdo on August 1, 2006. Polster, Ian. "Theory Preparation for Future Teachers: Process vs. Information" (paper presented at Michigan Conference of Music Theory, Ann Arbor, October 1975). Quarles, James T. "The Standardization of Theoretical Courses in Schools and Colleges." PNTNA 19 (1925), 232-43. Richards, C., & Killen, R. (1993). Problems of beginning teachers: Perceptions of pre-service music teachers. Research Studies in Music Education, 1, 40-51. Rogers, Michael R. "Trends and Issues in Music Theory Teaching." Journal of Music Theory Pedagogy 1/1 (Spring 1987), 1-5. Shatzkin, Merton, A Review of Judith Ann Bowman, An Investigation of Two Methods of Preparation for College Level Music Theory (Precollegiate Remediation, CAI), Ph.D. Dissertation, University of Rochester, Eastman School of Music University Microfilm Order No. 8413064, 1984, Council for Research in Music Education, 62, (Summer 1987): 62-65. Schmidt, P. (2002). Looking for a broader road: College music education curriculum through social lenses. Paper presented at the Mayday Group, Columbus, OH. Strauss, Valerie [interview with Libby Larsen], “For Music Teachers, a Trumpet Call to Relevance,” Washington Post (March 2, 2004), Page A09. Thiessen, D., & Barrett, J. R. (2002). Reform-minded music teachers. In R. Colwell, & Richardson, C. (Ed.), The New Handbook of Research on Music Teaching and Learning (pp. 759-785). Oxford: Oxford University Press - Van den Toorn, Pieter. Music, Politics, and the Academy. Berkeley: University of California Press, 1995.
- Wennerstrom, Mary. "The Undergraduate Core Music Curriculum at Indiana University." Journal of Music Theory Pedagogy 3/2 (Fall 1989): 153-76.
- Willoughby, David, Comprehensive Musicianship and Undergraduate Music Curricula. Washington, D.C. , MENC, 1971.
Yourn, B.R. (2000). Learning to teach: Perspectives from beginning music teachers. Music Education Research, 2(1), 181-192.
[10.] Margaret Merrion, "How Do You Evaluate a Music Teacher'?" Principal 66, no. 1 (1986), 30-32 Richard Sang, "A Study of the Relationship between Instrumental Music Teachers' Modeling Skills and Pupil Performance Behaviors," Bulletin of the Council for Research in Music Education 91 (1987): 155-59;Davidson, Marilyn. 2003. An undergraduate music education curriculum for the 21st century. Rev. ed. Unpublished committee report presented at the annual meeting of the College Music Society (CMS), Miami, FL, October 2003. | Is evaluation fair to music educators? | | Author: | Taebel, Donald K. |
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| Add.Author / Editor: | Taebel, Donald K. |
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| Citation: | Music Educators Journal Feb90, Vol. 76 Issue 6, p50 |
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| Year: | 1990 |
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| Abstract: | Reports that more American states are introducing teacher evaluation in the 1990s. Reason for the introduction of teacher evaluation; Significance of the low performance of music teachers in the majority of the competencies; Information on the method of teacher evaluation used in Georgia. INSET: MENC policy statement on music teacher evaluation.. |
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from Cannon: Recent research has indicated that little differences existed between preservice and expert teachers with regard to aural-diagnostic and prescriptive approaches for ensemble performance problems (Doerksen, 1999). Sheldon’s research (2000) concluded that the level of teaching experience did not seem to affect subject response on items related to aural-diagnostic skills. However, Goolsby (1999) discovered that though novice teachers used much more time to rehearse a band piece for performance, the expert teachers’ performances were evaluated to be superior to those by the novice teachers. Mark, D. (1998). The music teacher's dilemma - musician or teacher? International Journal ofMusic Education , 32, 3-23.MURPHY, R. (2007) ‘Harmonizing assessment and music in the classroom’, in L. Bresler (Ed) International Handbook of Research in Arts Education (pp. 361–79). Dordrecht: Springer. available in Google Books, link: http://books.google.com/books?hl=en&lr=&id=6hxGDALSoOYC&oi=fnd&pg=PR17&dq=%22Bresler%22+%22International+handbook+of+research+in+arts+education%22+&ots=8Oe0oDnmUu&sig=U_OADm7cr5ZTWbs7bfPgsvwVu10#v=onepage&q=&f=false Darling-Hammond, L. (2000). Teacher quality and student achievement: A review of state Duke, R. A. (1987). Observation of applied music instruction: The perceptions of trained and untrained observers. In C. K. Madsen & C. A. Picket (Eds.), Applications of research in music behavior (pp. 115-124). Tuscaloosa: University of Alabama Press. Duke, R. A., & Picket, C. A. (1987). The effect of differentially focused observation on evaluation of instruction. Journal of Research in Music Education, 35, 27-37. Hamann, D. L., & Lawrence, J. E. (1994). University music educators' effectiveness as determined by public school music educators. Update: Applications of Research in Music Education, 12 (2), 21-27. Hendel, C. (1995). Behavioral characteristics and instructional patterns of selected music teachers. Journal of Research in Music Education, 43, 182-203. Houpy, R. L. (1989). The relationships between a measure of effective teacher JRME 455 behavior and certain supervisor-evaluator and teacher-evaluator characteristics (Doctoral dissertation, University of New Orleans, 1988). Dissertation Abstracts International, 50, 344A. Moore, R. S. (1981). Comparative use of teaching time by American and British elementary music specialists. Bulletin of the Council for Research in Music Education, no. 66-67, 62-68. Sims, W. L. (1986). The effect of high versus low teacher affect and passive ver- sus active activity during music listening on preschool children's attention, piece preference, time spent listening, and piece recognition. Journal of Research in Music Education, 34, 173-191. Taebel, D. K. (1990). An assessment of the classroom performance of music teachers. Journal of Research in Music Education, 38, 5-23. Wagner, M., & Strul, E. (1979). Comparisons of beginning versus experienced elementary music educators in use of teaching time. Journal of Research in Music Education, 27, 113-125. Yarbrough, C. (1975). The effect of magnitude of conductor behavior on per- formance, attentiveness, and attitude of students in selected mixed chorus- es. Journal of Research in Music Education, 23, 134-146. of characteristics of successful choral directors (DePugh, 1988) Price, H., & Hardin, L. (1988, April). Elementary school teachers' comparative use of class time: Teacher who are versus those who are not OrffSchulwerk certified. Paper presented at the 1988 national convention of Music Educators Conference. Indianapolis, Indiana policy evidence. Education Policy Analysis Archives, 8(1), 1-46 Sage Journals have: | - Music Educators Journal
- General Music Today
- Journal of Music Teacher Education
- Update: Applications of Research in Music Education
- Journal of Research in Music Education
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 From the International Society for Music Education
| | - International Journal of Music Education
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Request from ILL Red = already requested Bowman, Judith. "Please Teach Music Theory in High School: A Rebuttal of Earl Henry's 'Please Stop Teaching College Theory in High School.' " The American Music Teacher 32, no. 1, September-October 1982, 34-35. Bowman, Judith. "Report: Theory 90." Rochester, NY: Eastman School of Music, University of Rochester, 1981. Bowman, Judith. "Report: Theory 90." Rochester, NY: Eastman School of Music, University of Rochester, 1981. Brody, Martin. "Music for the Masses: Milton Babbitt's Cold War Music Theory." Musical Quarterly 77/2 (Summer 1993), 161-92. Ehle, Robert C., ''What Should Be Taught in Freshman Music Theory Class?'' The American Music Teacher, 32 (2), (September/October 1982): 44-45. [Journal not available online that far back] Henry, Earl, ''Please Stop Teaching College Theory in High School,'' The American Music Teacher, 31 (1), (September/October 1981): 2-3
On the Fringe Allen, Michael L. "A longitudinal study of vocational commitment among undergraduate music majors. J.M.T.E: Journal of Music Teacher Education, Vol. 12; Issue 2; spring 2003 pp. 12-17 (online) Allsup, Randall Everett. “Transformational Education and Critical Music Pedagogy: examining the link between culture and learning,” Music Education Research 5, No. 1 (2003): 5-12. Baker, D. S., & Saunders, T. C. (1994). In-service classroom teachers' perceptions of useful music skills and understandings. Journal of Research in Music Education, 39, 248-261. Brown, A.L., & Alley, J.M. (1983). Multivariate analysis of degree persistence of undergraduate majors. Journal of Research in Music Education, 31, 271-281. Bladh, Stephan and Marja Heimonen. 2007. “Music Education and Deliberative Democracy.” Action Criticism and Theory for Music Education, Vol. 6, No. 1: http://act.maydaygroup.org/articles/Bladh_Heimonen6_1.pdf. Blaukopf, Kurt. 1992. Musical Life in a Changing Society (Revised Edition). Translated by D. Marinelli. Portland OR: Amadeus Press. Boardman, Eunice, "New Environments for Teacher Education," Music Educators Journal 79, no. 2 (1992): 42. 0 - Brody, Martin. "Our Music." Musical Quarterly 79/3 (Fall 1995), 544-51.
Butler, A. (2001). Preservice music teachers’ conceptions of teaching effectiveness, microteaching experiences, and teaching performance. Journal of Research in Music Education, 49(2), 258-272. Conkling, S. W. (2007, January). The possibilities of situated learning for teacher preparation: The professional development partnership. Music Educators Journal, 93(4), 44-48. - Cone, Edward T. "Beyond Analysis." PNM 6/1 (Fall-Winter 1967), 33-51.
Corley, Alton L. An investigation of the predictive relationship of academic variables in three different learning environments to the intentions of music education majors to leave the degree program. Ann Arbor, MI: PhD; University of North Tesxas, 2003) Council for Basic Education, Academic Atrophy: The Condition of the Liberal Arts in America’s Public Schools. Council for Basic Education, March 2004. Edenfield, T.N. (1989). A descriptive analysis of nonmusicians' early music experiences. Southeastern Journal of Music Education, 1, 33-43. Engebretsen, Nora and P. F. Broman. "Transformational Theory in the Undergraduate Curriculum: A Case for Teaching the Neo-Reimannian Approach" Journal of Music Theory Pedagogy vol. 21 (2007). Fowler, C. B. (1988). "Toward a Democratic Art: A Reconstructionalist View of Education." In T. Gates (Ed.), Music Education in the United States (pp. 130 - 155). Tuscaloosa: University of Alabama Press. Frahm, Robert A. 2005. Schools 'Losing Ground' in Arts. In Hartford Courant, Education, http://www.courant.com/news/education/hcschoolarts. artsep06,0,1792881.story?coll=hc-headlines-education. - Gamer, Carlton. "Sketch of a Foundation for Music Theory Today." CMS 17/1 (Spring 1977), 153-56.
- Grant, J. W., & Drafall, L. E. (1991). Teacher effectiveness research: A review and comparison. Bulletin of the Council for Research in Music Education, no. 108, 31-48. [read it, but perhaps not applicable]
Grundy, Shirley. 1987. Curriculum: Product or Praxis. London: Falmer Press. Haack, P. (2003). Challenges faced by beginning music teachers. In C. M. Conway (Ed.), Great beginnings for music teachers: Mentoring and supporting new teachers (pp. 9-24). Reston, VA: MENC: The National Association for Music Education. Hanson, John R. "Pedagogy of Sixteenth-Century Counterpoint: Selected Examples with Commentary," T&P 4/1 (March 1979), 5-14. Humphreys, Jere T. and Jui-ching Wang, "An Unbalanced Diet: Multicultural and Popular Music in the Teacher Education Curriculum," session presented at the Biennial In-Service Conference of MENC: The National Association for Music Education, Salt Lake City, UT, April 20, 2006. - Kingsbury, Nicholas. Music, Talent, and Performance: A Conservatory Cultural System. Philadelphia: Temple University Press, 1988.
- Kliewer, Vernon. "Music Theory's Negativisms, Fallacies, Divisions, and Needs." CMS 17/1 (Spring 1977), 137-42.
- Kresky, Jeffrey. "'Urban Legends' for Music Theorists." MTS 25/1 (Spring 2003), 121-25.
- Larson, Steve. "Integrated Music Learning and Improvisation: Teaching Musicianshop and Theory Through Menus, Maps, and Models." College Music Symposium 35 (1995); 76-90.
- Lehnhoff, Charlotte. 'When is a Theorist? and for Whom?" ITO 1/4 (July 1975), 26-7.
Mancini, David. "Teaching Set Theory in the Undergraduate Curriculum." Journal of Music Theory Pedagogy 5/1 (Spring 1991): 95-107. Mancini, David. "Using Species Counterpoint in the Undergraduate Theory Curriculum." Journal of Music Theory Pedagogy 3/2. (Fall 1989): 205-21. Maus, Fred Everett. "Teaching with Westergaard's Counterpoint Rules." Journal of Music Theory Pedagogy 6 (1992), 83-96. - Thompson, Linda K. "Freshmen Music Education Majors' Preconceived Beliefs about the People and Processes Involved in Teaching" (doctoral dissertation, University of Arizona, Tucson, 2000);
- Madsen, C. K., Standley, J. M., & Cassidy, J. W. (1989). Demonstration and recognition of high and low contrasts in teacher intensity. Journal of Research in Music Education, 37, 85-92.
- Madsen, C. K, Standley,J. M., Byo,J. L., & Cassidy,J. W. (1992). Assessment of effective teaching by instrumental music student teachers and experts. Update: The Applications of Research in Music Education, 10 (2), 20-24.
- Major, C. H. and Palmer, B. (2006, June). Reshaping teaching and learning: The transformation of faculty pedagogical content knowledge. Higher Education: The Journal of Higher Education and Educational Planning, 51(4), 619-647.
Menchaca, Louis A. "What it takes to be a music major. Teaching Music, vol. 5; Issue 4; Feb 1998; pp. 41-42. - McCreless, Patrick. "Rethinking Contemporary Music Theory." In David Schwarz et al., eds, Keeping Score: Music, Disciplinarity, Culture (Charlottesville: University of Virginia Press, 1997), 13-51.
- Nelson, D. J., & Barresi, A. L. (1989). "Children's age-related intellectual strategies for dealing with musical and spatial analogical tasks." Journal of Research in Music Education, 37, 93-103.
Palisca, Claude, ed. Music in Our Schools: A Search for Improvements. Washington, D.C., U.S. Government Printing Office, 1964. Porter, A. C., & Brophy, J. (1988). Synthesis of research on good teaching: Insights from the work of the Institute for Research on Teaching. Educational Leadership, 45 (8), 74-85. - Regelski, Thomas A. 2006a. “Music Appreciation as Praxis,” Music Education Research, Vol. 8, No. 2 (July); 281-310.
- Scheib, John and Frederick Burrack. "Enhancing Interaction between University and Public School Music Teachers: The Design and Impact of a Local Needs Assessment Project Journal of Music Teacher Education, vol. 16, fall 2006.
Shir-Cliff, Justine. "Preparing the Undergraduate Musician to Teach Music Theory." T&P 4/2 (December 1979), 12-16. Spohn, Charles L. "An Exploration in the Use of Recorded Teaching Material to Develop Aural Comprehension in College Music Classes." Ph.D. Dissertation, Ohio State University, 1959. Stauffer, S. L. (2005, Fall). Toward mindful music education: A response to Bennett Reimer. Philosophy of Music Education Review, (13)2, 135-138. Taebel, D. K (1980). Public school music teacher' perceptions of the effect of certain competencies on pupil learning. Journal of Research in Music Education, 28, 185-197. - Yarbrough, C., Price, H. E., & Bowers, J. (1991). The effect of knowledge of research on rehearsal skills and teaching values of experienced teachers. Update: The Applications of Research in Music Education, 9, 17-20.
What do I need to know? - # of music majors
- # of hours required for music ed degree
- # of hours required in theory for music ed majors
- # of faculty on staff
- % of faculty who teach music theory
 Add this to justify pilot survey
| | | | | | | | Freshmen MM lack necessary skills James P. Colman states that most universities do not have prerequisites for beginning music theory, and in colleges with no placement procedures, the dropout rate for first-year theory students is upwards of 30 percent. Familiarity with the rudiments of music notation and a certain degree of aural skills are important to the success of first-year music theory students, he says. His study examined the use and development of a computerized diagnostic test for predicting success of fifty-nine students in the first year of a four-semester music theory sequence.14. [have this article in EndNote, but not full text. Will have to order the dissertation] Hamann and Daugherty (1985) surveyed burnout among 248 music majors and found that “university music students do report significant varying levels of burnout” (p. 6). Specifically, they found that music majors were concerned by “(a) lack of recognition by teachers, peers, administration, and parents; (b) lack of personal goals and unclear goals from university administrative levels; (c) lack of coordination among areas of curriculum, lack of cooperation among teachers in areas of study; and (d) too many irrelevant classes outside of music or too many academic classes in general and not enough actual experience with projected professional roles” (p. 7). (Bernhard from Visions) "Carole S. Harrison notes that many music majors are not able to perform adequately in the major components of freshman theory: written work, sight reading, ear training and keyboard harmony." (quoted by Livingston from Harrison's "Predicting Music Theory Grades" article) A replication study in 2001 indicated that college freshmen felt more prepared for theory in 2001 than in 1981. Harrison offers as a possibility, the reason that in those 20 years, the National Standards for the Arts have been developed and implemented in public school music curricula throughout the country" also increased course offerings and improved content.(Livingston-Changing Trends). These were self-reported perceptions of the students. Whether the theory faculty felt they were prepared is not known. Additional topics that still seem relevant today include the proper preparation for incoming college theory students. the necessary experiential background is trimly summarized by Merritt: (a) habitual singing from childhood; (b) ability to play an instrument, especially the piano; and (c) sight reading - or as I call it, simply "reading." (Rogers in How Much and How Little has changed? p. 110) High failure rates contribute to inefficient use of faculty load, student time, and money (Smith 1994). It is possible to reduce the dropout rate if theory students can be identified and remediated (Smith p. 179) Other researchers have investigated factors that contribute to attrition including grades in music theory and applied music (Brown & Alley, 1983). (in Madsen 2002 lit review) A study designed to identify the best predictors of grades in the components of music theory courses is forthcoming in the JRME (says Harrison) The idea to write a theory workbook for band first came to me as a freshman music major at Winthrop University in Rock Hill, South Carolina (in 1986). I and many of my classmates were struggling with the basics of music theory and I had become convinced that the study these fundamentals (pitch reading in all clefs, keyboard basics, scales, key signatures, intervals, triads, rhythm and meter) should begin with the first day of band class - not the first day of college. (Harris p. 106) This study reviewed the relationships between levels of higher-order thinking skills in an observation task and diagnostic and entrance measures for music teacher education programs, such as audition and interview results, music theory examination scores, class rank, and ACT assessment. Analysis revealed little correlation among them. (Sheldon/DeNardo p. 48) Bowman 1984 notes that a large percentage of the students in the study were vocal majors - perhaps back then, more music was taught by rote than now? Stanton categorized students: of 125, (used 1919 version of Seashore Test) Safe: 60% graduated Probable 42% Possible 33% Doubtful 23% Discouraged 17% | Need for higher education curriculum change courses.' From my personal experience as a program evaluator, I have encountered a wide diversity of institutional and course requirements, yet in every case these requirements represent the hierarchical structure or ‘pecking order’ of each school of music faculty. A large music theory faculty usually ensures that every graduate student, regardless of specialization, must take theory, a large music history faculty usually demands that everyone take much music history, a strong group of research specialists usually insures that everyone take many measurement, design and statistics courses. Of course this is nothing more than a power issue where each faculty member wants all graduate students “to take all my courses and then whatever else you choose,” while justifying one’s own courses with statements such as, “You don’t want them to be illiterate in theory, history, research, and so on, do you? (Madsen 2003) Questions of breadth and depth in the undergraduate curriculum and their relationship to curricular time. Many teacher preparation programs have so many separate requirements that depth of study and professional focus may not be achievable. Every new education concept, musical development, social issue, or technology seems to demand further fragmentation. What would happen if institutions could start with a zero base? (from NASM Annual Meeting Information 2008 p. 4) The research was strong in pointing to the domination of a particular, select musical tradition. This tradition is the Western European Classical tradition. This tradition is seen as given, fixed and objectified. The acceptance of this musical tradition appears to be universal. In an examination of existing educational institutions (schools and universities), this is particularly true. The Western European Classical tradition is accepted as the criterion by which all other music forms are measured and judged. In the light of this criterion, other musical traditions and practices are disaffirmed, denied and relegated to a lesser status. Music in education offers great potential and possibilities for contesting and augmenting this dominant musical culture with other traditions and practices. Music educators need not accept as official any one musical tradition. They should see themselves as free to produce a musical culture that may be more in keeping with their own personal needs and the needs of students. This latter point indicates the significance of educators being aware of their own cultural capital and the cultural capital of the students. The domains of cultural capital are heavily contested ones in that teachers and students often feel that their backgrounds are denied while a new, often foreign, cultural capital is held out to them. . . Music in education affords the possibility for individuals to examine their own traditions and practices, and in this way they are able to be independent, reflective and critical. Music in education, if it is going to be liberating, calls for an analysis of such traditions and practices. As the research indicated, if educators are not reflective and analytical, then they are limited to reproductive forms. . . . Although it was beyond the scope of this study, this research needs to be continued through an ethnographic approach to determine relationships and/or contradictions as they may exist between expressed perceptions and actual practice (Rose in summary section) Eunice Boardman's challenge from 1990 continues to be particularly salient for both music teacher educators and preservice teachers: We must ... be willing to dis- card familiar practices, search for new processes, and consid- er implications of new information. In other words, we must be brave enough to con- tinue to alter, expand, and refine our personal teaching schema. This is difficult to do; it is difficult to admit, even to oneself, that previously held assumptions may no longer be valid. However, if we are not willing to venture farther along our personal learning spirals, we cannot create new teacher education programs appropriate for the next generation of public school teachers."14 (quoted in Thompson’ConsideringBeliefs) 14. Eunice Boardman, "New Environ- ments for Teacher Education," Music EducatorsJournal 79, no. 2 (1992): 42. 0 . . . music in a meaningful way - that are unrealistically optimistic and not related to previously taught or studied methods of teaching (Richards & Killen, 1993; Schmite, 2005; Weinstine, 1989). This apparent lack of understanding regarding the perceived needs of beginning teachers ay contribute to the reality shock often experienced in the early years of teaching. The low task scores in this study bear out this disconnect between preservice teachers' concerns for the tasks of teaching and having the skills necessary to effectively make an impact. Moreover, studies examining the effectiveness of preservice music teacher education programs point out the discrepancies found between the "realities of teaching" and the college preparation program experiences,. Skills specific to teaching music in the classroom are the most frequently cited as needing the "highest priority" (Ballantyne & Packer, 2004: Bridges, 1993; Teachout, 1997). (copied form Campbell p. 173) Students often protest that all they really want to do is to practice, and they resent the time they must spend "away from their music." That is a rather damning indictment of the way theory is taught. I think these students are telling us that they find their studies irrelevant. Perhaps it is the fault of the teacher, not of the student. It is the teacher's responsibility to demonstrate the relevance of theory to the practice of music. This may well take additional time, but it should be a high priority consideration for the thoughtful and concerned teacher. (Kohs p. 137) Recent studies made by the Institutes for Music in Contemporary Education of the Contemporary Music Project under a grant from the Ford Foundation to the Music Educators National Conference, clearly demonstrated the increased attention, interest, comprehension, and active participation of students if music theory instruction is coordinated with performance, composition, and instruction in musical styles, history, and literature. (Kohs p. 138) Who is right? The binary advocates or the ternary? Must one side be right and the other wrong? May there not be elements of truth in both views? I should like to think the latter is true, and that those of us who teach music theory will encourage, to a greater degree than hitherto, the acceptance of apparently con-flicting and contradictoryt heories. If we do so, perhapsw e help all of us to live more successfully in a world filled with am-biguities and uncertainties. To fail in this effort is also to succumb to that fever of the mind which enables intellectual, social, and political absolutists to persuade the weak of mind that only one, limited view is the "true faith," which must be embraced no matter what the cost or sacrifice. Strength of mind and eternal vigilance can help to forestall a musical "1984." (Kohs p. 142) The teaching of counterpoint. After years of teaching counterpoint from several points of view, it now seems obvious to me that current approaches to the pedagogy of this subject (for all music students) are hopelessly inadequate. First of all, the introduction to any subject should be broad in scope and not narrow and limited. Introductory courses in architecture are not confined to Greek temples or medieval cathedrals alone. But we assume that the only proper study of counterpoint is either sixteenth-century (Palestrina) style or eighteenth-century (Bach) style. Other periods are simply ignored. There is no encouragementt o examinet he broadp rinciplesg overningc ounterpoint for a thousand years, no attention to the twentieth century except in special courses for composition majors (Kohs p138) There remains to be discussed the question of "relevance" in theory instruction. Although a sensitive and difficult subject to discuss in a paper of this length, it may safely be stated that the drift toward expansion of theory study in state universities owes some allegiance to the relationship between pre-ious concepts in theory pedagogy and the cry for relevance emitted by musicians which culminated in the late 1960's. The proliferation of new theory textbooks appearing within the past ten years also reflects this situation, many of which seem to have been partly motivated by the relevance question in addi-tion to other factors. There (Howard p. 56) This goes toward the concept that theory was expanded because they didn’t take out the irrelevant stuff, but just added more [In his ‘Philosophy of Teaching Music Theory, Thompson says,] Any techniques or skills that are taught should be for the purpose of a better understand- ing of real music. It is essential to teach not only the facts relevant to music, but to present those facts first which are found most fre- quently in music. Therefore, it would be imperative for a theory teacher to have at his disposal a well-catalogued file of many and varied musical excerpts. (Thompson p. 72) Again, popular music may be best thought of as music of another culture (other than Western classical). Just as it is not appropriate to judge the meaningfulness of, say, traditional Japanese music according to Western classical standards (and its premium on melodic and harmonic sophistication), it is also inappropriate to apply this musical value system to vernacular styles. (Woody p. 33) A practice-based (i.e., praxial) approach to music education, then, seeks to by-pass differences between social groups by stressing music’s social contributions and by promoting musicianship skills that enable students to avail themselves of many musics according to situatedneeds. (Regelski 2008 p. 6) Postmodernist theories stress the need to “deconstruct” the assumptions and built-in inequalities of ‘accepted culture’—issues of class, race, gender, ethnicity, power, authority, artistic canons (etc.)—and, with such knowledge, to construct and transform their own lives and society. According to these theories, a ‘critical pedagogy’ is required of teachers who, instead of imposing ‘accepted culture’ with all its conflicts and oppression, seek to educate active, questioning, challenge-minded students and, thus, to create a school culture that is liberating—one that, in turn, increasingly fosters such a climate in society at large. In music education, several themes are relevant. One is the need for music pedagogy and curriculum to move from the autocratic models typical of the conservatory training of music professionals to one that more directly involves students in choices about their own music education, their own musical futures; one that fosters, in other words, democratic sensibilities that can carry over to life—musical and otherwise—outside of school (Bladh & Heimonen, 2005). Another theme is empowerment: helping students acquire those musical skills and understandings that enable them to be active practitioners of musical practices that are most likely to make important contributions to the quality of their lives, throughout life. Implied in both of these themes is the need for school music to increase students’ musical choices14 and to promote the musicianship skills needed to accomplish those choices. (Regelski 2008p. 7) It was clear from this study that preparation for implementing at least one of the Content Standards needs serious consideration--Content Standard 3, Improvising melodies, variations. The results of this study reveal that the college/university faculties generally believe that they are providing the courses in their curriculum that enable or should enable their music education graduates to effectively teach the Content Standards. Conversely, the elementary music educators believe that they were prepared in their undergraduate education for implementation of the Content Standards (ratings from "below average" to "average"). This study provided the opportunity for college methods faculty to evaluate these differences in perception Standard by Standard. (Adderley 2006) Adderley (2006) fascinating that music ed faculty ? feel that methods should basically be preparing students for all 9 standards and in one or two classes!! Although some colleges and universities will resist changing their approach to assisting future elementary teachers to meet the goals outlined in the Standards. What many of us must remember is that some of these professors were hired because of their performance ability and knowledge of standard repertoire; improvisation is not necessarily in their background. The professors who generally teach the traditional academic courses (music theory and music history) at these same colleges and universities have not had to traditionally be concerned with how the content of their courses is passed on by teachers in the public schools. Instructors of music education courses and ensemble rehearsals have also not necessarily included such methodology in their classes. If more elementary music teachers are to succeed in incorporating these Standards, then changes are necessary so that K - 4 teachers may gain the skills to implement all of the National Standards. (Adderley 2006) Libby Larsen, one of the USA’s most prominent living composers, addressed this in a recent interview where she critiqued US music education saying “…we have a system that has grown up around a particular repertoire that is a really small percentage of the music that is in our world”...[music education]…“faces a crisis of relevancy to the musical world in which we live”.7 (quoted from Jones 2006) Music Teacher Preparation The important first step toward reengaging musically with the community is to revise music teacher education curricula to reflect current realities and prepare the next generation of music teachers to be less narrowly focused musically. Music educators should be versed in a wide variety of musical practices reflective of the Americas as a whole in order to prepare them for wherever they find a teaching position. They should be able to design, teach, and assess age appropriate music courses and content that include: jazz, folk, world, popular and art music genres; performing on western, non-western, and electronic instruments; vocalizing; musical skills development; listening; music technology for performance, composition, arranging, sound reinforcement, digital/audio recording, multi-media sound, internet/web music, and audio playback; music criticism; written and aural music theory; music history; conducting; music business/industry and management; and be qualified to direct choral and/or instrumental ensembles of all genres. They must possess ethnographic skills and be able to design curriculum, not merely follow prescriptive methodologies. This is a daunting task, but one we can certainly accomplish if we are willing to rethink music teacher preparation from start to finish. I believe we should overhaul the curriculum and expectations of what music education majors are expected to be able to do. Our current emphasis on socialization into the status quo results in replication and stifling of innovation. Instead, we should offer a broad array of musical experiences aimed at producing music educators who are generalists like their peers in the visual arts, instead of the narrowly focused band, choir, orchestra and general music teachers we’ve produced for the last three quarters of a century. We must begin with our admissions criteria. We can no longer limit admissions to those who perform on concert band and orchestral instruments, and sing classical music.46 To do so is to narrowly limit the musical skills and perspectives of our graduates, thus placing music in peril. We must embrace a wider array of musicians with varied backgrounds and experiences. In the end, we must consider that the future leaders of our profession might not necessarily be members of school based large ensembles with resumes of participation in honor band, choir and orchestra but are perhaps garage band guitarists, self-taught keyboard and drum-set players, and vocalists who have played in clubs and copy an aesthetic more regularly found on Broadway and MTV than in the concert hall. (Jones 2006) It is clear from this study that preparation for implementing at least one of the Content Standards needs serious consideration--Content Standard 3, Improvising melodies, variations. Higher education music educators in the U.S. may need to provide music education majors with adequate musical experiences that closely relate to this specific Content Standard. The results of this study reveal that the college/university faculties generally believe that they are providing the courses in their curriculum that enable or should enable their music education graduates to effectively teach the Content Standards than the elementary music educators believe that they were prepared in their undergraduate education for implementation of the Content Standards (ratings from "below average" to "average"). This study provides the opportunity for college methods faculty to evaluate the differences between higher education faculty and K-4 perceptions Standard by Standard. In the future, it may be beneficial to modify the teacher survey so that it may be administered to higher education faculty so that the results may be correlated. At that time, quantitative data may be provided that show the degree to which the two groups agree or disagree in regard to the preparation that teachers are receiving from colleges and universities. However, if the results of this study are accurate, there appears to be a disconnect between higher education and K-4 education. (Adderley 2006) it is still not clear if college and university faculty are meeting the needs of future elementary music educators to implement these Standards. It is clear from this study, and others, that we need to continue to revise our curricula, especially with regards to implementation of Standard 3, (Improvising). (Adderley 2006) The question of “whose” music to teach recognizes music as social practice from the very first. It can refer to the musics of different ethnic groups in a multicultural community, or to the music imposed by dominant groups on the rest of society. Dominance (power) is not simply an economic or ‘class’ issue (although whose musics get government subsidy does highlight economic and class inequalities): it can involve the dominance of an ethnic majority, or the power (authority) granted to music teachers over their students and, thus, the power to impose one music or a narrow range of musics on students to the exclusion of others. Such exclusions, however, are typically noted by students, and this “hidden curriculum” (see deMarrais and Le Compte 1998, 13-14) often has a greater impact than the more explicit curriculum (i.e., what is not taught is recognized by students as ‘unaccepted’—which, for many adolescents, only makes it all the more attractive!). For example, students reject the music that they are taught in school when it does not reflect the values of their segment of society, or when it doesn’t ‘touch’ their lives—usually for both reasons. (Regelski 2008 p. 14) Adderley (2000) stated that college and university music instructors generally believed that they were providing adequate preparation to future K– 4 music teachers to teach according to the various standards, but believed the weakest preparation was for those standards that dealt with improvisation, and understanding relationships between music, the other arts, and disciplines outside of the arts. Kirkland (2003) surveyed American music teachers to determine if the proficiency level standards were being met, and the ratings these instructors indicated as goals for achievement for their students. She reported that elementary students met Content Standard 6 - Listening to, analyzing, and describing music at the highest proficiency level. In Kirkland’s (1996) earlier study, her results showed that students met the performance-oriented standards at the highest proficiency levels, and that the instructors rated standards 1 and 2 as the highest goals for student achievement. Louk (2003) investigated general music teachers’ attitudes and practices as they relate to the standards. She reported that there were differences in importance of those standards that dealt with reading music, history of music, playing an instrument, singing, and listening to music, than those standards that did not focus on these competencies. (Adderley 2006) "Perhaps musical analysis, as an eminently professional process, fails to open access between the artist and his audience, . . ." Kerman makes the argument that analysis is not objective as the analysts would prefer to believe and that a certain value system is inherent . He says"Fundamental here is the orthodox belief, still held over from the late nineteenth century, in the overriding aesthetic value of the instrumental music of the great German tradition." (Kerman p. 313) "From the standpoint of the ruling ideology, analysis exists for the purpose of demonstrating orgainicism, and organicism exists for the purpose of validating a certain body of works of art. (Kerman p. 315( "Thousands of youngsters, potential creators of our musical future, are our problem today. Actuaqlly, we ourselves are the problem, and the time is come for us to face each other honestly and with humility" (Lekberg) Music is not an experiment-it must be an experience: not merely participa- tion in performance, but a grasp of mate- rials and the knowledge of a craftsman; not merely membership in organizations and success in "projects," but understand- ing of basic principles and techniques, and the imagination to use them. (Ledkberg) Participation in musical events does not constitute training. Performance is a valuable opportunity only when it is pre- ceded by intelligent study. As an end in itself it is the greatest detriment to growth and distorts the whole pattern and purpose of music education. The fundamentals of music must be taught and established in the formative years. (Lekberg) However, these activities are not neces- sarily born of musical motives, and the result of much publicity and popular suc- cess is all too often failure in the achieve- ment of permanent musical values. The music contest is the most unfor- tunate of these failures in that it ap- parently offers so much. The social bene- fit is obvious, but the musical result is questionable and often negligible. The contest winner is the most difficult of all music students because he usually spends his first year in college living on his pseudo-success, which he has been per- mitted to consider as an indication of superior talent. (Lekberg) A curriculum that lives in "silos"-where what students learn in music history, theory, and performance seems to have little or no bearing on what they learn in music education courses-cannot foster the connections stu- dents need to become music educators (Wiggins p. 36) accomplish this in a system that has traditionally thrived in silos? When music education practice is taught in ways that make it seem distant from or unrelated to traditional music practice, non-music-education faculty do not see the music education curriculum as relevant to what they teach. However, if music education process and practice are rooted in authentic music and learning experiences, it becomes much easier for non-music-education faculty to connect to and value what music educators are doing. (Wiggins p. 37) Music Theory and History Courses. Concurrent with their pro- fessional coursework, students should engage in experiences in theory and history courses that emanate from the study of whole, authentic musical works. Many approaches currently employed in these areas already pro- mote this kind of teaching. Theory, aural skills, and history should be based on real music, involving holistic listening with understanding, study- ing the details or history in the con- text of the musical whole. Analysis should emerge from real music, per- haps music the students already know or are learning to perform. Students also need opportunities to generate original musical ideas (compose, improvise) in the context of building understanding of existing works. Conversely, when students' work in music education courses demands that they operate as musicians, they find themselves constantly referring to and drawing upon the knowledge base they are building through their theory and history courses. (Wiggins p. 40) The idea is not to learn isolated facts, but rather to learn a proce- dure or technique that can be ap- plied to any musical situation. Techniques, skills, and procedures must not be self-contained; all must relate to each other and to music as the unified whole. (Thompson p. 72) The "ear," or ability to hear re- lationships, is the most vital skill in the understanding of music. (Thompson p. 72_ In an investigation by Boyd, the teachers were asked to suggest needs, values, and improvements in the field of music education. The teachers suggested that counterpoint and composition be removed from the required courses and the number of education courses required of music teachers be reduced. (Fisher p. 16) Fisher surveyed both faculty and graduates of Univ Ok and found that faculty placed more emphasis on repertoire in performance and memorization, and comprehending form and design than the graduates did. Graduates placed more emphasis on preparation in playing for group singing, improving accompaniments for familiar songs, and ability to use the piano as a teaching aid in classrooml. Graduates said they needed more preparation in materials for generalmusic classes. Conclusion of Fisher in suggesting curriculum development was more accompaniment and improvisation skills were needed rather than performance skills, less memorization and repertroire focus, more stress on practical arranging skills for instrumental and choral groups . . . and "Realization by the Department that public school teachers at the Bachelors degree level do not regard the need of the same music theory and musicological emphasis as more advanced levels might." (Fisher p. 155) Preparation in musical understandings. The faculty response averaged 68 per cent to the "very important" category for items in this section. The highest number of "very important" responses were to the items: Understanding the traditions and characteristics of music styles in the Baroque, Classical, Romantic, and Contemporary periods - each receiving 76 per cent. One faculty member made the comment that the items, understanding the role of music in life, and understanding the development of music as part of human culture, were 'jargon,' and did not respond to those items within the categories provided.(Fisher p. 54) There are those both in the US and abroad (Binkowski, 1977; Colwell, 2000; Marks, 1994 who feel that perhaps there has been too much emphasis on the development of musical content knowledge and not enough emphasis on the pedagogical domains. This conjecture seems to be reinforced by survey studies such as that of Jennings (1988), who found that student teaching and methods were ranked higher than content knowlege courses such as conducting, applied lessons, music theory, and music history by practicing college and high school band directors in terms of their own teaching effectiveness. (Handbook p. 826) Teacher education in music, with its emphasis on content knowledge, seems to be substantially different from teacher preparation programs in other disciplines, in which methods, curriculum, psychology, and philosophy courses are the core of preprofessional preparation. (Handbook p. 826) Respondents were asked to compare the amount of class time in each area. error detection was clearly the least practiced activity. Of those responding, 84% indicated it was the least practiced skill during freshman aural-skills classes. (p. 237 Pembrook) . . . . Also, error detection is the least practiced activity in aural-skills classes. Considering the frequency that students will use this skill (e.g., as conductors, classroom and studio instructors, adjudicators, etc.), it is reasonable to suggest that more time should be devoted to developing this vital skill. (Pembrook p. 240) Music theory pedagogy : among those topics of perennial interest - Rogers refers to it as "a deficiency of constructive aural brainwashing - not enough soaking in the sonorous nature of the art." (Rogers p. 110) But even in the intellectual realm, I find that today's students frequently respond to purely analytical situations stiffly and laboriously. For example, a common weakness of entering graduate students, as measured on placement exams, is an inability to recognize the key of a given tonal passage. (Rogers p. 110) . . . key recognition (through knowledge of stereotypical bass lines, addition and subtraction of accidentals, interplay of dissonance and consonance, contextual comprehension of chord types and function, and detection of long-range harmonic patterns and cadences) is evidently not being well taught today. Being a whiz at applying Roman numerals is of little help here since virtuoso use of chord symbols is only possible in the first place if one already knows the key. (Rogers p. 110) There are other orientations found within music theory and within the yet larger domains of higher education or societ that I would like to see infuse undergraduate music theory classes. I don't mean that these newer subjects should swamp the regular content but rather that they be folded gracefully into the natural habits of music study." (Rogers p. 114) Undergraduate theory too often unnecessarily restricts itself to the nuts and bolts of music (pasting labels) at the expense of attending to listener response. (Rogers 115) Considering this wealth of possibilities suggests that a major problem for future curriculum designers will circle around the issue of breadth vs. depth. (Rogers 116) Robert Aubrey argues that college music faculty must be willing to answer creatively the questions "what, for whom, why, and the how of music education." from Robert Aubrey, "General Standards for All Music Degree students in Upper Division Studies," Music in High Education (Reston, Va.: NASM 1975): 23. Go back through Braswell - lots of good stuff For example, a survey of general music teachers in 2000 showed that 85.65% reported the use of moveable do solfege. (Brophy_Improving Music TeacherEd in Arts Education Policy Review 2002) If music theory aural skills classes for music ed majors were required to teach solfege from day 1 instead of teaching it in methods classes, the students would be more prepared. a) Acknowledge that we’ can’t address every thing and begin to prioritize. Clarifying what the really significant experiences are. We need to learn to determine what the most significant experiences are, acknowledging that we cannot cover everything. These experiences need to be addressed in depth using strategies that involve such things as problem solving, discovery learning, collaboration, field experiences, and infusion of technology. Read Howard article again - he says that in the 70s "brining into the framework of theory study a more in0dept . . . in other words adding stuff that had not been there before and includes detailed analysis of formal structures, style analysis "Considering what is possible today, the theory classroom with its lined chalkboards and piano is an anachronism." (\ Despite the overwhelming experimental and clinical evidence that there is little connection between the ability to identify intervals acontextually and the ability to do so in a tonal context, such teaching methods nevertheless persist in some textbooks and some classrooms.{6} (Karpinski 2000) | Music teachers are not prepared to transmit the basic knowledge and skills to K12 [The Regelski article should be used in justification of the study. He says] Teaching for “appreciation,” then, is teaching for use—teaching for practice. It does not involve simply teaching students ‘background’ information from theory and history ‘about’ music—information that ‘someday’ they may use, or that is purportedly necessary to ‘understand’ music properly.6 Instead, it involves actually involving students in and promoting their ability to take part in a musical practice—or, better, several practices. However, when what is (supposedly) taught in schools (or studios) does not get put into practice in life outside of or after graduation from school and later in adult life, we have evidence of a lack of appreciation (of the relevance, usefulness, meaningfulness, etc.) of that learning.7 Baker, P. J. (1982). The development of a music teacher checklist for use by administrators, music supervisors, and teachers in evaluating music teaching (Doctoral dissertation, University of Oregon, Eugene, 1981). Dissertation Abstracts International, 42, 3489A. DePugh, D. L. (1987). Characteristics of successful senior high school choral directors in the state of Missouri: A survey of teacher self-perception and student and administrator assessment (Doctoral dissertation, University of [not in ProQuest - abstract only] [I should add the concept that the ‘teacher as conductor’ paradigm is one of the things taught as the ideal. Hence, the band/choir experience is not transferable to the real world outside those school years. If we were transferring proper skills and knowledge (which would include the philosophy of independent music making) then the school directors would be teaching students to make independent judgments instead of just follow what I say and what I indicate. Regelski likens that to the director ‘playing’ the students as if they were organ pipes, etc. This is the way that conductors ‘perform.’ The National Standards for Music (MENC, 1994) were used as descriptors in the question about the kinds of music learning that led to the impact the music teachers were responding to. The National Board for Professional Teaching Standards (2004) served as descriptors for a question related to music teacher expertise (frierson-Campbell p. 6) "Most of our students come to us as freshmen wanting to 'become' their high school band, orchestra, or choral teacher. Many students spend their time in methods courses thinking 'Well, that has to do with beginners, and I won't be doing that.'' Many of the beginning teachers end up working in positions where they teach beginners. More accountability for working with beginners may be necessary to insist that students develop these skills. (Conway p. 34) Of the subjects, 76% decided to become a music teacher before entering a teacher preparatory program . . . The decision was vividly remembered, with school music teachers exerting the primary influence. (Madsen 2002) Gergee (2001) found that most students made the decision to become a music teacher while in high school and their high school music teacher was the most influential perosn on their making that decision. (Madsen 2002) Edenfield (1989) asked 55 students (all nonmusic majors) enrolled in a music appreciation class at a large university to describe their first0remembered music experience during their first 10 years of life. Subjects were asked a series of 12 questions about their music memories. REsults showed that musical experiences were vividly recalled, that remembered experiences occurred toward the end of this first decade, experiences involving peers were remembered more than those with family, and that 30% of the subjects indicated the experience was either negative or of no significance. (in Madsen 2000 lit review) Madsen and Duke (1999) surveyed 103 undergraduate and graduate music students (all nonmusic education majors) about their earliest musical remembrances concerning their age, the place, who was with them, how they felt, and what their thoughts were at the time. . . . The first remembered responses were from about ages 3 to 5 (earlier than in Edenfield's study), all of the experiences were positive, and a family member was almost always present. (Madsen 2002 lit review [this is significant, because even though the studies seem to contraduct each other, it is important that there was no positive emphasis on early school music experiences] The decision [to become a music teacher] is made early and is primarily influenced by an elementary/middle school/high school music teacher and by teacher-like activities such as supervising a sectional rehearsal or being a student conductor. (Madsen 2002 p. 330) The unique emphasis in music education upon performance skills may be a contributory factor in the disconnect of the transmission of valuable knowledge from music teachers to their students. If the resulting product (performance) is the only outcome to be assessed, then the means toward the outcome are secondary, resulting in less transmission of knowledge and more rote training. This rote training leaves the student without corroborated Naftulin, Ware, and Donnelly (The Doctor Fox lecture: a paradigm of educational seduction. Journal of Medical Education, 48, 630-635] (1973). | Texas law See Meaux article SB 815 | Existing theory curriculum in Texas universities for music ed majors | Background material as to the reasons music theory teachers require music ed majors to take those courses can be found in Girard p. 381 - 2. Theory as an academic discipline was seen as separate from theory-as-education "in implying that the t'dignity incumbent upon' music theory was compromised by pedagogical conceptions of the field" "SMT formed the discipline of music theory in the image of historical musicology - Germanic rather than American, historicistic rather than creative, and, above all, standardizd . . . Furthermore, the discipline's charge in writing the history of music theory itself guaranteed that the musicological-intellectual cast of theory, as opposed to the creative and "practical" cast, might be historiographically portrayed as traditional, inevitable." (Girard p. 382) Schenker's analysis is based upon the canon - necessary for the functional nature of the process, down to the tonic chord as the beginning (or end) or structure. "In his tacit acceptance of received opinion as to the canon of music's masterpieces, Schenker exemplifies more clearly than any of its other practitioners one aspect of the discipline of analysis." (Kerman p. 317) "For analysis, I believe, as I have already said, exists to articulte the concept of organicism, which in turn exists as the value system of the ideology; and while the validation provided by analysis was not really necessary for the Viennese classics, it became more and more necessary for the music of each succeeding generation." (Kerman p. 318) "Still, as the years and the decades go by, the predominant position of analysis grows more and more paradoxial; paradoxical, because the great German tradition of instrumental music, which analysis supports, no longer enjoys the unique status it did for the generation of Schenker and Tovey and Schoenberg. . . It is not that we see less, now, in the German masters; but they no longer shut out our perspective on great bodies of other music, new and old." (Kerman p. 320) "the genuine power of analysis which is the source of that prestige. For analysis, taken in its own terms, is one of the most deeply satisfying of all known critical systems ' . . . music has, among the arts, the most, perhaps the only, systematic and precise vocabulary for the description and analysis of its objects' " (Kerman p. 320) Michael Schiano asks the question in his article: The music for which set theory was designed has increasingly become a smaller fraction of the 20th century repertory: new musical styles have developed and have flourished. In short, it may seem foolish to devote so much of a music student's class time to learn a difficult set theory that applies to a limited repertory." He then goes on to say that set theory ought to be a general tool for learning about pitch structures and encourages what he calls "underground set theory" - based on clock diagrams [but set theory nontheless] (Schiano p. 65 in a real College Music Symposium in my office) | Methodology The development of methodology for arriving at the solution of the main problem of this study was presented by Leonhard: Evaluation is the process of determining the extent to which the objectives of an education al endeavor have been attained. It involves three steps: 1. The identification, formulation, and validation of objectives. 2. The collection of data relevant to status in relation to those objectives. 3. The interpretation of the data. (from Fisher p. 10) incentive to doing the survey could be to receive the results, an up to date database of all theory personnel who all it to be released This notion is forcefully and succinctly expressed in Bierstedt's Paradox: studies that are reliable (statistically rigorous) are usually trival; the most valuable studies are scientifically unreliable. Blatant examples include the doctoral dissertation that proved that high school students who read newspapers regularly are better in formed about current events than those who do not, and the infamous $100,000 government study that brilliantly associated convicts' attempts to escape from prison with their desire for freedom. (from Rogers book. p. 5) "When researches conduct a census, they collect information from all members of a population to measure their attitudes, opinions, behaviors, and other characteristics. These measurements, called parameters, are the true values of a population's members. A parameter is a characteristic or property of a population. Parameters contain no error, because they are the result of information collected from every population member. When researchers conduct a survey using a sample, they use the resulting data to produce sample statistics. Sample statistics describe the characteristics of the sample in the same way that population parameters descriobe the charactersitics of a population. From Taebel article: Analytical procedures: A mean rating was calculated for each competency using the ratings of all respondents. The competencies were ranked from highest to lowest. The ratings given by general music, instrumental, and choral teachers were compared for each competency using a Chi-square analysis, and a grand mean was determined for each category of competencies. Categories were then ranked and the results are given in Tables 1 and 2. From Millican: The Likert-type
ratings of items has been used frequently in the past, but this type of scale fails to
reflect the relative importance of items effectively because practitioners generally rate
all items as at least “moderately important” (Colwell, 1985). Participants in the
current study, although ranking items with remarkable consistency, felt that the task
of sorting these items produced an artificial hierarchy of importance. Many of the
respondents wanted to emphasize that items they ranked at the bottom of their lists
were not unimportant.
Different preference-sampling techniques should be investigated to measure
the subjective opinions of music educators with respect to the knowledge and skills
they feel are necessary in the execution of their jobs. Different preference-sorting
techniques along with qualitative interviews and long-term observations of practicing
teachers might be excellent methods for collecting such data. For methodology, read over Millican again as this is a similar study and is very recent. Analyzing the paired-comparison segment of the questionnaire produced the rank of the categories in relationship to each other. The paired-comparison technique results in a rank-order score derived by calculating the number of times an item is favored to another item minus the total number of times another item is preferred over the original item (David, 1988; Nishisato, 2007). The standard error or mean indicates the degree of agreement among the respondents.(direct quote from Millican) Pinkleton (1999) project’s budget and time frame often have a disproportionately large effect on survey-method selection so look this up | Questions | Demographics | What I want to know If the theory prof has ever taught K-12 Where s/he was educated How long s/he has been teaching If s/he teaches anything else besides theory
| Questions Indicate the levels you have taught other than in higher education Pre-K Elementary Jr. High or Middle School High School How long have you been teaching music in the classroom? 0-5 years 6-10 years 11--20 years more than 20 years How long have you taught music theory on the college level? 0-5 years 6-10 years 11-20 years more than 20 years What is your highest degree earned? In what area(s) are your degrees? Indicate how frequently you teach in the following areas: Music theory every semester occasionally rarely never Music history Pedagogy Performance Ensemble Other
| 1. What percentage of incoming freshman music majors do music theory faculty members in NASM accredited four-year Texas colleges and universities perceive to be unprepared for college level music theory coursework? | What I want to know If theory teachers believe this to be a problem How many students have this problem How severe the problem is
| Questions Estimate the number of students who arrive at your institution as music majors who are unprepared for freshman music theory 0-10% 11-20% 21-30% 31-40% more than 40% What percentage of incoming freshman music majors do you typically advise to take a remedial class as a pre-requisite to Music Theory I? 0-10% 11-20% 21-30% 31-40% more than 40% no Remediation class available
| 2. What specific knowledge, skills, and understandings in music theory do selected collegiate music theory faculty members find lacking in incoming freshmen music majors? | What I want to know Whether the students take placement tests What they score poorly on What remediation is required Where the theory teachers wish to begin in the curriculum
| Questions Indicate the degree to which incoming freshman music majors lack each of the following competencies.
| 3. What specific knowledge, skills, and understandings in music theory do selected collegiate music theory faculty members consider to be necessary for incoming freshman music majors? | What I want to know What is already being taught as remediation What they believe to be the most important things to know/do
| Questions How important are the following for an incoming freshman music major? know key signatures sing on pitch have rudimentary keyboard skills play by ear use basic music terminology
| 4. What specific knowledge, skills, and understandings do selected collegiate music theory faculty members believe music teachers should master in order to teach the necessary knowledge, skills, and understandings to K-12 students? | What I want to know What the theory teachers believe is neglected in K12 What do they believe should be emphasized
| Questions How important are the following for a K-12 music teacher? | 5. How closely aligned are knowledge, skills, and understandings identified by the music theory faculty members with the applicable TEKS for High School Level IV? | | 6. How closely aligned are knowledge, skills, and understandings identified by the music theory faculty members with applicable Texas music teacher certification standards as outlined by the SBEC? | | 7. How closely aligned are knowledge, skills, and understandings identified by the music theory faculty members with applicable NASM standards? | | 8. Does the music theory curriculum, as reflected in course descriptions, course outlines, syllabi, and interviews in the selected Texas colleges and universities reflect the ideals of selected collegiate music theory professors, and standards as mandated by TEKS, Texas Music Teacher Certification, and NASM? |
Add a question about number of years that the respondents have taught in elementary or secondary levels - might point toward the out-of-touch scenario In the Fisher study, he used a Likert scale of very important, important, of some importance, not important, then very well prepared, well prepared, minimally prepared, poorly or not at all. Look these up again when making the survey. Also included as in Fisher p. 13: number of years teaching theory in higher education total number of years teaching number of years, if any, of teaching at the elementary level number of years, if any of teaching at the secondary school level other subjects taught which theory text do you use
First question may have to be "what percentage of freshman music majors require a remedial theory class in your institution?" Or, in a theoretical group of 50 freshman music majors, please choose the number who: should take a remedial class first, xxxxx, are at a reasonal level to begin the freshman theory curriculum, have an excellent background to begin Include a question on the survey of who is in charge of theory in the department or who would be the most knowledgable of the theory curriculum in its entirety. Students should receive degrees and be credentialed to teach only when they can demonstrate musical understanding, uncover relationships, and synthesize information. (Abrahams p. 30, 2000) harmonize, play by ear, sing by ear, play piano, problem solving, visual analysis, chunking, error detection, Ask the | Misc. Look up in NASM Handbook the objective of theory coursework – something like “to foster an understanding of the elements of music and their interrelationships and ro provide ongoing active invol Currently, 43% of students receive musical instruction 3 or 4 times a week, 38% receive it once or twice a week, 10% receive it once a week, and 9% receive no musical instruction (NCES, 1999, 4:3). Even these statistics may be overly optimistic in terms of how they translate into musical knowledge - an NCES survey found that students receiving musical instruction three to four times a week did not perform significantly better than those students receiving no musical instruction (NCES, 1999, 4:1). (Holochwost) The pur- pose of music theory is to train a person in the techniques, skills, and knowledge that will enable him to have clear insight into and an understanding of music-in other words, to make him truly a "musi- cian." (Thompson p. 72)Finally, the case for composition in the schools is made eloquently by Reimer, both here and in the revised edition of his philosophy text.20 Others have written about this issue in recent times,21 and composing clearly is included in the new National Standards in Arts Education.22 Teacher edu- cation programs need to include compositional experiences for new teachers as part of musicianship, just as they do performance and listening. Perhaps most importantly, Reimer's endorsement of composition and compositional thinking is a sign that we must constantly reconsider the content of what we teach by broadening our perspective. As Reimer says: "We have the ca- pacity, finally, to represent the music of Western culture in its three essential aspects: listening, performing, and composing. For the first time in history, all three can be given the richness of educational opportunity they deserve. For the first time in history, therefore, music education can be complete."23 (Reimer/ Philosophy of Music education) Educatorship, then is another kind of working understanding. It is neither a skill, nor a habit, nor a knack, nor a science, nor a collection of facts about educational psychology, philosophy, and so on. Teach- ing expertise is the flexible, situated ability to think-in-action in rela- tion to student needs, subject matter standards, community needs, and the professional standards that apply to each and all of these.24 (David Elliott) When we are no longer able to change a situation, we are challenged to change ourselves. ~Victor Frankl
Texas law also requires that the first four semesters of music theory be automatically transferrable from two-year community colleges to four-year institutions. Under Senate Bill 148, this block of courses is included in the music field of study curriculum. This curriculum was adopted by The Texas Higher Education Coordinating Board in 2000. This standardization of music theory content has been problematic for some institutions attempting to institute curriculum reform ADDIN EN.CITE <EndNote><Cite><Author>Davidian</Author><Year>2004</Year><RecNum>96</RecNum><record><rec-number>96</rec-number><foreign-keys><key app="EN" db-id="s2efp2ef9ts29neafst5wxt9wvwwap9df5dx">96</key></foreign-keys><ref-type name="Journal Article">17</ref-type><contributors><authors><author>Davidian, Teresa</author></authors></contributors><titles><title>The New Music Theory Curriculum in Texas Public Colleges and Universities: Causes, Components, and Challenges</title><secondary-title>Journal of Music Theory Pedagogy</secondary-title></titles><periodical><full-title>Journal of Music Theory Pedagogy</full-title></periodical><pages>127-145</pages><volume>18</volume><dates><year>2004</year></dates><urls></urls><research-notes>Teresa's office</research-notes></record></Cite></EndNote>(Davidian, 2004). In music education, content knowledge is more emphasized than teacher preparation programs in other disciplines, which may place more emphasis upon courses related to methods, curriculum psychology, and philosophy. a need for authentic learning: students' experiences in school should more closely resemble the experiences they encounter in real life (Cronin 1993) quoted from Gonzales article Harrison in the 'Effects' article seeks to determine predictors of grades in music theory. Divides 'theory' into 4 components: written work, sight-singing, ear training, and keyboard harmony. Stats to put: Enrollment in public elementary and secondary schools rose 26 percent between 1985 and 2007, and public elementary school enrollment is projected to increase by 10 percent between 2007 and 2016, secondary school enrollment is expected to be 2 percent higher | Formatting Texas Education Code, ch. 13, sec. 47 (1986). Texas Education Agency, Texas Standards for Teacher Education and Certificaiton (Austin: Texas Education Agency, 1972). Government DocumentNational Institute of Mental Health. (1990). Clinical training in serious mental illness (DHHS Publication No. ADM 90-1679). Washington, DC: U.S. Government Printing Office. Conference ProceedingsSchnase, J.L., & Cunnius, E.L. (Eds.). (1995). Proceedings from CSCL '95: The First International Conference on Computer Support for Collaborative Learning. Mahwah, NJ: Erlbaum. Consortium of National Arts Education Associations. (1994). What every young American should know and be able to do in the arts - national standards for arts education (MENC Publication No. ISBN 1-56545-036-1). Reston, VA: Music Educators National Conference. (No. 1605) | Protection of Human Subjects: The Institutional Review Board of the Univ. of approved this study. An informed Consent Form, which explained the study and requested permission for their children to participate in the study, was sent home to parents. This form was signed by the chairperson of the Institutional Review Board previous to being given to parents. Written permission was granted by the subjects, their parents, the school principal, and the Special Ed Dept. Chair. All subjects' identifying information was kept confidential. Therefore, factors that could lead to identification of the partiipants, such as school name and teacher names, have not been included. (copied from Travers p. 32) | Need Designing and Conducting mixed methods research H62.C6962 2007 NASM Files Dissertation Log (include time spent, communication with faculty Timetable (proposal, fieldwork, data analysis, write-up info and schedule for contact with subjects in fieldwork Serendipity/inspiration file Devil's advocate file (10 bitchiest questions that could be asked) Secondary journal recording "feelings" Monthly evaluative memorandum Dissertation group file
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