Qualitative Data Analysis Software | Criteria for coding: When timelines are given, the proportion of time spent on each element is calculated. When grading percentages are specified,
Preparation of documents All institution and instructor policy information is excluded. This would include (disability, dates of final exams, policies for absences, academic dishonesty, office hours) student instructions, housekeeping info Information included: grade distributions, texts required
| 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. II. MUS 1100 Introductory Musicianship MUS 1100 is designed as the aural complement to MUS 1200 and emphasizes rudimentary skills in sight singing, rhythm reading, and ear training. This course will enable students to: - match pitch
- sing and identify any melodic interval, P1 through P8, ascending or descending
- distinguish aurally between different forms of major and minor scales
- recognize basic melodic figures—runs, neighbor figures, arpeggios
- take melodic and rhythmic dictation of examples up to 15 notes long
- read rhythms and sing melodies at sight
- distinguish aurally between major and minor triads
| | 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. IV. MUS 1101 Musicianship I MUS 1101 is 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; melodic, rhythmic, and harmonic dictation; and error detection. This course will enable students to: - conduct basic meter patterns
- sing and aurally identify any melodic interval within the octave, ascending or descending
- sing and aurally identify scale degrees in any order in any major or minor key
- recognize basic melodic figures and their placement in the scale
- sight-sing non-modulating melodies in major and minor keys using solfège syllables (movable-do, do-minor)
- perform while conducting rhythms in simple and compound meter, including elementary subdivisions of the beat (both prepared and at-sight, with rhythm syllables)
- perform two-part rhythm examples by tapping both parts and by vocalizing one part while tapping the other
- take rhythmic dictation in simple and compound meter, including examples that contain divisions of the beat
- take melodic dictation of non-modulating, diatonic melodies up to 20 notes long
- sing (arpeggiate) and aurally distinguish various triad qualities and inversions
- take harmonic dictation (bass, melody and chords) including all diatonic triads in root position and first inversion
- take dictation of 1:1 two-part examples
| | 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. VI. MUS 1102 Musicianship II MUS 1102 is a continuation of MUS 1101 and is designed to be the aural skills complement to MUS 1302. This course will enable students to: - aurally recognize any harmonic interval within the octave
- sing in any order and identify in any register scale degrees in any major or minor key
- take melodic dictation of non-modulating melodies up to 30 notes in length, including 7th-chord arpeggiations
- sing melodies including 7th-chord arpeggiations using solfège syllables
- perform while conducting rhythms in simple and compound meters, including subdivisions, triplets, duplets, and syncopation, using rhythmic syllables (both prepared and at-sight examples)
- take rhythmic dictation and error detection in simple and compound meters, including features listed above
- perform two-part rhythm examples by tapping both parts and by reading one part while tapping the other
- sing (arpeggiate) and aurally identify root position seventh chords in isolation
- take harmonic dictation (bass, melody and chords) of progressions including all diatonic triads and seventh chords in all inversion and including non-chord tones
- take dictation of two-voiced 2:1 contrapuntal examples
- take dictation and analyze phrase structure of non-chorale excerpts from the literature
| | 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. I. MUS 1200 Introductory Theory MUS 1200 is the study of the rudiments of written theory, including notation, scales, key signatures, music terminology, intervals, rhythm and meter, chord construction, and music reading. This course does not count for credit toward a degree with a major in music. This course will enable students to understand the following concepts: pitch notation—staff, clefs, ledger lines, accidentals, enharmonic pitches,
octave registers types, metronome and tempo indications, time signatures, beaming, meter identification major and minor scales key signatures intervals major and minor triads
| | 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. III. MUS 1301 Theory I MUS 1301 is 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. This course will enable students to: - build speed and confidence in writing and identifying intervals, scales, key signatures, and triads through timed drills
- write and identify any triad or seventh chord by root, quality and inversion
- write and identify any diatonic triad or seventh chord by roman numeral and inversion symbol
- identify chords by root and quality from a given figured bass or lead sheet
- write diatonic melodies with attention to contour, tendency tones and harmonic implications
- write 1:1 counterpoint
- learn principles of harmonic progression including types of root movement, chord function, common progressions, and harmonic sequence
- part-write harmonic progressions of root-position and first-inversion triads in a variety of exercises in three and four voices, including bass harmonization, melody harmonization, and figured bass
- perform harmonic analysis of tonal examples from the literature
| | 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. V. MUS 1302 Theory II MUS 1302 is a continuation of MUS 1301, and includes units on second inversion triads; 2-to-1 counterpoint; seventh chords; and cadences, phrases, and phrases in combination. This course will enable students to: - build speed and confidence in writing and identifying diatonic triads and seventh chords in various inversions through timed drills
- write and identify non-chord tones
- write and identify cadences by type
- identify and diagram phrases in combination
- write diatonic melodies based on a given motive, chord progression or period form
- write 2:1 counterpoint giving attention to implied harmony and to the use of dissonance as non-chord tones
- part-write harmonic progressions in three and four voices, including second inversion triads and diatonic seventh chords in a variety of exercises including bass harmonization, melody harmonization, and figured bass
- perform harmonic analysis of tonal, diatonic examples from the literature which include seventh chords in various inversions
| | 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. VIII. MUS 2101 Musicianship III MUS 2101 is a continuation of MUS 1102, and is designed as the aural skills complement to MUS 2301. This course will enable students to: - aurally recognize any simple interval presented melodically or harmonically
- sing and recognize diatonic and altered scale degrees in any order in any major or minor key
- perform rhythms (both prepared and at-sight) and take rhythmic dictation in simple, compound, and irregular meters, including subdivisions, triplets, duplets, syncopation, and simple cross-rhythms
- sing melodies (both prepared and at-sight) including chromaticism and modulation
- take melodic dictation of examples up to 40 notes in length including chromaticism and modulation
- take harmonic dictation (bass, melody and chords) of progressions including altered chords and modulation
take contrapuntal dictation of two-voice examples, including rhythmic independence, sequence, imitation and chromaticism | | 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. X. MUS 2102 Musicianship IV MUS 2102 is a continuation of MUS 2101, and is designed as the aural skills complement to MUS 2302. This course emphasizes identifying, singing, and/or transcribing by ear melodies, rhythms, and chord progressions/successions commonly encountered in music from the late nineteenth century to the present. This course will enable students to identify and/or transcribe by ear: - compound intervals presented both melodically and harmonically
- melodies up to 50 pitches in length, based on diatonic modes and chromatic, pentatonic, octatonic, whole tone, and lydian-mixolydian scales
- atonal melodies up to 25 pitches in length, based on a limited number of interval-class types, pitch-class set types, and 12-tone rows
- passages of 2-voice polyphony featuring the types of melodies listed above
- harmonic progressions using common-practice diatonic and altered chords, presented in the context of remote modulations, enharmonic modulations, and passages of shifting or suspended tonality
- chord progressions/successions using triads, added-note chords, seventh chords and commonly used ninth, eleventh, and thirteenth chords, including chords and successions encountered in jazz and popular music
- basic types of sonorities encountered after 1900, including open fifths, quintal chords, quartal chords, extended tertian chords, split-member chords, added-note chords, polychords, secundal chords, and whole-tone chords
- rhythms containing/expressing the following features: changing between simple and compound meter with the division of the beat constant, changing between simple and compound meter with the beat constant, three notes in two beats, two notes in three beats, four against three, four notes in three beats, three notes in four beats, quintuplets and septuplets, five-eight and other asymmetrical meters
By the end of Musicianship IV students will be able to perform at sight: - one-part and two-part rhythms containing/expressing the features listed immediately above, plus cross-rhythms and tempo modulation
- from a given pitch, diatonic modes and pentatonic, octatonic, whole tone, and lydian-mixolydian scales
- melodies containing/expressing the following features: modulation to distantly related keys, diatonic modes, changing clefs, exotic (pentatonic, whole tone, lydian-mixolydian, octatonic) scales, post-1900 interval successions, and serialism
| | 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. VII. MUS 2301 Theory III MUS 2301 is a continuation of MUS 1302, emphasizing chromaticism in tonal harmony. This course will enable students to: - spell, write, and identify altered chords, including secondary functions, borrowed chords, and Neapolitan and augmented-sixth chords
- build speed and confidence in the activities listed above through timed drills
- write melodies including chromaticism and modulation
- write two-voice contrapuntal examples including implied altered chords and modulation
- part-write progressions incorporating altered chords in a variety of exercises, including figured bass, unfigured bass, and melody harmonization
- analyze and part-write modulating examples including common-chord modulation to closely related keys, modulation to remote keys through altered pivot chords, and enharmonic modulation
| | 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. IX. MUS 2302 Theory IV MUS 2302 is a survey of late nineteenth and post-1900 compositional materials, techniques, and methods of analysis. This course will enable students to: - identify common characteristics of late nineteenth-century extended tonality
- spell and analyze 20th- and 21st-century scale types
- spell and analyze 20th- and 21st-century chord types, using lead-sheet notation and descriptive labels as appropriate
- analyze and write melodies in 20th- and 21st-century styles using appropriate pitch collections, melodic and rhythmic characteristics, and methods of construction
- analyze and employ 20th- and 21st-century rhythmic techniques
- analyze and employ 20th- and 21st-century harmony, voice-leading techniques, and tonal techniques, including both tertian and non-tertian pitch-centricity, parallelism, polytonality, and pandiatonicism
- place any pitch collection in best normal order, identify its prime form, construct its interval-class vector, and select its set-class from a list of set classes
- analyze and compose music employing nonserial atonality using pitch-class set theory
- construct a twelve-tone row and analyze its properties, construct a matrix, and analyze and compose music employing serial atonality
| | 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. XI. MUS 3301 Theory V Form and Analysis MUS 3301 emphasizes recognition and analysis of the structure of music, from the motivic level to the form of entire pieces. This course will enable students to: - analyze phrase structures such as periods, phrase groups, and phrase expansion; and locate cadences and structural closures
- recognize formal structures and sectional layouts of works, including binary, ternary, rondo, sonata, and sonata-rondo form
- recognize works constructed from contrapuntal techniques and variation procedures
- identify tonal plans in relation to forms
- analyze the structural function of musical passages and discuss the melodic/harmonic techniques employed; i.e., sequence, motivic treatment, pedal, and circle-of-fifths
- discuss thematic process, motivic development, and imitative procedures
- analyze and discuss text-music relationships in vocal music
- recognize adaptations of traditional formal procedures and new formal approaches in twentieth-century examples (e.g., golden mean, indeterminacy, moment form)
provide verbal or written description of formal structures and processes with the use of appropriate analytical terminology | | | 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.MUS 1111: Musicianship I Course Design Catalog Description: 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. Prerequisites: Theory Placement Exam, MUSI 1100, or passing score on the Theory Placement Exam; MUSI 1300, and 1311; or concurrent enrollment in MUSI 1311. Textbooks: A New Approach to Sightsinging, 4th ed., by Berkowitz, Fontrier, & Kraft (Norton) Developing Aural Skills, Vol. 1, by Barbara Wallace (Kees Academic Press) Studying Rhythm, 2nd ed., by Ann C. Hall (Prentice-Hall) Course Content (Material to correspond to Chapters 1-8 of Tonal Harmony): Review of MUSI 1100 content Review of (or introduction to) solfége in moveable do; minor do Rhythmic reading in simple meter (1 e & a) and in compound meter (1 la li 2 la li) Rhythmic dictation and error detection to include ties, rests, and dotted values; in simple meter (down to beat subdivision) and compound meters (down to beat division) Sing and identify all intervals (played melodically ascending and descending) Sightsing melodies in major and minor keys in solfége, both prepared and at sight, no syllables written in music (stepwise and with skips in I, IV, V, and V7) Melodic dictation and error detection of 4- to 6-measure melodies (stepwise and with skips in I, IV, V, and V7) in major and minor keys, played without break Harmonic dictation of progressions in major and minor keys, with 4 to 10 chords, using all diatonic triads, root position and first inversion. (Omit minor key variants – subtonic [VII], minor v, and major IV.) Skill Mastery: Sing melodies at sight in moveable do solfége Tap rhythm at sight Speak rhythm at sight in rhythmic syllables Dictation of rhythmic phrases, melodies, and harmonic progressions in 5-6 playings, 4-6 measures at a time | | 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. MUS 1112: Musicianship II Course Design Catalog Description: A continuation of MUSI 1111. Spring Prerequisites: MUSI 1111, 1311, and either 1312, or concurrent enrollment in MUSI 1312. Required Textbooks: A New Approach to Sightsinging, 4th ed., by Berkowitz, Fontrier, & Kraft (Norton) Developing Aural Skills, Vol. 2, by Barbara Wallace (Kees Academic Press) Studying Rhythm, Ann C. Hall (Prentice-Hall) Course Content (Material to correspond to Chapters 9-15 of Tonal Harmony): Rhythmic reading in simple and compound meters, through subdivision of the beat. (Students will read single-line rhythmic patterns in rhythmic syllables, tap single-line rhythmic patterns at reasonable performance tempo, tap two-line rhythmic patterns, or speak one line and tap the other simultaneously.) Rhythmic dictation and Error Detection of examples in simple and compound meters, through beat subdivision, including ties, syncopation, and triplets and duplets Sing and identify all intervals (played melodically and harmonically, ascending or descenging) Sing in solfège at sight melodies with all diatonic skips and with chromatic pitches Melodic dictation and Error Detection of 4- to 8-measure melodies (comparable to difficulty level of sightsinging) played without break Sing from any chord member all types of seventh chords Identify all types of seventh chords Harmonic dictation of progressions with 4 to 10 chords, including all diatonic triads and seventh chords, root position and all inversions Aural recognition of cadences and NCTs Sing and identify chromatically altered scale degrees. Skill Mastery: Sing melodies at sight in moveable do solfège without syllables or rhythm written in the music. Be able to: · maintain key feeling · sing accurate intervals · perform rhythm accurately and at a reasonable tempo Tap rhythm at sight, both single-line rhythm and rhythmic duets. Solfège System used: Moveable do; do-based minor: do re me fa sol la ti do te le sol fa me re do Rhythmic Syllables used: Simple: 1 2 1 & 2 & 1 e & a 2 e & a Compound: 1 2 1 la li 2 la li 1 ta la ta li ta 2 ta la ta li ta | | | | 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. MUSI 1311: Theory I Course Design Catalog Description: 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, improvising written harmonizations for melodic lines, and playing and transposing chord progressions. Fall. Prerequisite: MUSI 1300 or passing Music Theory Placement Examination. Textbooks: Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Workbook for Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Course Content (Chapters 1-8 of Tonal Harmony): Review of fundamentals of music theory Triads and seventh chords Figured bass and inversion symbols Lead Sheet symbols Analysis of diatonic triads and seventh chords (Roman Numerals) Part-writing root position and first inversion triads Understanding typical Common-Practice period harmonic progression Writing and analyzing harmonic sequences Skill Mastery: Pass five timed Skill Tests with score of at least 80% in order to pass course: 1. Major and Minor Scales (add accidentals) 2. Key Signatures (identify and write) 3. Intervals (analyze numeric value of intervals) 4. Diatonic Triads (notate major triads on the staff in root position) 5. Diatonic Triads (notate minor triads on the staff in root position) Thorough knowledge of part-writing principles Completion of semester tests in a one-hour time limit Completion of Keyboard Tests in a set time limit Technology Applications: Four computer notation projects in Sibelius to include the following: · basics of computer notation · note entry · copy/paste · editing · lyrics · score formatting | | | | 3 | MUSI 1312 (3-3-0) Music Theory II A continuation of MUSI 1311. Fall, Spring, Summer. Prerequisite: MUSI 1311.
MUS 1312: Theory II Course Design Catalog Description: A continuation of MUSI 1311. Prerequisite: MUS 1311 Textbooks: Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Workbook for Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Course Content (Chapters 9-15 of Tonal Harmony): Part-writing second inversion triads Form (cadences, phrase structure, periods) Non-Chord Tones Part-writing seventh chords Harmonic sequences with seventh chords Hemiola Extended figured bass Melody harmonization in three- and four-voice textures Skill Mastery: Pass four timed Skill Tests with a score of at least 80% in order to pass course: 1. Notate diatonic triads on the staff 2. Analyze diatonic triads 3. Analyze seventh chords in block format 4. Analyze chord root and quality in musical context Technology Applications: Four computer notation projects in Sibelius: · realization of lead sheet symbols · arranging for instruments · harmonization of an original melody, arranging an accompaniment orchestrating the original melody and accompaniment | | | | 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. MUSI 2111: Musicianship III Course Design Catalog Description: 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. Prerequisites: MUSI 1112, 1312, and either 2311, or concurrent enrollment in MUSI 2311. Textbooks: A New Approach to Sightsinging, 4th ed., by Berkowitz, Fontrier, & Kraft (Norton) Developing Aural Skills, Vol. 3, by Barbara Wallace (Kees Academic Press) Studying Rhythm, Ann C. Hall (Prentice-Hall) Course Content (Material to correspond to Chapters 16-22 of Tonal Harmony): Rhythmic reading involving syncopation, more difficult rhythm patterns, triplets and duplets together, etc. (read single-line rhythmic patterns in rhythmic syllables, tap single-line rhythmic patterns at reasonable performance tempo; tap two-line rhythmic patterns, or speak one line and tap the other simultaneously) Rhythmic dictation and Error Detection of more advanced rhythmic patterns Sightsing (sing at sight) modulating melodies and melodies with chromatically altered tones Melodic dictation and Error Detection of 4- to 8-measure melodies (comparable to difficulty level of sightsinging) played without break Harmonic dictation of progressions with 4 to 10 chords, involving modulations to closely-related keys, secondary dominant and secondary leading tone chords, borrowed chords, and Neapolitan Sixth chords Skill Mastery: Sing modulating melodies at sight in moveable do solfège, without syllables or rhythm written in the music. · maintain key feeling · be able to sing accurate intervals · be able to sing altered tones correctly · perform rhythm accurately and at a reasonable tempo Tap rhythm at sight, both single-line rhythm and rhythmic duets. | | | | 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. MUSI 2112: Musicianship IV Course Design Catalog Description: A continuation of MUSI 2111. Spring. Prerequisites: MUSI 2111, 2311, and either 2312, or concurrent enrollment in MUSI 2312. Textbooks: A New Approach to Sightsinging, 4th ed., by Berkowitz, Fontrier, & Kraft (Norton) Developing Aural Skills, Vol. 4, by Barbara Wallace (Kees Academic Press) Studying Rhythm, Ann C. Hall (Prentice-Hall) Course Content (Material to correspond to Chapters 22-28 of Tonal Harmony): Rhythmic reading difficult rhythm patterns, mixed meter, etc. (read single-line rhythmic patterns in rhythmic syllables, tap single-line rhythmic patterns at reasonable performance tempo; tap two-line rhythmic patterns, or speak one line and tap the other simultaneously) Rhythmic dictation and Error Detection of more advanced rhythmic patterns, changing meters, and assymetrical meters Sightsing (sing at sight) melodies with more chromaticism, modal melodies, melodies that modulate to foreign keys, melodies based on twentieth-century scale forms, and atonal melodies Melodic dictation and Error Detection of 4- to 8-measure melodies (comparable to difficulty level of sightsinging) played without break Harmonic dictation of progressions with 4 to 10 chords, involving modulations to remote keys, augmented sixth chords, enharmonic modulations, modal harmony, and bitonality Aural recognition of advanced altered chords, extended tertian harmony, and modal melodies Skill Mastery: Sing advanced melodies at sight, without syllables or rhythm written in the music. · demonstrate precision of advanced melodies · perform advanced rhythm accurately and at a reasonable tempo Tap rhythm at sight, both single-line rhythm and rhythmic duets. | | | | 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.
MUS 2311: Theory III Course Design Catalog Description: 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, and playing and transposing chord progressions. Fall. Prerequisite: MUSI 1312. Textbooks: Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Workbook for Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Course Content (Chapters 16-23 of Tonal Harmony): Secondary dominant and secondary leading tone chords Modulations Binary and ternary forms Borrowed chords and mode mixture Neapolitan chords Augmented sixth chords Technology Applications: Four computer notation projects in Sibelius covering more advanced notation concepts | | | | 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.
MUS 2312: Theory IV Course Design Catalog Description: A 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. Textbooks: Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 (plus supplemental materials) Workbook for Tonal Harmony, 6th ed., by Kostka and Payne, McGraw-Hill, 2008 Course Content (Chapters 24-28 of Tonal Harmony): Augmented sixth chords (unusual inversions, enharmonic spellings) Enharmonic spellings of various chords Enharmonic modulations Substitute dominants Ninth, eleventh, and thirteenth chords Late nineteenth-century harmony Diatonic church modes Non-diatonic scale forms Twentieth-century harmony Set theory The twelve-tone system Technology Applications: Notate a composition on computer. | | MUSI 3201 | Analysis of Musical Structure | 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. SYLLABUS MUS 2301, Section 01 – Analysis of Musical Structure Dallas Baptist University, Fall, 2008 Dr. Barbara K. Wallace, Professor
Office: Blackaby 302 Phone: 214-333-5314 (office) Monday | Tuesday | Wednesday | Thursday | Friday | 1:00-3:00 | 8:00-10:00 | 1:00-3:00 | 8:00-10:00 | | | 11:00-12:00 | | 11:00-12:00 | 12:00-1:00 | | 1:00-2:00 | | 1:00-2:00 | |
Email: barbaraw@dbu.edu Office Hours: (Subject to change – Check my office door. Other hours available by appointment.)
Class Time/Location: TTh 12:00-12:50 p.m., Blackaby 306 D.B.U. Mission Statement: The purpose of Dallas Baptist University is to provide Christ-centered quality higher education in the arts, sciences, and professional studies at both the undergraduate and graduate levels to traditional age and adult students in order to produce servant leaders who have the ability to integrate faith and learning through their respective callings. Course Description: An in-depth study of the analysis of musical forms, including sonata form, sonata-rondo, classical concerto, Baroque variation forms, and fugue. Prerequisite: MUSI 2312. Fall. Learner-Centered Course Objectives and Outcomes: The objective of Analysis of Musical Structure is for the student to demonstrate mastery of the various types of formal structure of tonal music, such as sonata form, sonata-rondo, classical concerto, Baroque variation forms, and fugue. The overall learning experience will develop competencies that will lead to opportunities for music-related Christian service to God and mankind. Upon successful completion of this course, students will be able to: o discuss the characteristics of the common formal structures of tonal music. o analyze various pieces in the Common Practice period. o complete an analytical paper, discussing the structure of music. o apply the above concepts in a historical framework. Required Textbooks and Class Materials: Anthology for Musical Analysis, Postmodern Update, 6th ed., by Burkhart (ISBN: 0-534-63828-7) Study Score: Mozart, Symphonies 40 and 41 Study Score: Beethoven, Symphony No. 5 Study Score: Beethoven, Symphony No. 3 Course Outline: Aug. 25 – Sep. 30 Unit I: Bar form, strophic form, Baroque variation forms, Golden Ratio Oct 2 – Nov. 11 Unit II: Sonata form Nov. 13 – Dec. 18 Unit III: Sonata Rondo form, Rondo form, Concerto form SEE HOMEWORK ASSIGNMENT/TEST SCHEDULE FOR SPECIFIC DATES. Requirements for Credit:
1. Homework: Consistent and timely completion of homework is necessary in a course of this nature. Homework will be assigned in almost every class period. Students will be prepared to discuss their findings in each class session. 2. Participation: The “Participation” points for this course will be earned by student preparation for class discussions, oral contribution, homework completion, and by attendance and punctuality.
3. Projects: Two major analysis papers will be assigned as the two projects. Projects may be accepted up to a week late, but will have a 10-point penalty. Students not turning projects in at the class period due date will not be permitted to attend class that day, because of the discussion of the projects. 4. Tests: Major tests can be made up only for excused absences (illness with a note from a doctor or nurse, death in the family, or a university-excused absence).
5. Grading: Homework and Participation 100 Project 1 100 Project 2 100 Written Tests (2 @ 100 each) 200 Final Exam 200 Total 700 Attendance: According to DBU academic policy, attendance in class is considered a necessary factor in the learning process. Therefore, absences for all reasons must be kept to a minimum and should not exceed 25 percent of the total class time. Students are held responsible for all academic work required or performed during their absence regardless of the reasons for those absences. Students who register late are responsible for work missed. The policy concerning class attendance for individual courses, seminars, or other guided learning experiences will be determined by the faculty members in charge of such course, seminar, or learning experience. Every student is expected to attend class. Major tests can be made up for excused absences only. Absences due to illness require a note signed by a doctor or nurse. Classes will begin promptly. University policy states that to receive course credit, a student should not miss more than 25% of the classes during a semester. Seven (7) total absences will be allowed. The eleventh (8th) absence (excused or unexcused) will result in an “F” for the course. If you are absent, it is your responsibility to find out what material was covered and what assignments were made. Learner-Centered Assessment of Outcomes: The student will demonstrate development, progress, and mastery of musical structure and analysis. He/She will be assessed according to the quality, and accuracy of their homework, class participation, projects, and tests. (See details above.) Methods of Instruction: The primary type of instruction to be used is presentation of material, demonstration, student response and discussion, and sample analyses. Bibliography: Green. Form in Tonal Music (MT 58.G75 1979) Spencer/Temko. A Practical Approach to the Study of Form in Music (MT S8 .S63 P7 1994) Berry, Wallace. Form in Music (MT 58 .B34 1986) Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians Diamond. Music Analyses: An Annotated Guide . . . (ML 128 .A7 D5 1991) Rosen. Sonata Forms (ML 1156 .R67 1988) Tovey. Essays in Musical Analysis (MT 90 .T6 E5) Leichtentritt. Musical Form (MT 58 .L452) Morris. The Structure of Music (MT 58 .M88 S8 1966) Ulrich. Symphonic Music (ML 1260 .U4) Walker. A Study in Musical Analysis (MT 6 .W166 S8 1962) White. The Analysis of Music (MT 6 .W4147 A6 1984) Financial Aid: Students who are receiving federal, state, or institutional financial aid who withdraw or add hours during the semester may have their financial aid adjusted because of the withdraw or addition. This change in schedule may affect the aid they are receiving during the current semester, and could affect their eligibility for aid in future semesters. Disabilities: The student has the responsibility of informing the Dean of Students, at (214) 333-5134, of any disabling condition for which the student will request course modifications. Dallas Baptist University provides academic adjustments and auxiliary aid to individuals with disabilities, as defined under law, who are otherwise qualified to meet the institution’s academic requirements. It is the student’s choice and responsibility to initiate any request for accommodations. Required documentation must be provided before the university can make accommodations. Honor Code and Appeals: The faculty member endorses the University Honor Code and abides by the University’s Academic Appeal and Academic Misconduct Procedure as stated in the Student Handbook and the Schedule of Classes. Academic Integrity: Academic dishonesty will not be tolerated in any form (cheating, copying homework, plagiarism, etc.). Plagiarism shall be defined as the appropriation, theft, purchase, memorization, or obtaining by any means another’s work, and the unacknowledged submission or incorporation of that work as one’s offered for credit. (Appropriation includes the quoting or paraphrasing of another’s work without giving credit therefore.) See D.B.U. catalog, Student Handbook, and the Music Department Handbook for general policies. Posting of Final Course Grades: Final course grades provided to a student by a faculty member may not be relied upon as official. Students may access their official final grades online through the WebAdvisor System. The Registrar’s Office will only mail grades to a student upon request. The Dallas Baptist University undergraduate and graduate catalogs state that “All accounts must be paid in full before a student can...receive transcripts...” According to FERPA, faculty may not provide final grade information to students via telephone, email, posting or any other source which might compromise student confidentiality. Children in Classes and Unaccompanied Children: Minor children of Dallas Baptist University students are not permitted to attend class with their parents. Furthermore, minor children may not be unaccompanied at any location or property where Dallas Baptist University classes are taught. If a minor child is brought to the DBU campus or any location where DBU classes are taught, the child must be accompanied by an adult at all times. For their safety and welfare, unaccompanied children on the DBU campus will be escorted to the Campus Security Office and the parents or guardians will be summoned to pick them up immediately. Cell Phone Policy: Classroom disruption by cell phones or other electronic devices is prohibited. All cell phones and similar electronic devices must remain turned off and out of sight for the duration of class. Electronic devices utilized in a learning context, such as laptops and language interpreters, may be permitted at the professor’s discretion. A student may face a zero and/or failure in the class if an electronic device is used for cheating during a test. Cheating at Dallas Baptist University is not tolerated and may result in expulsion. Graduating Students Grades: It is the responsibility of the student to notify the instructor if graduating this semester. Final exams for graduating students will be given on the morning of Monday, Dec. 15. Final grades for graduates are due in the Registrar’s Office by noon on Monday, Dec. 15. These grades are final. The instructor will not submit late grades for graduate nor change grades once they are submitted. Record Keeping: Please keep ALL papers and projects handed back. Should there ever be a question about your grade, we will only be able to resolve it if you have documentation. Important Dates: Last day to add: 9-5-08 Last day to withdraw: 11-7-08 Final Exam: Thursday, December 18, 10:00-noon.
| | | | 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 | Introduction to Music | 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 1100: Introduction to Music Friday- 8:00-8:50 a.m. Spring 2009 Dr. Virginia Lile Boaz, professor Office: JG 104, x 2165; Home: 923-9545; email: vboaz@etbu.edu Office Hours: By Appointment Catalog Description: This course is designed to acquaint the beginning student with an overview of the field of music. It will deal with styles, major periods, media of performance, textures, literature, [employment opportunities, and aptitude testing]. It is designed for majors and minors in music and any others interested in a brief survey of the field. I. Course Objectives: · to trace the development of Western Music from the Medieval through the Contemporary period · to become familiar with the most important terms, forms, instruments, and composers of Western art music · to develop a basic music vocabulary for describing music of all types · to understand the cultural and historical background of Western music · to understand music’s function in society · to develop listening skills in order to be able to recognize by sight and sound the music of particular eras II. Course Requirements and Evaluation A. Quizzes (60%)-DAILY quizzes will be given at the beginning of each class period over reading and listening assignments. These will take approximately 5 minutes, so students who are regularly tardy will be in danger of missing quizzes. Please be on time. One assigned Take-Home Quiz will be worth two (2) quiz grades. B. Tests (40%)- Two (2) exams will be given during the semester over course materials. Exams will be a balance of both objective and subjective evaluation. III. Course Policies A. According to ETBU policy, you are allowed 3 (25%) absences throughout the semester, before failing the class based solely on your attendance. On the fourth (4th) absence, you will be notified that you have failed the course and will receive a WX on your transcript. Attendance will be taken by turning in an index card at the beginning of each class period. B. Quizzes and Exams 1. There are NO MAKEUP QUIZZES. The lowest three (3) quiz grades will automatically be dropped. 2. If you need to have a makeup exam, it is your responsibility to schedule it with the instructor at least a week in advance. Failure to do so will result in a “zero” for that exam. Only legitimate excuses, such as severe illness (requires a doctor’s note), death in the family, etc. will be considered for a makeup exam. C. Students with a disability may request appropriate accommodations for this course by contacting the Office of Advising and Career Development in Scarborough Hall, Room 104, and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. D. The instructor reserves the right to modify any portion of the syllabus as may become necessary due to events or circumstances that may occur during the semester. IV. Required Texts/Materials · Kamien, Roger. Music: An Appreciation. Sixth Brief Edition. Boston, Mass.: McGraw-Hill, 2008. · Index Cards (Color, size, and style are up to you). V. Optional Texts/Materials (On reserve in the Music Lab) · CD set (5 CDs) Music: An Appreciation. Ninth Edition/Sixth Brief Edition. Boston, Mass.: McGraw-Hill, 2008 · Poultney, David. Studying Music History: Learning, Reasoning, and Writing About Music History and Literature. 2nd ed. Upper Saddle River, New Jersey: Prentice Hall, 1996. We will cover the following topics: Unit II: The Middle Ages and Renaissance (pp. 59-90) Unit III: The Baroque Period (pp. 91-148) Unit IV: The Classical Period (pp. 149-206) Unit V: The Romantic Period (pp. 207-286) Unit VI: The Twentieth Century and Beyond (pp. 287-304) VI. Course Schedule F 1/16 Course Introduction/ Music in the Middle Ages (pp. 59-78) F 1/23 Music in the Renaissance (pp. 78-89); The Baroque Period (pp. 90-100) F 1/30 Baroque, continued (pp. 100-129) F 2/6 Baroque, continued (pp. 130-147) F 2/13 TMEA- No Class TAKE-HOME QUIZ DUE NEXT WEEK F 2/20 TAKE-HOME QUIZ DUE The Classical Period (pp. 149-172 F 2/27 Classical, continued (pp. 172-192) F 3/6 Classical, continued (pp. 193-205) F 3/13 TEST #1 MARCH 16-20 SPRING BREAK F 3/27 The Romantic Period (pp. 207-230) F 4/3 Romantic, continued (pp. 231-255) APRIL 10- GOOD FRIDAY HOLIDAY F 4/17 Romantic, continued (pp. 256-277) F 4/24 Romantic: Wagner (pp. 278-285) The Twentieth Century (pp. 287-304 [up to Impressionism and Symbolism]) TEST #2- MONDAY, APRIL 27- 8:00-9:50 | | 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 1116 - Ear Training I Fall 2008 Mr. Ray Herman rherman@etbu.eduJ.G. 103, Ext. 2161 Office Hours as posted on bulletin board I. Catalog Description: 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 nonwestern melodies. II. Prerequisites: MUSI 1311 or concurrent enrollment. III. Curriculum requirement: BA – Music Major; BM – Sacred Music Major, Vocal Performance Major, Piano Performance Major, All-Level Music Education Major; Minors – Music Theory, Conducting. IV. Textbooks (required): a. Music for Sight Singing, 7th Edition. Ottman and Rogers b. Dictation Packet – provided on first class day V. Course Objectives: · To demonstrate reliable singing and music reading using folk, western, and nonwestern classical music; · To notate melodies, rhythms and harmonic progressions; · To accurately identify harmonic intervals and chord types; · To develop the ability to use solfege syllables. VII. Teaching Methodology/Course Requirements: 1. Sight Singing (Performance): Activities will be given in class to develop the ability to read rhythms and pitches accurately. Practice outside of class is expected. Quizzes may be given in any class period without prior notice. Material for these quizzes may be taken from the textbook, computer assignments, or outside sources. Three small group exams will be given according to the course schedule. 2. Ear Training (Written): Class activities will be used to develop these skills. Practice outside of class is expected. Quizzes may be given in any class period without prior notice. Material for these quizzes may be taken from the textbook, computer assignments, or outside sources. Students will also be given assignments on the Aurelia software program. As only one attempt will be allowed on each Aurelia quiz activity, students are encouraged to repeat all these exercises until they have mastered the skill. Three exams will be given according to the course schedule. VIII. Course Calendar This course will meet three days per week for approximately two-thirds of the semester. During the remainder of the semester assignments and other activities will be given for any student(s) who need extra help or who would like to improve their grade.** IX. Attendance/Participation Requirements: According to the ETBU catalogue (p.21), “(t)o be eligible to earn credit in a course, the student must attend at least 75 percent of all class meetings.” The eighth absence, for any reason, will result in failure of the class and loss of course credit. Any student who fails to be seated in the classroom by the beginning of the class will be counted as tardy. Two tardies will be equivalent to one absence. Prior notification of any absence will be expected when possible. No course work missed due to absence will be made up unless prior arrangements have been made and the absence is the result of either a University approved event or other reason deemed acceptable by the instructor. Neither hats nor caps are to be worn during class. X. Electronic Devices: The use of electronic communication devices, including but not limited to cell phones, blackberries and laptop computers, will not be permitted in class. Please confirm that these are turned off prior to the start of class. XI. Grade Computation: Participation: 40% (In class, small group and outside assignments) Exams: Small Group 30% Dictation 30% A=90-100 B=80-89 C=70-79 D=60-69 F=59 and below XII. Disability Accommodation Statement: Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Tentative Course Schedule Aug 25 Course Introduction / Distribution of Packets Aug 25-29 Introduction to Solfege – History / Chant Sept 1-5 Rhythm – Terms / Beat Patterns / Rhythm Chart Sept 8-17 Rhythm – Other time signatures Solfege – Other keys, Treble and Bass clefs Sept 15-17 Solfege – Major Pattern / M2/m2 Sept 17 Dictation Exam Sept 19 Small Group Exam Sept 22-26 Major Triads M3/m3 – M6/m6 Rhythm – Compound Meters (Ottman Unit 4) Sept 29-Oct 3 Minor Triads P4 – P5 Oct 6-8 Diminished Triads Tritone Rhythm – Subdivision of the Beat (Ottman Unit 10) Oct 8 Dictation Exam Oct 10 Small Group Exam Oct 13-17 Augmented Triads Oct 20-24 Seventh Chords Oct 27 Review Oct 29 Final Exam: Dictation and Small Group *Final Exam will be given during normally schedule class time. Dec 8 Second Final Exam ** Second Final Exam will be given 10:30 – 12:20. | | 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.Elementary Harmoni I: MUSI 1311 Fall 2008 MWF: 8:00-8:50 JGMB 138 Thomas R. Webster, Ph.D. Office: JGMB 102 Phone: Ext. 2158 E-mail: twebster@etbu.edu Office Hours: MW: 11:00-12:00; 2:00-4:00 T: 8:00-11:00 Th: 1:30-4:00 F: 11:00-12:00 Instructor’s Assistant Data Jennifer Shafer Tutoring Hours: See Posted Lab Schedule Tutoring Location: JGMB 114 sha0787@etbu.edu Course Description Elementary Harmony I is a study of the principal chords in both major and minor modes with emphasis upon part-writing and keyboard harmony. Course Prerequisite There are no prerequisites for this course. However, students ill-prepared for college-level music theory study may choose to complete MUSI 1300 Fundamentals of Music before taking this course. A decision to do so will put music students one year behind in their music study, and consequently may extend their college work beyond four years. Textbook and Materials Kostka, Stefan and Dorothy Payne, Tonal Harmony, 6th ed., Boston: McGraw-Hill, 2009. Kostka, Stefan and Dorothy Payne, Workbook for Tonal Harmony, 6th ed., Boston: McGraw-Hill, 2009. Course Outcomes and Objectives Students completing this course should have a thorough understanding of the following areas: · Major and minor scales and key signatures · Melodic and harmonic intervals · Music terminology and vocabulary appropriate to the course content · Rhythm, meter, and time signatures · Triads and seventh chords · Functional use of chords in tonal harmony · Voice leading in four-part composition · Part writing in three- and four- part textures · Harmonic progressions · Composition techniques using all of the skills listed above Students who complete this course will be prepared for additional study in music theory and upon completion of the entire theory curriculum will acquire: · An understanding of the common elements of organizational patterns of music and their interaction, and the ability to employ this understanding in aural, verbal, and visual analyses. · Sufficient understanding of musical forms, processes, and structures to use this knowledge in compositional, performance, scholarly, pedagogical, and historical contexts, according to the requisites of their specializations. · Rudimentary capacity to create derivative or original music in written form. · The ability to use music notation programs and to begin to develop an understanding of how these programs serve the field of music. Students will: · Work independently on a variety of musical problems by combining their capabilities in performance; aural, verbal, and visual analysis; composition and improvisation; and history and repertory. · Begin to form and defend value judgments about music. Expectations In addition to the requirements and expectations listed elsewhere in this syllabus, students are expected to: · Arrive to class on time, if not early, with all materials including textbook, workbook, pencil, pen, notebook paper and staff paper · Come to every class having read the chapter, prepared to discuss the material · Work to master and increase speed of recall of the material cover in previous units/chapters. Grade Computation Each student’s grade will be computed based on the percentages below. Homework Assignments 10% and 25% In-Class Quizzes 10% 25% Tests (6) 30% 25% Final Exam 50% 25% The grade computation that most benefits the student will be used to determine the student’s final grade. Students who have successfully completed all TCAs (see below) prior to the last regularly scheduled class meeting may choose not to take the Final Exam. In such cases the Test average will count 80% and 50% of the grade computations. Timed Competency Assessments In addition to the assignments, quizzes, Unit Tests, and Final Exam, each student will be required to successfully complete a timed competency assessment (TCA) on each topic within the chapters and units. Each TCA will be given in class one time, but may be retaken as many times as necessary throughout the semester until the time of the final exam. Students must successfully complete all the timed assessments in order to receive a passing grade for the class regardless of the grade earned. The assignments, quizzes and tests allow the student to demonstrate an understanding of the material, and the TCAs provide the student the opportunity to demonstrate mastery and application of that material sufficient to warrant its use in the subsequent music theory courses. The TCAs do not affect the students’ grades, but they do affect successful completion of the course. Assignments Daily homework assignments will be given. All assignments are to be completed before class begins and will be assessed during the class session in which each is due. Students must be ready to turn in homework assignments at the beginning of each class period. While students are encouraged to seek assistance from the instructor, the instructor’s assistant or other students, all assignments must be completed by the students turning in the work. Homework assignments are not collaborative efforts of many students, and all assignments should represent the student’s individual work and understanding of the subject matter. Quizzes Short daily quizzes will be given at many class meetings. These are designed to reinforce the students’ learning in previous classes and homework assignments, and to develop a greater speed in processing the information and course content. All quizzes may be comprehensive, and all material from previous chapters may be covered at any time. Tests Unit tests will be given throughout the semester (see Tentative Course Schedule below). Each test will be comprehensive and will require a thorough knowledge of the material presented in previous units. Students are encouraged to solidify their understanding of the content in each unit and develop greater speed in processing and presenting that information throughout the semester. Final Exam The Final Exam will be administered on Wednesday, Dec 10, 2008 from 8:00-9:50 a.m. Academic Integrity “Academic integrity is one of the most important values maintained by the University. Violations of academic policies, including ethical expectations are outlined in the course syllabus, the University Catalog, or other official University documents. Violations are considered serious breaches of both personal integrity and the University’s student code of conduct. Conflicts involving matters of academic integrity will follow the student grade appeals procedure. These conflicts include: A) Plagiarism – This may be defined as the act of appropriating or giving out as one’s own the literary or artistic work of another. (Facts of general knowledge are not considered to be covered by the definition of plagiarism.) B) Cheating – This is defined as falsifying work, copying work of another person, and use of unauthorized helps. C) Falsification of Records – Accuracy in completing forms for the permanent student records file is essential to the functioning of the University and to knowingly falsify or submit inaccurate data is a disciplinary offense. D) Use of unauthorized materials – for classroom and class use.” Attendance Policy, Late Work, and Make-Up Work Class attendance is critical to each student’s success in this course. Attendance at every class meeting is expected. Content information will be given in each class session; quizzes will be administered in many class sessions, and the discussion of course content is vital for the development of a complete understanding of the material. The University Class Attendance Policy (see page 21 of University Catalog) will be strictly enforced in this course. No late work will be accepted and no quizzes or tests will be administered after a class has been missed except in extreme circumstances as determined by the instructor. Students who miss class due to illness or other personal matters must discuss the matter with the instructor who, if approved, will determine an alternate time to accept assignments and administer quizzes and tests. In most cases these alternate times will be scheduled prior to the missed class, and students may be asked to produce verification of the situation (doctor’s note, etc.) In the case of a University approved absence, the student must make arrangements to turn in assignments and take quizzes or tests prior to the missed class. Disability Statement Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Tentative Course Schedule Changes will be made to the schedule below as needed throughout the semester. Students will always receive at least 2 class meeting notice of a change in the test schedule. Aug 25 Course Introduction Aug 27-Sept 5 Chapter 1: Elements of Pitch Sept 8 Test 1 Sept 10-12 Chapter 1: Elements of Pitch (continued) Sept 15 Test 2 Sept 17-26 Chapter 3: Triads and Seventh Chords Oct 1 Test 3 Oct 1-15 Chapter 4: Diatonic Chords Oct 17 Test 4 Oct 20-Nov 3 Chapter 5: Principles of Voice Leading Nov 5 Test 5 Nov 7-Dec 1 Chapter 6: Root Position Part Writing Dec 3 Test 6 Dec 5 Final Exam review/TCA make-ups Final Exam The Final Exam will be administered on Wednesday, Dec 12, 2007 from 8:00-9:50 a.m. | | 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 1117 – Elementary Ear Training II Spring 2009 J.G. 103, Ext. 2161 Office Hours as posted on bulletin board I. Catalog Description: This course is an extension of MUSI 1116 in the development of sight singing and ear training ability. The class meets three hours per week for ten weeks. II. Prerequisites: MUSI 1116 and 1311. III. Curriculum requirement: BA – Music Major; BM – Sacred Music Major, Vocal Performance Major, Piano Performance Major, All-Level Music Education Major; Minors – Music Theory, Conducting. IV. Textbooks (required): a. Music for Sight Singing, 7th Edition. Ottman and Rogers b. Dictation Packet - provided V. Course Objectives: · To demonstrate reliable singing and music reading using folk, western, and nonwestern classical music; · To notate melodies, rhythms and harmonic progressions; · To accurately identify harmonic intervals and chord functions; · To detect melodic, rhythmic, and harmonic errors; · To develop the ability to use solfege syllables. VI. Teaching Methodology/Course Requirements: 1. Sight Singing (Performance): Activities will be given in class to develop the ability to read rhythms and pitches accurately. Quizzes may be given in any class period without prior notice. Material for these quizzes may be taken from the textbook, computer assignments, or outside sources. Five tests, to include four unit tests plus the final exam, will be given according to the course schedule. 2. Ear Training (Written): Class activities will be used to develop the ability accurately to identify and notate rhythmic, melodic and harmonic examples. Quizzes may be given in any class period without prior notice. Material for these quizzes may be taken from the textbook, computer assignments, or outside sources. Students also will be given assignments on the Aurelia software program. As only one attempt will be allowed on each Aurelia quiz activity, students are encouraged to repeat all these exercises until they have mastered the skill. Three Aurelia tests and five in class written tests, to include four unit tests plus the final exam, will be given according to the course schedule. VII. Attendance/Participation Requirements: According to the ETBU catalogue (p.21), “(t)o be eligible to earn credit in a course, the student must attend at least 75 percent of all class meetings.” The ninth absence, for any reason including but not limited to school activities, will result in failure of the class and loss of course credit. Any student who fails to be seated in the classroom by the beginning of the class will be counted as tardy. Two tardies will be equivalent to one absence. Prior notification of any absence will be expected when possible. No course work missed due to absence will be made up unless prior arrangements have been made and the absence is the result of either a University approved event or other reason deemed acceptable by the instructor. VIII. Cell Phone Policy: As a courtesy to the instructor and the other students, please turn-off all cell-phones and other electronic paging devices before rehearsal. A student expecting an emergency call may leave his/her phone on silent (vibrate) if he/she has communicated with the instructor before the beginning of class. Any student whose cell-phone rings during class may be asked to leave. IX. Grade Computation: Tests: Ear Training 30% Sight Reading 30% Aurelia 20% Assignments: 20% | A=90-100 B=80-89 C=70-79 D=60-69 F=59 and below |
X. Disability Statement: Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. MUSI 1117 Semester Schedule (Tentative) January 12 Course Introduction / Distribution of Packets /Review January 14-16 Review Date | New Items Studied | | Intervals / Tones | Harmony | Rhythm | January 19-23 | 7th | Major/Minor sonorities | Triplet | Test 1 – January 23 | January 26-30 | | Diminished/Augmented sonorities | | February 2-6 | Tritone | I, V (+ cadence) Inversions | Duplet | Test 2 – February 6 Aurelia Test 1 Closed | February 9-13 | | IV (+ cadence) Inversions | | February 16-23 | Passing Tone Neighbor Tone | II Inversions | Syncopation | Test 3 – February 23 Aurelia Test 2 Closed | February 25-27 | Band Tour Aurelia Assignment | March 2-6 | Suspension Retardation | VI (+ cadence) Inversions | | March 9-13 | | III Inversions | | Test 4 – March 13 Aurelia Test 3 Closed | March 16-20 | Spring Break | March 23-27 | | VII Inversions | | March 30 | | | | April 1 | Final Exam |
Examples in the Ottman text will be studied which support the above outline. | | 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 1311MUSI 1312.01 Elementary Harmony II Spring 2009Professor: Dr. Randall Sulton Office: Jenna Guest, Room 108 Phone: 923-2164 Office Hours: TBA; check the bulletin board outside my office Email: rsulton@etbu.edu Course Data: MWF 9-9:50; JGMB 138 Course Prerequisite Musi 1311 Catalog DescriptionThis 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. Prerequisite: MUSI 1311 Course Textbook(s)Tonal Harmony , 6th ed.- Stefan Kostka, Dorothy Payne Copyright - 2004 ISBN – 0-07-285260-7
Workbook for Tonal Harmony, 6th ed. - Stefan Kostka, Dorothy Payne Copyright - 2004 ISBN – 0-07-285261-5 Course Objectives1. to be able to label and to notate all diatonic triads and seventh chords in all possible inversions 2. to be able to organize the above-mentioned chords into strong harmonic progressions based on the principles and part-writing examples found in the chorales of J. S. Bach 3. to be able to label all non-chord tones and to use them in part-writing exercises 4. to be able to label and notate secondary dominants and secondary leading-tone chords 5. to be able to recognize and label cadences, phrases, and periods Evaluation and Grade ComputationTests 70% Final comprehensive exam 30% OR Tests 60% Final comprehensive exam 40% The computation that most benefits the student will be used in determining the semester grade. Final ExamThe final exam will be given on Monday, April 27 from 10:30-12:20 pm in accordance with the University Spring 2009 Exam Schedule. Attendance / Participation RequirementsSee p. 21 of the 2007-8 ETBU Catalog. Attendance and homework assignments are critical components of this class. Miss class at your own risk. You are responsible for any material discussed or assignments made in class even in you are absent. I begin my classes on time--I will not repeat myself for latecomers. Disability StatementStudents with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee, the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Course Outline / Material to be CoveredTentative Schedule
1/12-23 Ch. 7 1/26 Test 1 1/28- 2/4 Ch. 8, 9 2/6 Test 2 2/9-13 Ch. 11, 12 2/16 Test 3 2/18-25 Ch. 13-15 2/27 Test 4 3/2-25 Ch. 16 3/27 Test 5 3/30- 4/8 Ch. 17 4/13 Test 6 4/15-22 Ch. 10 4/24 Test 7 4/27 Final Exam at 10:30-12:20 | | 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 2116 – Advanced Ear Training I MWF 9:00-9:50 a.m. JGMB 147 Fall 2008 Dr. Douglas Lockard Redwine 106, Ext 2167dlockard@etbu.edu Office hours as posted I. Course Description: Development of advanced sight singing and aural acuity relative to intervals, chords, and rhythms is experienced in Advanced Ear Training I. This class meets three hours per week for ten weeks. II. Prerequisites: MUSI 1117. III. Curriculum requirement: BM – Sacred Music Major, Vocal Performance Major, Piano Performance Major, All-Level Music Education Major; BA – Music Major. IV. Textbooks (required): Music for Sight Singing, 7th ed. by Ottman and Rogers Ear Training: A Technique for Listening, 7th ed. By Benward and Kolosick V. Objectives: · To demonstrate reliable singing and music reading using folk, western, and nonwestern classical music; · To notate chromatic and modulating melodies, challenging rhythms and harmonic progressions; · To accurately identify harmonic intervals and chord functions; · To detect melodic, rhythmic, and harmonic errors; · To develop the ability to use solfege syllables VI. Assignments: 1. Sight Singing (Performance): Activities will be given in class to develop the ability to read rhythms and pitches accurately. Quizzes may be given in any class period without prior notice. Material for these quizzes will be taken from the textbook, computer assignments, and outside sources. Four tests will be given during the semester according to the course schedule found on the Student Toolbox. 2. Ear Training (Written): Class activities will be used to develop these skills. Students will also be given practice assignments on the Aurelia software program. Four written tests will be given during the semester according to the course schedule found on the Student Toolbox. VII. Attendance/Participation Requirements: According to the ETBU catalogue (p.21), “(t)o be eligible to earn credit in a course, the student must attend at least 75 percent of all class meetings.” The eighth absence will result in failure of the class and loss of course credit. Any student who fails to be seated in the classroom by the beginning of the class will be counted as tardy. Three tardies will be equivalent to one absence. It is this instructor’s policy that two non-university/instructor approved absences will lower the student’s final grade by one letter, four non-university/instructor approved absences will lower the student’s final grade by two letters, and six non-university/instructor approved absences will lower the student’s final grade by three letters. Instructor approved absences will include a death in the family or the student’s doctor certified illness. All absences count when calculating credit for a course. No course work missed due to absence will be made up unless prior arrangements have been made and the absence is the result of a university/instructor approved event. · Grade Computation: Quizzes: 35% Tests: 35% Assignments: 15% Final Exam: 15% A=90-100 B=80-89 C=70-79 D=60-69 F=59 and below VII. Disability Accommodation Statement: Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Advanced Ear Training I – Fall 2008 Course Schedule (Approximate) August 25 Course Introduction; Review of Unit 7 August 27 Unit 8 August 29 Unit 8 September 1 Unit 8 September 3 Unit 8 September 5 Sight Singing Test 1 September 8 Ear Training Test 1 September 10 Unit 9 September 12 Unit 9 September 15 Unit 9 September 17 Unit 9 September 19 Ear Training Test 2 September 22 Sight Singing Test 2 September 24 Unit 10 September 26 Unit 10 September 29 Unit 10 October 1 Unit 10 October 3 Unit 10 October 6 Unit 10 October 8 Ear Training Test 3 October 10 Sight Singing Test 3 October 13 Unit 11 October 15 Unit 11 October 17 Unit 11 October 20 Unit 11 October 22 Unit 11 October 24 Unit 11 October 27 Ear Training Test 4 October 29 Sight Singing Test 4 Final Exam – Monday, November 3, 2008; 9:00 a.m. A student who wishes to improve his/her final grade may elect to attend class following the Nov. 3 final exam. Additional class and Aurelia assignments will be completed and a second final exam will be given on Wednesday, Dec. 10, 8:00-9:50 a.m. | | 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 2312.01 Advanced Harmony Fall 2008Professor: Dr. Randall Sulton Office: Jenna Guest, Room 108 Phone: 923-2164 Office Hours: TBA; check the bulletin board outside my office Email: rsulton@etbu.edu Course Data: MWF 11-11:50; JGMB 136 Course Prerequisite MUSI 1312 Catalog DescriptionThrough extensive analysis and part-writing exercises, this course examines the altered and chromatic harmonies of the common practice period through the late 19th century.Course Textbook(s)Tonal Harmony , 5th ed.- Stefan Kostka, Dorothy Payne Copyright - 2004 ISBN – 0-07-285260-7
Workbook for Tonal Harmony, 5th ed. - Stefan Kostka, Dorothy Payne Copyright - 2004 ISBN – 0-07-285261-5 Course Objectives1. to be able to analyze music of the common practice era (through the late 19th century)
2. to be able to apply correct part writing in the use of borrowed chords, Neapolitan chords, augmented-sixth chords, altered dominants, and expanded tertian sonorities (9th, 11th, 13th chords)
Grade ComputationTests 70% AND Tests 60% Final comprehensive exam 30% Final comprehensive exam 40% The computation that most benefits the student will be used in determining the semester grade. Final ExamThe final exam will be given on Monday, December 8th, from 10:30-12:20 pm in accordance with the University Fall 2008 Exam Schedule. Attendance / Participation RequirementsSee p. 21 of the 2008-9 ETBU Catalog. Attendance and homework assignments are critical components of this class. Miss class at your own risk. You are responsible for any material discussed or assignments made in class even if you are absent. I begin my classes on time--I will not repeat myself for latecomers. Disability StatementStudents with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee, the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Course Outline / Material to be coveredTentative Schedule
Daily readings and/or exercises will be assigned from the text and /or workbook. 8/25 Review Secondary dominants Ch. 16 8/27-9/1 More secondary functions Ch. 17 9/3 Test on secondary functions 9/5-9/12 Modulation Ch. 18 9/15 Test on Ch. 18 9/17-22 Ch. 19 More Modulation 9/24 Test on Ch. 19 9/26-10/3 Ch. 21 Mode mixture 10/6 Test on Ch. 21 10/8-10 Ch. 22 Neapolitan chord 10/13 Test on Ch. 22 10/15-24 Ch. 23 Augmented sixth chords 10/27 Test on Ch. 23
10/29-11/5 Ch. 24 More augmented sixth chords 11/7 Test on Ch. 24 11/10-11/14 Ch. 25 Enharmonic spellings and modulations 11/17 Test on Ch. 25 11/19-21 Ch. 26 Further elements of harmonic vocabulary 11/24-28 Thanksgiving Holidays 12/1-3 Continue Ch. 26 12/5 Test on Ch. 26 12/8 Comprehensive Final Exam: Monday, 10:30-12:20 pm | | 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 2117.01 – Advanced Ear Training II MWF 9:00-9:50 a.m. JGMB 147 Spring 2009 Dr. Douglas Lockard Redwine 106, Ext 2167dlockard@etbu.edu Office hours as posted I.Course Description: This course is an extension of MUSI 2116 in the development of advanced sight singing and ear training ability. Advanced Ear Training II meets three hours each week for ten weeks. II. Prerequisites: MUSI 2116 and 2312. III. Curriculum requirement: BM – Sacred Music Major, Vocal Performance Major, Piano Performance Major, All-Level Music Education Major; BA – Music Major. IV. Textbook (required): Music for Sight Singing, 7th ed. by Ottman and Rogers Ear Training: A Technique for Listening, 7th ed. By Benward and Kolosick V. Objectives: · To demonstrate reliable singing and music reading using folk, western, and nonwestern classical music; · To notate chromatic and modulating melodies, challenging rhythms and harmonic progressions; · To accurately identify harmonic intervals and chord functions; · To detect melodic, rhythmic, and harmonic errors; · To develop the ability to use solfege syllables VII. Assignments: 1. Sight Singing (Performance): Activities will be given in class to develop the ability to read rhythms and pitches accurately. Quizzes may be given in any class period without prior notice. Material for these quizzes will be taken from the textbook, computer assignments, and outside sources. Five tests will be given during the semester according to the course schedule found on the syllabus. 2. Ear Training (Written): Class activities will be used to develop these skills. Students will also be given practice assignments on the Auralia software program. Five written tests will be given during the semester according to the course schedule found on the syllabus. VIII. Attendance/Participation Requirements: According to the ETBU catalogue (p.21), “(t)o be eligible to earn credit in a course, the student must attend at least 75 percent of all class meetings.” The eighth absence will result in failure of the class and loss of course credit. Any student who fails to be seated in the classroom by the beginning of the class will be counted as tardy. Three tardies will be equivalent to one absence. It is this instructor’s policy that two non-university/instructor approved absences will lower the student’s final grade by one letter, four non-university/instructor approved absences will lower the student’s final grade by two letters, and six non-university/instructor approved absences will lower the student’s final grade by three letters. Instructor approved absences will include a death in the family or the student’s doctor certified illness. All absences count when calculating credit for a course. No course work missed due to absence will be made up unless prior arrangements have been made and the absence is the result of a university/instructor approved event. IX. Grade Computation: Quizzes: 35% Tests: 35% Assignments: 15% Final Exam: 15% A=90-100 B=80-89 C=70-79 D=60-69 F=59 and below XI. Disability Accommodation Statement: Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Advanced Ear Training II – Spring 2009 VIII. Course Schedule (Approximate) January 12 Review of Unit 11 January 14 Unit 12 January 16 Unit 12 January 19 Unit 12 January 21 Unit 12 January 23 Sight Singing Test 1 January 26 Ear Training Test 1 January 28 Unit 13 January 30 Unit 13 Feb. 2 Unit 13 Feb. 4 Unit 13 Feb. 6 Sight Singing Test 2 Feb. 9 Ear Training Test 2 Feb. 11-13 NO CLASS--TMEA Feb. 16 Unit 14 Feb. 18 Unit 14 Feb. 20 Unit 14 Feb. 23 Unit 14 Feb.25 Auralia Assignment/Band Tour Feb. 27 Auralia Assignment/Band Tour March 2 Unit 14 March 4 Ear Training Test 3 March 6 Sight Singing Test 3 March 9 Unit 15 March 11 Unit 15 March 13 Unit 15 March 16-20 Spring Break March 23 Unit 15 March 25 Unit 15 March 27 Sight Singing Test 4 March 30 Ear Training Test 4 Final Exam – Wednesday, April 1, 9:00-9:50 A student wishing to improve his/her final grade may elect to attend class following the April 1 final exam. Additional class and Auralia assignments will be completed and a second final exam will be administered on Wednesday, April 29, 8:00-9:50 a.m. in JGMB 147. | | 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 3303 Form and Analysis Spring 2009 Instructor:Dr. Thomas R. Webster Office: JGMB 102 Phone: 923-2158 Email: twebster@etbu.edu Office Hours: MWF: 9:00-10:00; 11:00-12:00; 2:00-3:00 T: 8:00-9:00 R: 8:00-9:00; 2:00-3:00 Course Information Description: 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. Prerequisite: MUSI 2312 Advanced Harmony Curriculum requirement: This course is a basic musicianship requirement on all ETBU music major programs. Textbooks: Tonal Harmony, 6th ed., Stefan Kostka and Dorothy Payne This text is required in MUSI 1311, 1312, and 2312, all prerequisites for this course. We will use only one chapter (Chapter 10) from this text as introductory material. Students should already have this textbook and the supplementary workbook from previous courses. Students who transfer credits for those courses to ETBU from another institution and do not have this book are not expected to purchase it. Lessons in Music Form, Percy Goetschius NOTE: The Goetschius text is out of print, but is available by permission of the publisher on Toolbox and at the following website: Project Gutenberg: Online Book Reader (http://www.gutenberg.org/catalog/world/readfile?fk_files=255586&pageno=1) Anthology of Musical Analysis, 6th Edition, Charles Burkhart. (not required) Electronic Resources (primarily “ebrary”) are available through the Jarrett Library. These resources will be used extensively. Students are encouraged to purchase the anthology listed above, however, the works to be used are available through the University Library. Course Objectives: · To further develop an understanding of the common elements and organizational patterns of music and their interaction, and the ability to employ this understanding in aural and visual analysis; · To acquire sufficient understanding of musical forms, processes, and structures to use this knowledge in compositional, performance, scholarly, pedagogical, and historical contexts, according to the requisites of their specializations; · To acquire the ability to place music in historical and stylistic contexts; Also: · While synthesis is a lifetime process, by the end of undergraduate study students must be able to work on musical problems by combining, as appropriate to the issue, their capabilities in performance; aural, verbal, and visual analysis; composition and improvisation; history and repertory; and technology. Assignments and Quizzes:Reading and analysis assignments will be made for each class period. Though these assignments will not be collected and graded, they will be used for class discussion and elaboration. Students who attend class without their required resources and completed homework will not be prepared to participate in the class discussion and activities, and thus will benefit minimally from the discussion. If it becomes necessary, the professor may choose to implement quizzes at the beginning of class to encourage improved class preparation and promptness. In this case, all quizzes will be averaged together to account for one additional test grade. Periodically the instructor will provide written evaluations of each student’s class participation and preparation grade. This evaluation may be sent in the form of an email, a letter or note distributed in class, or a note written on a graded test or quiz. Students are welcome to discuss this grade with the instructor at any time during the semester. Students who attend class consistently, arrive on time, provide evidence that the reading assignments have been completed, complete written analysis assignments, and ask thoughtful questions regarding the material will receive a desirable “Preparation and Participation” grade. Assignments will be primarily of two types: 1) written responses to the questions in the text, and 2) analysis of music examples. The written responses to the questions in the text should reflect the language used in the text. The student may choose to add additional information in their own words to aid the their comprehension of the material. The student may not seek outside sources to answer the question in an effort to avoid reading the textbook. The analysis assignments will be taken primarily from the required anthology. These examples allow the student to make practical application of the course objectives. Students may choose to work in small groups to complete the assignments of both types. However, group work that allows students to complete assignments without understanding material is counterproductive and will only lead to a poor performance on in-class quizzes and tests. Tests:Tests will focus primarily on the unit or chapters studied since the previous test, however, as is the nature of this discipline, the tests will require students to understand and successfully process the material covered throughout the course and including all prerequisite courses (MUSI 1311, 1312, 2312). Final Exam:The final exam for the course will be administered on Thursday, April 30, 2009 from 9:30-11:20. Students may not request permission to take the exam earlier in order to facilitate an earlier departure from campus. No reasons other than an unavoidable emergency will be acceptable for the purposes of making up the final exam. Evaluation and Grade Computation:Daily class preparation and participation 25% Tests 50% Final exam 25% A=90-100 B=80-89 C=70-79 D=60-69 F=0-59 Attendance/Participation Requirements: The nature of this course requires students to complete various types (reading, analysis, etc) of homework assignments and come to class prepared to discuss their work. Missing class will be a tremendous detriment to the students understanding of the subject and success on the tests and final exam. Thus, students are expected to attend every class, and to inform the professor if they need to miss for any reason. Students may make up tests only when advance notice of the absence is given to the professor and when the professor deems the reason to be acceptable. Students must make arrangements to make up quizzes and tests prior to any absence, even when that absence is approved by the University Office of Academic Affairs. If a student has an emergency that prevents him/her from providing advance notice of an absence, the professor will consider those circumstances after the fact. Students are responsible for any material discussed or assignments made in class. In accordance with ETBU policy, “the student must attend at least 75% of all class meetings” (ETBU Academic Catalog, p. 21). Any student whose absences exceeds 75% (e.g. more than 7 absences for this course) will receive a failing course grade. Three tardies count as one absence. In addition to the attendance and participation requirements listed above, students are expected to behave in manner that is not disruptive to the class. While a student may choose not to participate or perhaps even sleep during class, such behavior typically does not hinder the educational opportunities of anyone other than that student. However, behavior such as talking during class, arriving late, leaving early, or leaving during class to take care of personal business is very disruptive to the instructor and other students in the class. This behavior will not be tolerated, and students who demonstrate this manner of behavior will be addressed privately by the instructor, and the participation grade will be negatively affected. If the problem persists after the instructor has addressed the situation, then the instructor will ask the student to leave the class and make an official report to the Dean of Students. All cell phones should be turned off during class, and students will not be allowed to use cell phones during any class session. Students will not be allowed to leave the class during the administration of a quiz or test. Academic Misconduct: Any and all students engaging in academic misconduct will receive a failing grade on the exam in question, and the case may be referred to the Dean of Students for appropriate disciplinary action. Tentative Course Outline NOTE: This schedule may change as needed throughout the semester. Any changes to the test dates will be discussed in class, and students will be given sufficient notice of any exam. Jan 13-20 Course Introduction – Syllabus Review UNIT I: Fundamental Elements Chapter 10: Cadences, Phrases and Periods (Kostka/Payne) Cadences Cadences and Harmonic Rhythm \ Motives and Phrases Period Forms The Sentence ASSIGNMENT: Checkpoint (page 160) Self-Test 10-1 Exercise 10-1 (workbook) Chapter I: Introduction (Goetschius) The Necessity of Form in Music The Evidences of Form in Music Unity and Variety ASSIGNMENT: Lesson 1 (LiMF, pg. 10) Jan 22 TEST 1 UNIT II: BINARY STRUCTURES Jan 27-Feb 5 Chapter IX: The Two-Part Song-Form The Song-form or Part-form The Parts The First Part The Second Part ASSIGNMENT: Lesson 9 Sonata; Beethoven Op. 57, Andante, Theme Op. 109, Andante, Theme Op. 111, last movement, Theme of Variations Op. 79, Andante, ms 1-8 Last movement, ms 1-16 Op. 54, ms 1-24 (each Part repeated) Op. 31, No. 3, Menuetto (without Trio) Op. 26, “Trio” of Scherzo Last movement, ms 1-28 (second part repeated) Op. 27, No. 2, “Trio” of Allegretto Sonata, No. 2, Andante, ms 1-20, 21-40; Mozart Schuman, Op 68, Nos. 7, 4, 35, 42, 23 (repeated; last 16 ½ measures, coda) Ach Gott und Herr, Chorale (pg.609) Symphony No. 101; Haydn III, Trio only Finale, mm. 1-28 Sonata, Op. 2. No. 1; Beethoven Menuetto only Trio only Album for the Young; Schumann Nos. 1, 6 Prelude No. 20; Chopin Symphony No. 100 (“Military”), III Trio only; Haydn Feb 10 TEST 2 UNIT III: Ternary Structures Feb 10-19 Chapter X: The Three-Part Song-Form Distinction between Bipartite and Tripartite Forms Part I Part II Part III ASSIGNMENT: Lesson 10 Song Without Words, Mendelssohn Nos. 22, 35, 32, 45, 42, 31, 27, 46, 25, 20, 26, 36, 47, 12, 15, 3, 43, 40, 37, 2, 33, 30, 1 Schumann, Op. 68 Nos. 3, 8, 12, 14, 16, 17, 21, 24, 25, 26, 28, 29, 33, 34, 37, 38, 40, 41 Sonatas, Beethoven Op. 2, No. 1, III, both Menuetto and Trio Op. 2, No. 2, III, both Scherzo and Trio Op. 2, No. 2, last movement, ms 1-16 (see notes in text) Op. 7, Largo, ms 1-24 III, also the Minore Last movement, ms 1-38 Op. 10, No. 3, Menuetto Op. 14, No. 1, III; also the Maggiore Op. 14, No. 2, II, ms 1-20 Op. 22, Menuetto; also the Minore Op. 26, ms 1-34 Scherzo Funeral March (also the Trio, what is its form?) Sonatas, Mozart No. 15, Andante, ms 1-32 No. 1, last movement, ms 1-50 No. 12, ms 1-18 II, Trio (see notes in text) No. 13, Adagio, ms 1-16 Mazurkas, Chopin Nos. 11, 22, 24, 40, 49 Mendelssohn, Op. 72 Nos. 1, 2, 3, 4, 6 Mendelssohn, Etudes, Op. 104 Nos. 1, 3 Schumann, Op. 68 No. 32 (see notes in text) Nos. 8, 9, 11; ms 1-24 (see notes in text) Chapter XI: Enlargement of the Three-Part Song-Form Repetition of the Parts Exact Repetitions Modified Repetitions The Five-part Forms Group of Parts ASSIGNMENT: Lesson 11 Song Without Words, Mendelssohn Nos. 3, 4, 8, 10, 11, 12, 15, 17, 19, 21, 23, 24, 27, 31, 34, 39, 43, 44, 46, Schumann, Op. 68 Nos, 5, 6, 10, 13, 15, 19, 22, 30, 36, 43 Mendelssohn, Op. 72, No. 5 Chopin, Prelude, Op. 28, No. 17 Mozart, Sonata, No. 8, Andante Mozart, No. 18, Andantino (of the “Fantasia”) Mazurkas, Chopin Nos. 1, 2, 4, 5, 8, 15, 16, 18, 37, 44, 48 Mazurkas, Chopin (see notes in text) Nos. 7, 14, 19, 20, 21, 27, 34, 39, 41, Momens musicals, Op. 94, No. 3; Schubert Feb 19-Mar 3 Chapter XII: The Song-Form with Trio The Principal Song The “Trio” or Subordinate Song The “Da Capo” ASSIGNMENT: Lesson 12 Sonatas, Beethoven Op. 2, No. 1, III Menuetto and Trio (see notes in text) Op. 2, No. 2, Scherzo and Trio Op. 2, No. 3, Scherzo and Trio Op. 7, III, Allegro and Minore Op. 10, No. 2, II, Allegretto (see notes in text) Op. 10, No. 3, Menuetto and Trio Op. 14, No. 1, II, Allegretto and Maggiore; a coda is added Op. 22, Menuetto and Minore Op. 26, Scherzo, and Trio Op. 27, No. 1, II Allegro molto (see notes in text) Op. 27, No. 2, Allegretto and Trio Op. 28, Scherzo and Trio Op. 31, No. 3, Menuetto and Trio Schumann, Op. 68, No. 11 (see notes in text) Nos. 12, 29, 39, 37 (see notes in text) Sonatas, Mozart No. 2, Andante cantabile (see notes in text) No. 9, II Menuettos (see notes in text) No. 12, Menuetto Momens musicals, Op 94, Nos. 1-4 and 6; Schubert Schumann, Op. 82 (Waldscenen) Nos. 7 and 8 Mazurkas, Chopin Nos. 6, 12, 23, 47, 50 Nos. 10, 45, 46, 51 (see notes in text) Mar 5 TEST 3 UNIT IV: RONDO FORMS Mar 10-24 Chapter XIII: The First Rondo-Form Evolution The Rondo-forms The First Rondo-form ASSIGNMENT: Lesson 13 Sonatas, Beethoven Op. 2, No. 1, Adagio Op. 7, Largo Op. 2, No. 3, Adagio Op. 79, Andante Op. 27, No. 1, Allegro molto Impromptus, Schubert Op. 90, Nos. 2 and 3 Mazurka, No. 26; Chopin Nocturnes, Chopin Op. 27, No. 1 Op. 32, No. 2 Op. 37, No. 1 Op. 48, No. 1 and No. 2 Op. 55, No. 1 Op. 62, No. 1 Op. 72, No. 1 (E minor, posthumous) Chapter XIV: The Second Rondo-Form ASSIGNMENT: Lesson 14 Sonatas, Beethoven Op. 10, No. 3, last movement Op. 14, No. 2, last movement (Scherzo) Op. 79, last movement (very concise) Op. 13, Adagio (still more concise – not a Five-Part Song-Form) Polonaise, Op. 89, Beethoven Rondo in A minor; Mozart Chapter XV: The Third Rondo-Form The Exposition The Middle Division The Recapitulation ASSIGNMENT: Lesson 15 Sonatas, Beethoven Op. 26, last movement (very concise, not a perfect model) Op. 28, last movement Op. 7, last movement Op. 2, No. 3, last movement Op. 13, last movement Op. 22, last movement Op. 14, No. 1, last movement Op. 31, No. 1, Adagio Rondos, Beethoven Op. 51, No. 1 Op. 51, No. 2 Sonata, Mozart No. 4, last movement No. 3, last movement Mar 26 TEST 4 UNIT V: SONATA FORMS Mar 26-Apr 14 Chapter XVI: The Sonatine Form Classification of the Larger Form The Sonatine Form ASSIGNMENT: Lesson 16 Sonatas, Beethoven Op. 10, No. 1, Adagio Op. 31, No. 2, Adagio Andante cantabile in B-flat major; Mendelssohn Sonata, No. 17, Andante amoroso; Mozart (somewhat longer interlude) Presto agitato in B minor, Mendelssohn (see notes in text) Chapter XVII: The Sonata Form Origin of the Name The Sonata Form The Exposition The Development, or Middle Division The Recapitulation Dissolution Relation to the Three-Part Song-form ASSIGNMENT: Lesson 17 Sonatas, Beethoven Op. 2, No. 1 in F Minor, first movement (see notes) Op. 2, No. 2, first movement Op. 10, No. 3, Largo Op. 22, first movement (four or five codettas) Op. 14, No. 1, first movement Op. 22, Adagio Op. 27, No. 2, last movement Op. 28, first movement Op. 31, No. 1, first movement Op. 31, No. 2, first movement Op. 31, No. 3, first movement (see notes in text) Scherzo Op. 31, No. 2, last movement (see notes in text) Op. 78, first movement (diminutive) Op. 79, first movement Op. 90, first movement, (no “double bar”) Op. 57, first movement Last movement Sonatas, Mozart No. 7, first movement No. 3, first movement No. 4, first movement; also Andante No. 8, first movement No. 6, first movement No. 1, Andante No. 6, last movement K.333,I, and II Andante cantabile Caprice, Op. 33, No. 2, Mendelssohn Sonatas, Mendelssohn Op. 6, first movement Op. 7, No. 7 Fantasia, Op. 28, last movement Sonatas, Schubert Op. 143, first movement Op. 42, first movement Op. 120, first movement Op. 147, first movement Op. 164, first movement Beethoven Symphony, No. 5, first movement Symphony, No. 1, first Allegro; also second movement; Finale Apr 14 TEST 5 UNIT VI: Imitative Procedures April 14-23 Fugue and Related Genres Fugue and Form Characteristics of Fugue The Fugue Subject and Answer Contrapuntal Devices Fugal Procedure The Form of a Fugue The Invention ASSIGNMENT Bach, Fugue No. 1 from WTC, mm. 14-20 Bach, Fugue No. 2 from WTC Bach, Fugue No. 8 from WTC, mm. 77-82 Bach, Fugue No. 13 in F# Major Bach, Invention No. 1, 15 April 23 TEST 6 Final Exam: Thursday, April 30, 9:30-11:20 A.M. Disability Accommodation Statement Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. | | 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.MUSI 3203.01 20th Century Music Analytical Techniques Fall 2008 Professor: Robert S. Wright Office: JGMB Room 114 Phone: (903) 923-2166 Office Hours: TBA; check the bulletin board outside the music lab Email: rwright@etbu.edu Course Data: TR 9:30-10:20 AM; JGMB 136 Course Prerequisite: MUSI 3303 Course Description: This course provides students with the necessary language and techniques for analyzing a variety of 20th century musical styles, including Impressionism, post romanticism, neo-classicism, non-serial atonality, serialism, integral serialism, minimalism, electronic media, and aleatoric procedures. Required Texts: 1. Materials and Techniques of Twentieth-Century Music, Third Edition, by Stefan Kostka. 2006. ISBN 0-13-193080-X 2. Anthology of Music for Analysis, by Stefan Kostka and Roger Graybill. 2004. ISBN 0-13-091544-0 Course Objectives: 1. Be able to analyze a wide variety of 20th Century music styles. 2. Be able to compose short works in 20th Century style reflecting a clear knowledge of specified styles and techniques. 3. Be aware and knowledgeable of major theoretical tools and methods used to analyze non-tonal music. 4. Be able to integrate such analytical skills into thoughtful and sensitive performances of 20th Century music. Grade Computation: Chapter Quizzes (4), Listening Quizzes (4), and Daily assignments – 60% Take Home Analyses (2) – 15% Final exam: 20th Century Composition – 25% Attendance: See page 21 of the 2008-2009 ETBU Catalog. To be eligible to earn credit in this course, each student must attend at least 75 percent of all class meetings. Class will begin promptly at 9:30 – information conveyed at the beginning of class time will not be repeated for latecomers. Final Exam: Thursday, December 11, 9:30 – 11:20 AM. Instead of a final exam, a 20th century composition project will be completed. The composition may be patterned after any of the styles studied this semester. During the exam time, these compositions will be performed in the recital hall. Students are responsible for acquiring performers for the realization of their composition. Disability Statement: Students with a disability may request appropriate accommodations for this course by contacting the Advising Office in SCAR 104 and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee, the Advising Office will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor. Tentative Course Outline: 8/26 – Course Outline; Chapter 1, The Twilight of the Tonal System 8/28 – Continue study of Chapter 1; Review quiz due; Overtone quiz 9/2 – Chapter 2, Scale Formations in 20th Century Music 9/4 – Continue study of Chapter 2; Listening quiz #1 9/9 – Continue study of Chapter 2; Take home scale quiz 9/11 – Chapter 3, The Vertical Dimension 9/16 – Continue study of Chapter 3; take home chord quiz due 9/18 – Quiz on Chapters 1-3 9/23 – Chapter 4, The Horizontal Dimension 9/25 – Harmonic Progression and Tonality; Listening quiz #2 9/30 – Continue study of Chapter 5 10/2 – Chapter 6, Developments in Rhythm 10/7 – Continue study of Chapter 6 10/9 – Quiz on Chapters 4-6 10/14 – Analyses of selected 20th century music 10/16 – Continued analyses of selected 20th century music 10/21 – Take home analysis due; begin working on 20th century composition 10/23 – Chapter 9, Non-serial Atonality; listening quiz #3 10/28 – Continued study of Chapter 9 10/30 – Quiz on chapter 9 11/4 – Chapter 10, Classical Serialism 11/6 – Continued study of Chapter 10 11/11 – Analysis of 12-tone composition due 11/13 – Chapters 11 & 12, Timbre and Texture: Acoustic and Electronic 11/18 – Chapter 13, Serialism after 1945; Listening quiz #4 11/20 – Chapter 14, The Roles of Chance and Choice in 20th Century Music 12/2 – Chapter 15, Minimalism and Beyond 12/4 – Work on compositions Final Exam – Thursday, December 11, 9:30 – 11:20 AM; 20th century compositions due | | | | | 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 http://www.hsutx.edu/academics/music/bscherr/courses.htm | Req theory course | Title | Credit hours | Description From the Website: http://www.hsutx.edu/academics/music/bscherr/MUTC_1235a.htm, the following more specific information is included in class syllabi | | MUTC 1331 | Funcamentals of Music | | Look up the official catalog description to go firstDr. Charles Coltman Syllabus Course Structure This course is intended to familiarize students with the harmonic, melodic and rhythmic structure of music. Students will understand the fundamental elements of music and be able to apply them in real-world musical situations.
Course Materials Fundamentals of Music, 5th ed. by Earl Henry
Daily grades | 30% | Midterm | 30% | Final | 30% | Participation | 10% |
Week 1 | The Notation of Rhythm Reading: Chapter 1 (pp. 1-24)
| Week 2 | The Notation of Pitch Reading: Chapter 2 (pp. 25-44)
| Week 3 | The Keyboard Reading: Chapter 3 (pp. 45-66)
| Week 4 | Simple Meters Reading: Chapter 4 (pp. 67-94)
| Week 5 | Major Scales and Keys Reading: Chapter 5 (pp. 95-122)
| Week 6 | Intervals Reading: Chapter 6 (pp. 123-154)
| Week 7 | Compound Meters Reading: Chapter 7 (pp. 155-184) Review for Mid-term on Oct. 13
| Week 8 | Minor Scales and Keys Reading: Chapter 8 (pp. 185-218)
| Week 9 | Modes and Other Scales Reading: Chapter 9 (pp. 219-240)
| Week 10 | Introduction to Form Reading: Chapter 10 (pp. 241-272)
| Week 11 | Triads Reading: Chapter 11 (pp. 273-302)
| Week 12 | Chords and Symbols Reading: Chapter 12 (pp. 303-330) | Week 13 | Tonality Reading: Chapter 13 (pp. 331-358) | Week 14 | Review for Final (Mon. & Wed.) (Thanksgiving) | Week 15 | Review for Final (Mon. & Wed.) (Juries) | Week 16 | Final Exam Monday, Dec. 8, 10:30-12:20 PM |
| | 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) Mr. Lawson Hager, Dean. SYLLABUS Ear Training, MUTC 1131—Wednesday and Friday—8:00 a.m. The development of harmonic and melodic hearing skills through organized drill, and the development of reading skills through sight-singing. TEXT: Music for Sight Singing, 7th Ed., Robert Ottman Ear Training Tentative Schedule (Chaps. 1-4) Aug 27-29 | Intro. of Materials and E. T. Techniques | Sep 3-5 | Chap. 1, rhythm drill, solfege technique | Sep 10-12 | Chap. 1 | Sep 17-21 | Chap. 2, tonic triad, Major triad, simple time | Sep 24-26 | Chap. 2, rhythm drills, melodic dictation | Oct 1-3 | Chap. 3, melodic major key, compound time | Oct 8-10 | Chap. 3, melodic dictation, harmonic dictation | Oct 15-17 | Chap. 3, sight-singing, dictation | Oct 22-24 | Chap. 4, Minor keys, sight-singing, dictation | Oct 29-31 | Chap. 4, melodic and harmonic dictation, sight-singing | Nov 5-7 | Chap. 4, dictation, sight-singing | Nov 12-14 | Chap. 4, extended dictation, new melodies | Nov 19-21 | Harmonic dictation, Authentic and Plagal Cadences | Nov 28-30 | Thanksgiving Holidays | Dec 3 | Dictation Final Exam, 8:00 a.m. | Dec 11 | Sight singing Final Exam, 8:00 a.m. – 10:00 a.m. |
Grade percentages - Daily grade—50%--includes homework and pop test
- Major Exams—30%
- Final Exam—20%
Dr. Kristin Isaacson's syllabus: Course description The development of rhythmic, melodic, and harmonic hearing skills through organized drill, and the development of reading skills through sight singing. Grade percentage 30% | Assignments, quizzes, participation | 20% | Computer lab sessions | 20% | Midterm Exam: Wed. October 15, 8:00 a.m. and hearings TBA | 30% | Final Exam: Mon. December 8, 8:00-10:00 am |
| | 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) Dr. Kristin Isaacson Syllabus; Tentative Schedule Course Text Hager, Lawson, Theory Keyboard (Course packet): It is available for purchase in the main music office. Course Description Practical application of harmonic materials from MUTC 1235, and MUTC 1131 applied to keyboard.
Course Goals Learning to play (1) scales (all keys in the circle of fifths in one octave), (2) chord qualities (Major-Augmented-Minor-Diminished), (3) cadential progressions, and (4) harmonization of given melodies.
| Thursday | 1 8/28 | 1. Introduction; Keyboard Orientation, as needed. 2. Scales in Tetrachord Fingering in Major Keys: Hager, pp. 1, 4 & 5. 3. Circle of Keys in the order of fifths (see Week 3, Quiz). | 2 9/4 | 1. Scales in Tetrachord Fingering in Major Keys: Hager, pp. 1, 4 & 5. 2. Scales in Tetrachord Fingering in Minor Keys: Hager, pp. 1, 4 & 5 3. Circle of Keys in the order of fifths (see Week 3, Quiz). Quiz: Scales in Tetrachord Fingering in C, G, D, F & Bb Majors. Hager, pp. 1, 4 & 5 | 3 9/11 | 1. Scales in Tetrachord Fingering in Major and Minor Keys: Hager, pp. 1, 4 & 5. 2. Relative and Parallel Major and Minor Keys: Hager, pp. 1, 4 & 5. 3. Five Finger Patters in Major Keys. a. RH 1-2-3-4-5-4-3-2-1-3-5-3-1; followed by a triad. b. LH 5-4-3-2-1-2-3-4-5-3-1-3-5; followed by a triad.
Quiz: Circle of Keys – Order of fifths a. Verbalize order of sharp keys (C-G-D-A-E-B-F#-C#), then flat keys (Cb-Gb-Db-Ab-Eb-Bb-F-C) in order of ascending fifths. b. Play the order of sharp keys in single notes (LH 5-1; RH 1-5, hand over hand), in half-notes, then in quarter notes, MM = 100. c. Play the order of flat keys in single notes (LH 5-1; RH 1-5, hand over hand), in half-notes, then in quarter notes, MM = 100. | 4 9/18 | 1. Intervals: Hager, pp. 6-7. 2. Five Finger Patters in Minor Keys. a. RH 1-2-3-4-5-4-3-2-1-3-5-3-1; followed by a triad. b. LH 5-4-3-2-1-2-3-4-5-3-1-3-5; followed by a triad.
3. Relative and Parallel Major and Minor Keys, up to 3# & 3b: Hager, pp. 1, 4 & 5. 4. Triads & Chord Qualities: Handout, p. 71; Hager p. 8. Quiz: Scales in Tetrachord Fingering in A, E, D, B & G Minors. Hager, pp. 1, 4 & 5 | 5 9/25 | 1. Chord Qualities: M-A-M-m-d Triads: Handout, p. 71; Hager p. 8. 2. Parallel Triads of the Key and Inversions in C Major: Handout, pp. 134-5; Hager p. 8. 3. Tonic and Dominant in Major Keys: Hager, pp. 10-13. Quiz: Major and their Relative and Parallel Minor Scales in Tetrachord Fingering, up to 3# & 3b. Hager, pp. 1, 4 & 5 | 6 10/2 | 1. Parallel Triads of the Key and Inversions in G & F Majors: Handout, pp. 134-135; Hager p. 8. 2. Tonic and Dominant in Major Keys: Hager, pp. 10-13. 3. Tonic and Dominant in Minor Keys: Hager, pp. 10-13. Quiz: Chord Qualities: M-A-M-m-d Triads. Handout, p. 71 | 7 10/9 | Review – Midterm Exam Quiz: Parallel Triads of the Key and Inversions in G or F Major. Handout, p. 135 | 8 10/16 | Midterm Exam | 9 10/23 | 1. Warm Up: Major Five Finger Patterns (see Week 4). 2. Tonic and Dominant: Hager, pp.11-13. 3. Melody Harmonization: Hager, p. 13. 4. Subdominant in Major Keys: Hager, p. 14. | 10 10/30 | 1. Warm Up: Major Five Finger Patterns (see Week 4). 2. Subdominant in Major Keys: Hager, p. 14. 3. Subdominant in Minor Keys: Hager, p. 14. 4. I-IV-I-V7-I in Major Keys: Handout, p. 176; Hager, pp. 15-17. Quiz: Melody Harmonization (Comping); LH Bass only; RH Chord. Hager, p. 13 | 11 11/6 | 1. I-IV-I-V7-I in Major Keys: Handout, p. 176; Hager, p. 15. 2. i-iv-i-V7-i in Minor Keys: Handout, p. 176; Hager, p. 15. 3. Comping (RH blocked chord; LH bass note (root) only): Hager, p. 19. Quiz: Chord Progression I-IV-I-V7-I in Major Keys, up to 3# & 3b. Hager, pp. 16-17 | 12 11/13 | 1. I-IV-I-V7-I in Major Keys: Handout, p. 176; Hager, p. 15. 2. i-iv-i-V7-i in Minor Keys: Handout, p. 176; Hager, p. 15. 3. Melody Harmonization (RH melody; LH blocked chord): Hager, p. 19. Quiz: Chord Progression i-iv-i-V7-i in Minor Keys, up to 3# & 3b. Hager, pp. 16-17 | 13 11/20 | 1. Warm Up: I-IV-I-V7-I in C, G & F majors. 2. Melody Harmonization and Comping: Hager, pp. 18 & 20. Quiz: Hager, p. 19; (1) Comping; (2) LH Chord; RH Melody. You are expected to be able to play in both ways | 14 11/27 | Thanksgiving Holiday | 15 12/4 | Review for Final Exam | 16 | Final Exam-TBA |
Weekly Tests | 50% | NO MAKE UP TESTS unless absence is due to a preapproved School of Music event. Arrangement should be made with the instructor prior to any excused absence. | Midterm Exam | 20% | NO MAKE UP EXAM | Final Exam | 30% |
| | 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) Mr. Lawson Hager, Dean. Syllabus Harmony, MUTC 1235—Monday and Thursday—8:00 a.m. Developing an understanding of the basic materials of music composition, principles of part-writing all triads and their inversions, harmonies, and seventh chords. TEXT: Tonal Harmony, 6th Ed., Stephan Kostka, Dorothy Payne. Workbook for Tonal Harmony, 6th Ed., Stephan Kostka, Dorothy Payne Harmony tentative schedule (Chapters 1-7), assignments from the workbook as given Aug 25-28 | Chap. 1, Introduction, Theory Basics | Sep 1-4 | Chap. 1 | Sep 8-11 | Chap. 2, Elements of Harmony | Sep 15-18 | Chap. 3, Triads and seventh chords | Sep 22-25 | Chap. 3, Exam on triad and seventh chord spellings | Sep 29-Oct 2 | Chap. 4, Diatonic chords in major and minor key | Oct 6-9 | Chap. 5, Principles of voice leading | Oct 13-16 | Chap. 6, Root position part writing | Oct 20-23 | Chap. 6 | Oct 27-30 | Chap. 6, Exam root position part writing | Nov 3-6 | Chap. 7, Harmonic progression | Nov 10-13 | Chap. 7 | Nov 17-20 | Chap. 1-7, Exam-Theory Basics plus | Nov 24 | Chap. 1-7 | Dec 1 | Final Review | Dec 8 | Harmony Final Exam, 8:00 a.m. |
Harmony: Workbook assignments (tentative)Chap. 1 ex. 1-2 all ex. 1-3 all ex. 1-4 all ex. 1-5 A. – C. even #’s only ex. 1-6 A. odd #’s, B. all, C. even #’s, D. all, E. all Chap. 2 All exercises will be done in class Chap. 3 ex. 3-1 A. & B. in class, C. odd #’s, D. even #’s ex. 3-2 A. B. C. odd #’s ex. 3-3 A. in class, B. 1, 2, and 3 all ex. 3-4 in class Chap. 4 In class Chap. 5 In class Chap. 6 ex. 6-1 in class ex. 6-2 A. all, B. all ex. 6-3 A. odd #’s, B. even #’s ex. 6-4 A. all, B. 2 & 4, C. 1, D. 2 & 3 Chap. 7 ex. 7-1 A-B-C. in class, D-E-F. all, G. #2, H. 1-2, I. in class, J. in class Grade percentages - Daily grade—50%--includes homework and pop test
- Major Exams—30%
- Final Exam—20%
Ms. Hye-Jean Choi Syllabus Course Description A Study of the basic materials of music composition; principles of part-writing all triads and their inversions, harmonies, and seventh chords.
Her Grading policy was: Grading Policy Daily Grade | 50% | includes assignments and quizzes | Midterm Exam | 20% | | Final Exam | 30% | |
Dr. Peter Neubert also taught 1235. His syllabus Course Purpose The aim of this course is to develop a working knowledge of the basic materials of music composition from the common practice era. Students will learn to identify, analyze and write triads and seventh chords in four parts. His grading policy was the same as Ms. Choi's
| | MUTC 1132 | Ear Training II | 1 | Mr. Lawson Hager, Dean. SyllabusEar Training, MUTC 1132—Wednesday and Friday—8:00 a.m. The development of harmonic and melodic hearing skills through organized drill, and the development of reading skills through sight-singing. TEXT: Music for Sight Singing, 7th Ed., Robert Ottman
Ear Training Tentative Schedule (Chaps. 6-12) Jan 14-16 | Chap. 6 and review | Jan 21-23 | Chap. 6 | Jan 28-30 | Chap. 6 (Sight-singing exam) | Feb 4-6 | Chap. 7 | Feb 11 | Chap. 7 (no class Feb 13) | Feb 18-20 | Chap. 8 (Sight-singing exam) | Feb 25-27 | Chap. 8 | Mar 4-6 | Chap. 9 | Mar 9-13 | Spring Break | Mar 18-20 | Chap. 9 | Mar 25-27 | Chap. 10 and Chap. 11 | Apr 1-3 | Chap. 10 and Chap. 11 | Apr 8-10 | Chap. 12 | Apr 15-17 | Chap. 12 | Apr 22-24 | Review, Chaps. 1-12 | Apr 29 | Dictation Final Exam | May 7 | Sight singing Final Exam |
Grade percentages - Daily grade—50%--includes homework and pop test
- Major Exams—30%
- Final Exam—20%
Dr. Jeffrey Cottrell Syllabus Course description: The development of harmonic and melodic hearing skills through organized drill, and the development of reading skills through sight-singing. TEXT: Music for Sight Singing, 7th Ed., Robert Ottman.
Grade percentages Daily grade—50%--includes homework and pop tests Major Exams—30% Final Exam—20% Ear Training Tentative Schedule (Chaps. 6-12)Jan 12, 14 | Chap. 6 and review | Jan 21 | Chap. 6 (no class on the19th) | Jan 26, 28 | Chap. 6 | Feb 2, 4 | Chap. 7 | Feb 9, 11 | Chap. 7 | Feb 16, 18 | Chap. 8 | Feb 23, 25 | Chap. 8 | Mar 2, 4 | Chap. 9 (Sight-singing and dictation exams) | Mar 9, 11 | Spring Break | Mar 16, 18 | Chap. 9 | Mar 23, 25 | Chaps. 10 & 11 | Mar 30, Apr 1 | Chaps. 10 & 11 | Apr 6, 8 | Chap. 12 (Sight-singing and dictation exams) | Apr 13, 15 | Chap. 12 | Apr 20, 22 | Review, Chaps. 1-12 | Apr 27, 29 | Review, Chaps. 1-12 | May 4 | 8-9:50AM Dictation and Sight singing Final Exams |
| | MUTC 1134 | Keyboard II | 1 | Dr. Jeffrey Cottrell SyllabusCourse description The practical application of harmonic materials studied in MUTC 1131, 1132, 1235 and 1236 on the keyboard. Text: Hager, Lawson, Theory Keyboard (available in music office).
Goals Learning to play chord progressions, cadential patterns, figured bass, and harmonizing melodies.
GRADING A—90-100: accurate pitches and rhythm, correct fingering, at tempo, no restarts. B—80-89: one or two mistakes, mostly correct fingerings, slightly too slow, one restart with one or two pauses. C—70-79: Same as grade B requirements with more pauses, even slower, two restarts. D—60-69: Three restarts, plus even more pauses and tempo problems. F—59 and below: Student no-showed, or played so badly as to prove they do not know the assignment at all.
Grade percentages Daily grade—60% (includes weekly quizzes) Midterm Exam—20% Final Exam—20%
Tentative Schedule Week 1 | Review | Week 2 | Quiz: Playing major triads and their inversions in G, F, D, and Bb. See handout. | Week 3 | Quiz: progressions using 1st inversions of I, IV, & V in C major. Play “keyboard style”; LH bass and RH chord. Use bass notes from book in LH and soprano notes in RH (Hager p. 22, #1, 2, 3, 4). | Week 4 | Quiz: Progressions using 1st inversions of I, IV, V in F and G major(Hager p. 22, #1, 2, 3, 4). | Week 5 | Quiz: building chords from the top note (handout). | Week 6 | Quiz: progressions using 2nd inversions of I, IV, V in F or G major (Hager p.22, #6, 7, 8, 9, 10, p. 23 # 1.). | Week 7 | Review for midterm. | Week 8 | Midterm: by appointment during class and later in the week if necessary. | Week 9 | 2nd half of semester overview | Week 10 | Spring Break | Week 11 | Quiz: Progressions using the supertonic and leading tone triads in C major and C minor (Hager p.24, #1, 2, 4, 5). | Week 12 | Quiz: Progressions using the mediant and submediant triads in G or F major (Hager p. 27, #1, 2, 3). | Week 13 | Quiz: Harmonization. Play given chord progressions, adding 3 upper voices in “keyboard style.” Try to avoid parallel 5ths and 8vas between soprano and bass (Hager p. 28, #1, 2). | Week 14 | Quiz: Progressions using supertonic seventh chords in C, G and F major, C and A minor. (Hager p. 30, #1, 2, 3, 4). | Week 15, | Review for final exam | Week 16 | Final Exam, Thursday May 7, 8:00 – 9:50 AM (by appointment). |
Ms. Hye-Jean Choi Syllabus GRADING POLICY - 50% Weekly Tests (NO MAKE UP TESTS unless absence is due to a preapproved School of Music event. Arrangement should be made with the instructor prior to any excused absence.)
- 20% Midterm Exam (NO MAKE UP EXAM)
- 30% Final Exam (NO MAKE UP EXAM)
Tentative Schedule Week 1, Jan 15 | 1. Semester Overview. 2. Introduction of Inversions: Hager, p. 21. 3. Progressions using the 1st Inversions of I, IV & V: Hager, p. 22. | Week 2, Jan 22 | 1. Progressions using the 1st Inversions of I, IV & V: Hager, p. 22. 2. Building Chords from the Top Note: Handout, p. 315. Quiz: Progressions using the 1st Inversions of I, IV & V in C Major. Play in Keyboard Style (LH Bass/RH Chord): Keep the bass notes from the book in LH; Keep the soprano notes from the book and add inner notes in RH. Hager, p. 22, #1, 2, 3 & 4 | Week 3, Jan 29 | 1. Progressions using the 1st Inversions of I, IV & V, up to 2# & 2b: Hager, p. 22.
2. Building Chords from the Top Note: Handout, p. 315. 3. Progressions using the 2nd Inversions of I, IV & V: Hager, pp. 22-23. Quiz: Progressions using the 1st Inversions of I, IV & V in F or G Major. Hager, p. 22, #1, 2, 3 & 4 | Week 4, Feb 5 | 1. Building Chords from the Top Note: Handout, p. 315. 2. Progressions using the 2nd Inversions of I, IV & V: Hager, pp. 22-23. 3. Keyboard Harmonization “Self Test”: Hager, p. 23. Quiz: Building Chords from the Top Note. Handout, p. 315 | Week 5, Feb 12 | 1. Progressions using the 2nd Inversions of I, IV & V up to 2# & 2b: Hager, pp. 22-23.
2. Keyboard Harmonization “Self Test”: Hager, p. 23. Quiz: Progressions using the 2nd Inversions of I, IV & V in F and G Major. Hager, p. 22, #6, 7 & 8 | Week 6, Feb 19 | 1. Progressions using the 2nd Inversions of I, IV & V up to 2# & 2b: Hager, pp. 22-23.
2. Keyboard Harmonization “Self Test”: Hager, p. 23. 3. Progressions for Midterm Exam up to 3# & 3b. Quiz: Progressions using the 2nd Inversions of I, IV & V in F and G Major. Hager, p. 22, #9 & 10; p. 23, #1 | Week 7, Feb 26 | Review for Midterm Exam Quiz: Progressions using the 2nd Inversions of i, iv & V in A Minor. Hager, p. 22, #5 & 11; p. 23, # 2 | Week 8, Mar 5 | Midterm Exam | Week 9, Mar 12 | Spring Break | Week 10, Mar 19 | 1. The Second Half of the Semester Overview. 2. Progressions using the Supertonic Triad: Hager, pp. 24-25. | Week 11, Mar 26 | 1. Progressions using the Supertonic Triad: Hager, pp. 24-25. 2. Progressions using the Mediant and Submediant Triads: Hager, pp. 26-27.
3. Keyboard Harmonization “Test Your Skill”: Hager, p. 28. Quiz: Progressions using the Supertonic Triad in C Major. Hager, p. 24, #1, 2, 4, 5 & 6 | Week 12, Apr 2 | 1. Keyboard Harmonization “Test Your Skill”: Hager, p. 28. 2. Progressions using the Supertonic Seventh Chord: Hager, pp. 29-30. 3. Progressions using the Supertonic Seventh Chord in Minor Keys: Hager, p. 30. 4. Progressions using the Dominant Seventh Chord: Hager, p. 31. Quiz: Progressions using the Mediant and Submediant Triads in G or F Major. Hager, p. 27, #1, 2 & 3 | Week 13, Apr 9 | 1. Progressions using the Supertonic Seventh Chord up to 2# & 2b: Hager, pp. 29-30.
2. Progressions using the Supertonic Seventh Chord in Minor Keys: Hager, p. 30.
3. Keyboard Harmonization “Test Your Skill”: Hager, p. 31. Quiz: Keyboard Harmonization “Test Your Skill” Play the given chord progressions adding three upper voices in keyboard style (LH bass/RH chord). You may label the chords with roman numerals. Try to avoid parallel 5ths and 8ves between soprano and bass. Hager, p. 28, #1 & 2 | Week 14, Apr 16 | 1. Progressions using the Supertonic Seventh Chord in Minor Keys: Hager, p. 30.
2. Keyboard Harmonization “Test Your Skill”: Hager, p. 31. Quiz: Progressions using the Supertonic Seventh Chords in C Major and G or F Major. Hager, p. 30, #1, 2, 3 & 4 | Week 15, Apr 23 | Review for Final Exam Quiz: Progression using Seventh Chords in C and G Majors. Hager, p. 31, #5 (I-IV6-I6/4-ii6/5-V7-I) | Week 16, Apr 30 | Review for Final Exam | Week 17, TBA | Final Exam |
| | MUTC 1236 | Harmony II | 2 | This information was provided from Instructor: Mr. Lawson Hager, Dean. Harmony, MUTC 1236—Monday and Thursday—8:00 a.m. Developing an understanding of the basic materials of music composition, principles of part-writing all triads and their inversions, harmonies, and seventh chords. TEXT: Tonal Harmony, 6th Ed., Stephan Kostka, Dorothy Payne. Workbook for Tonal Harmony, 6th Ed., Stephan Kostka, Dorothy Payne
Harmony tentative schedule (Chapters 8-15), assignments from the workbook as given Jan 12-15 | Review, Chap. 7 | Jan 22 | Chaps. 8, 9 | Jan 26-29 | Chaps. 8, 9 | Feb 2-5 | Chaps. 8, 9 | Feb 9-12 | Chap. 10 | Feb 16-19 | Chaps. 11, 12 | Feb 23-26 | Chaps. 11, 12 | Mar 2-5 | Chaps. 11, 12 | Mar 9-13 | SPRING BREAK | Mar 16-19 | Chap.13 | Mar 23-26 | Chap. 14 | Mar 30-Apr 2 | Chap. 15 | Apr 6-9 | Chap. 15 | Apr 13-16 | Chaps. 1-15, Review | Apr 20-23 | Chaps. 1-15, Review | Apr 27 | Chaps. 1-15, Review, term project due | May 4 | Harmony Final Exam, 8:00 a.m. |
Grade percentages - Daily grade—50%--includes homework and pop test
- Major Exams—30%
- Final Exam—20%
| | 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) Dr. Bernard Scherr Syllabus Course Overview This course is an extension of sophomore theory in that the presentation of topics is coordinated with the harmony and keyboard courses and focuses on sight singing and dictation.
Course Objectives: Students will develop skills in sight singing, exercises for which will include melodies, duets, singing while playing, and themes and variations. In addition, they will develop skills in rhythmic, harmonic and melodic dictation. The course will incorporate various elements, which will include secondary dominant chords, secondary diminished seventh chords, mode mixture and common chord modulation.
Course Materials A New Approach to Sight Singing by Berkowitz, Fontrier, and Kraft, 4th Edition Course Packet for MUTC 2131/2132—Ear Training III/IV by Dr. Bernard Scherr (This packet is available in the Music Office. The cost is $5.)
Expectations Practicing: Each student is responsible for practicing the musical exercises. Much of this course is based on class participation. A lack of proper preparation will adversely affect your grade as well as cause embarrassment in front of classmates. You will not be simply passed over in class because you are not prepared. Lab Work: Each student will be encouraged to use Auralia in the lab for approximately 30 minutes per week. Auralia is an excellent aid for practicing ear training. Please use the login sheet when using Auralia.
Grading Policy Attendance | 10% | # of total classes/abscences | Exam #1 | 20% | Dictation and Singing: Week 4 | Exam #2 | 25% | Dictation and Singing: Week 8 | Exam #3 | 20% | Dictation and Singing: Week 12 | Exam #4 | 25% | Dictation and Singing: Finals Week | Total | 100% | |
Singing: Accuracy in pitch and rhythm is paramount, but dynamics and momentum are also considered. Dictation: Like singing, accuracy in pitch and rhythm is paramount, but notational clarity is also required.
Class Meetings Students are required to bring all course materials to each class meeting. Mondays will be dedicated to singing while Thursdays will be reserved for dictation.
Exam Procedures Singing: Students will sign up for an individual appointment for this portion of each exam. There will be two groups of six prepared selections; students will sing one selection from each group. Dictation: Students will be asked to dictate rhythmic lines, melodies, and chord progressions using Roman numerals. They might also be asked to identify mistakes in a played example based on a printed selection.
Tentative Schedule Weeks | Topic-Singing | Topic-Dictation | 1-4 | Functional Chromaticism | Secondary Dominant Chords-1st and 2nd Position 16th-note divisions- 2 bars; 4 bar melodies 1:1 two-part melodies | 5-8 | Modulation to Closely Related Keys | Secondary Dominant Chords-3rd and 4th Position; Secondary Leading Tone Chords-1st Position 16th-note divisions- 4 bars; 6 bar melodies 2:1 two-part melodies | 9-12 | Mode Mixture | Mode Mixture and Secondary Chords Syncopation-8th-note level; 8 bar melodies 3:1 two-part melodies | 13-16 | Continuance of previous topics | Neapolitan 6 and Secondary Chords Syncopation-16th-note level; 8 bar melodies 3:1 two-part melodies |
| | 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) Dr. Bernard Scherr Syllabus Course Overview This course will help you develop keyboard harmony skills. These skills are developed through (1) scales, (2) chord progressions, (3) realization of figured bass, and (4) harmonization of chorale melodies.
Course Objectives: Playing scales (up to four flats and/or sharps in two octaves), cadential patterns (authentic, imperfect, and plagal), chord progressions, suspensions, and seventh chords.
Course Materials Course Packet, compiled and edited by Dr. Bernard Scherr (This packet is available in the Music Office. The cost is $5.)
Grading Policy Weekly Tests | 50% | Midterm Exam | 20% | Final Exam | 30% | Total | 100% |
Expectations Attendance: Each student is responsible for punctual attendance of all class meetings. Practicing: Each student is required to practice all assignments until learned.
Class Meetings Each class meeting you are required to bring your course packet. Each meeting consists of a test on the previous week's material, a review of previous material as needed, and the introduction of new material.
Exam Procedures Students must be ready to test the assigned material at the beginning of class. Once called upon, students must perform or earn a failing grade (50). If a student misses a class and has not notified the instructor beforehand, he/she can make up the test the following week for a maximum score of 60. If the instructor is notified beforehand, and the absence is due to an HSU approved event, the student can make up the test for full credit; if the absence is due to illness, a maximum score of 70 can be earned (unless the student has a doctor’s note, then full credit is possible).
Tentative Schedule Week | Wednesday 8:00-8:50 | 1 | Scales: the major sharp keys in two octaves Progressions: I-IV-I and I-V-I in all 3 positions and in sharp keys (including minor) | 2 | Scales: the major flat keys in two octaves Progressions: I-IV-I and I-V-I in all 3 positions and in flat keys (including minor) Cadences-Morris, Chapter 1: (in sharp keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 | 3 | Scales: the minor sharp keys in two octaves Progressions: I-IV-V-I in all 3 positions and in sharp keys (including minor) Cadences-Morris, Chapter 1: (in flat keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 | 4 | Scales: the minor flat keys in two octaves Progressions: I-IV-V-I in all 3 positions and in flat keys (including minor) Sequences-Morris, Chapter 1: 1-2 in sharp keys | 5 | Progressions: I-VI-IV-V-I in sharp keys (including minor) Sequences-Morris, Chapter 1: 1-2 in flat keys | 6 | Progressions: I-VI-IV-V-I in flat keys (including minor) Cadences-Morris, Chapter 2: (in sharp keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 Sequences-Morris, Chapter 2: 1-2 in sharp keys | 7 | Cadences-Morris, Chapter 2: (in flat keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 Sequences-Morris, Chapter 2: 1-2 in flat keys | 8 | Catchup Day and Midterm assigned and reviewed | 9 | Midterm | 10 | Cadences-Morris, Chapter 3: (in sharp keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 Sequences-Morris, Chapter 3: 1-2 in sharp keys | 11 | Cadences-Morris, Chapter 3: (in flat keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 Sequences-Morris, Chapter 3: 1-2 in flat keys | 12 | Cadences-Morris, Chapter 4: (in sharp keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 Sequences-Morris, Chapter 4: 1-2 in sharp keys | 13 | Cadences-Morris, Chapter 4: (in flat keys) Perfect 1-3; Imperfect 1-3; and Plagal 1-3 Sequences-Morris, Chapter 4: 1-2 in flat keys | 14 | Catchup Day | 15 | Catchup Day and Final assigned and reviewed | 16 | Cumulative Final Exam-Wednesday of finals week, 3-5pm in room 208. |
Dr. Clell Wright also teaches this, but he uses Dr. Scherr's syllabus | | 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 (22 Dr. Bernard Scherr syllabus Course Overview The purpose of this course is to help you gain an understanding of and fluency with chromaticism in music. At the center of chromaticism is the magnetism of the half-step. This force is most clearly seen in the V7 chord: ti-do and fa-mi. The minor second in harmony and melody forms the basis of all the concepts in this course. For instance, secondary dominants, mode mixture, the Neapolitan chord, augmented sixth chords, and modulation are all based on chromatically altered, diatonic pitches that exploit half-step magnetism. The expressive meaning of chromatic harmony and melody will be demonstrated in the wide variety of music that we will study in this course. In fact, atonal music (to be studied in the Spring)-a principle characteristic of 20th-century music-developed, in part, through an extended exploration of half-step magnetism.
Course Objectives: Elements: Secondary Dominants, Secondary Diminished Seventh Chords, Mode Mixture, the Neapolitan Chord, Augmented Sixth Chords, and Modulation. Skills: visual and aural identification, identification of examples in the literature, basic composition and scoring, and discussion of context and function.
Course Materials Stefan Kostka and Dorothy Payne, Tonal Harmony, 6th ed. (textbook with CD) Stefan Kostka and Dorothy Payne, Tonal Harmony, 6th ed. (workbook with CD) Blank sheet music, pencil and eraser.
Expectations Reading: Each student is responsible for reading the assigned pages and listening to the musical examples. Workbook: Each student is responsible for completing the assigned tasks. These are due at the next class meeting. Late work will be marked off between 10% and 50%. Project: Each student will compose a short piano piece. It will consist of several phrases that use the various concepts covered in class.
Grading Policy Attendance | 10% | # of total classes/abscences | Midterm Exam | 20% | Weeks 1-7 | Final Exam | 25% | Cumlative | Assignments | 45% | (20% piano sonata project-25% assignments) | Total | 100% | |
Class Meetings Each class meeting you will be required to bring all of your course materials. Each meeting will consist of a listening example, a lecture presentation, an in-class assignment, and a question and answer session. Graded assignments will be assigned and explained in class or via e-mail.
Exam Procedures Listening: Each student must identify the composition (or genre), likely composer, and type of chromaticism from a musical example studied in class. Part writing: Each student must realize a figured bass in four-parts. Score Analysis: Each student must analyze a given score(s) by identifying the listed chords and possibly discussing the context of each chord.
Tentative Schedule Weeks | Tuesday | Friday | 1 | Course Introduction and Introduction to Secondary Dominant Function | Secondary Dominant Function | 2 | Secondary Dominant Function | Secondary Dominant Function | 3 | Secondary Leading-tone Function | Secondary Leading-tone Function | 4 | Secondary Leading-tone Function | Secondary Leading-tone Function | 5 | Common Chord Modulation | Common Chord Modulation | 6 | Common Chord Modulation | Mode Mixture/Borrowed Chords Begin Project Task #1 | 7 | Mode Mixture/Borrowed Chords | Mode Mixture/Borrowed Chords | 8 | Midterm Exam Review | Midterm Exam | 9 | Neapolitan Chord | Neapolitan Chord | 10 | Neapolitan Chord | Neapolitan Chord | 11 | Augmented 6th Chords | Augmented 6th Chords | 12 | Augmented 6th Chords | Begin Project Task #3 | 13 | Augmented 6th Chords | Thanksgiving Holiday | 14 | Augmented 6th Chords | Begin Project Task #4 | 15 | Final/Project Review | Senior Comprehensive Exams | 16 | Final Exam, Thursday, December 11, 2008, 8-10 am. Project Due |
Go to Assignment and Listening Lists | | MUTC 2132 | Ear Training IV | 1 | Dr. Bernard Scherr syllabusCourse Overview This course is an extension of sophomore theory in that the presentation of topics is coordinated with the harmony and keyboard courses and focuses on sight singing and dictation.
Course Objectives: Students will develop skills in sight singing, exercises for which will include melodies, duets, singing while playing, and themes and variations. In addition, they will develop skills in rhythmic, harmonic and melodic dictation. The course will incorporate various elements, which will include augmented 6 chords, modulation, post-tonal music, and mixed meters.
Course Materials A New Approach to Sight Singing by Berkowitz, Fontrier, and Kraft, 4th Edition Course Packet for MUTC 2131/2132—Ear Training III/IV by Dr. Bernard Scherr (This packet is available in the Music Office. The cost is $5.)
Expectations Practicing: Each student is responsible for practicing the musical exercises. Much of this course is based on class participation. A lack of proper preparation will adversely affect your grade as well as cause embarrassment in front of classmates. You will not be simply passed over in class because you are not prepared. Dictation Partner/Groups: At the beginning of the semester, students will be encouraged to divide into small groups of 2-3 people. In this way, you will be able to work on dictation exercises and practice your keyboard skills. Lab Work: Each student will be encouraged to use Auralia in the lab for approximately 30 minutes per week. Auralia is an excellent aid for practicing ear training. Please use the login sheet when using Auralia.
Grading Policy Attendance | 10% | # of total classes/abscences | Exam #1 | 20% | Dictation and Singing: Week 4 | Exam #2 | 25% | Dictation and Singing: Week 8 | Exam #3 | 20% | Dictation and Singing: Week 12 | Exam #4 | 25% | Dictation and Singing: Finals Week | Total | 100% | |
Singing: Accuracy in pitch and rhythm is paramount, but dynamics and momentum are also considered. Dictation: Like singing, accuracy in pitch and rhythm is paramount, but notational clarity is also required.
Class Meetings Students are required to bring all course materials to each class meeting. Mondays will be dedicated to singing while Thursdays will be reserved for dictation.
Exam Procedures Singing: Students will sign up for an individual appointment for this portion of each exam. There will be two groups of six prepared selections; students will sing one selection from each group. Dictation: Students will be asked to dictate rhythmic lines, melodies, and chord progressions using Roman numerals. They might also be asked to identify mistakes in a played example based on a printed selection.
Tentative Schedule Weeks | Topic-Singing | Topic-Dictation | 1-4 | Chromaticism | Modulation to V and vi in major and III in minor; triplets and syncopation - 4 bars; 8 bar melodies; 4:1 two-part melodies | 5-8 | Modulation to closely related keys | Modulation to IV in major and VI in minor; assymetrical meters - 4 bars; 8 bar melodies; 4:1 two-part melodies | 9-12 | Continuance of previous topics | Augmented 6 chords; assymetrical meters; 8 bar melodies; 4:1 two-part melodies | 13-16 | Modes | Augmented 6 chords; modes and extra-tertian harmony; assymetrical meters; 8 bar melodies; 4:1 two-part melodies |
Go to Singing List | | MUTC 2134 | Keyboard IV | 1 | Dr. Bernard Scherr SyllabusCourse Overview This course is a continuation of Keyboard III. In this course you will develop your keyboard harmony skills through (1) cadential progressions, (2) harmonic sequences, (3) realization of figured bass, and (4) harmonization of chorale melodies.
Course Objectives: Learning to play cadential patterns (authentic, imperfect, and plagal), sequences, suspensions, seventh chords, and harmonizing melodies
Course Materials Course Packet, compiled and edited by Dr. Bernard Scherr (This packet is available in the Music Office. The cost is $5.)
Grading Policy Weekly Tests | 50% | Midterm Exam | 20% | Final Exam | 30% | Total | 100% |
Expectations Attendance: Each student is responsible for punctual attendance of all class meetings. Practicing: Each student is required to practice all assignments until learned.
Class Meetings Each class meeting you are required to bring your course packet. Each meeting consists of a test on the previous week's material, a review of previous material as needed, and the introduction of new material.
Exam Procedures Students must be ready to test the assigned material at the beginning of class. Once called upon, students must perform or earn a failing grade (50). If a student misses a class and has not notified the instructor beforehand, he/she can make up the test the following week for a maximum score of 60. If the instructor is notified beforehand, and the absence is due to an HSU approved event, the student can make up the test for full credit; if the absence is due to illness, a maximum score of 70 can be earned (unless the student has a doctor’s note, then full credit is possible).
Final Exam Procedures Each student will sign up for a ten-minute individual appointment during the final exam time. He or she will be asked to play a cadence, sequence, and create a chorale harmonization at sight.
Tentative Schedule Week | Wednesday 8:00-8:50 | 1 | Cadences: Morris, Chapter 5: (in sharp keys) Sequences: Morris, Chapter 5: (in sharp keys) Harmonization: "Christus, der ist mein Leben" Modulation: to the dominant | 2 | Test Week 1 material Cadences: Morris, Chapter 5: (in flat keys) Sequences: Morris, Chapter 5: (in flat keys) Harmonization: "Christus, der ist mein Leben" Modulation: to the dominant | 3 | Test Week 2 material Cadences: Morris, Chapter 6: (in sharp keys) Sequences: Morris, Chapter 6: (in sharp keys) Harmonization: "Nun lob', mein Seel', den Herren" Modulation: to the subdominant | 4 | Test Week 3 material Cadences: Morris, Chapter 6: (in flat keys) Sequences: Morris, Chapter 6: (in flat keys) Harmonization: "Nun lob', mein Seel', den Herren" Modulation: to the subdominant | 5 | Test Week 4 material Cadences: Morris, Chapter 7: (in sharp keys) Sequences: Morris, Chapter 7: (in sharp keys) Harmonization: "Herzlich tut mich verlangen" Modulation: to the submediant | 6 | Test Week 5 material Cadences: Morris, Chapter 7: (in flat keys) Sequences: Morris, Chapter 7: (in flat keys) Harmonization: "Herzlich tut mich verlangen" Modulation: to the submediant | 7 | Test Week 6 material Midterm material assigned and reviewed | 8 | Midterm: Weeks 1-6 material | 9 | Cadences: Morris, Chapter 8: (in sharp keys) Exercise: Morris, Chapter 8 Harmonization: "Nun danket alle Gott" Modulation: to the mediant | 10 | Test Week 9 material Cadences: Morris, Chapter 8: (in flat keys) Exercise: Morris, Chapter 8 Harmonization: "Nun danket alle Gott" Modulation: to the mediant | 11 | Test Week 10 material Harmonization: "Erschienen ist der herrliche Tag" Modulation: to the supertonic in major and the subtonic in minor | 12 | Test Week 11 material Harmonization: "Erschienen ist der herrliche Tag" Modulation: to the supertonic in major and the subtonic in minor | 13 | Test Week 12 material Harmonization: "Vater unser im Himmelreich" Modulation: using mode mixture and augmented 6 chords | 14 | Test Week 13 material Harmonization: "Vater unser im Himmelreich" Modulation: using mode mixture and augmented 6 chords | 15 | Test Week 14 material Final assigned and reviewed | 16 | Cumulative Final Exam-Wednesday, May 6, 2009, 3-5pm in room 208. |
Dr. Clell Wright uses Dr. Scherr's syllabus | | MUTC 2236 | Harmony IV | 2 | Dr. Bernard Scherr SyllabusCourse Overview The chromatic principals that we explored in the fall will continue to form the basis of all the concepts in this course. In fact, the continued development of chromaticism in music during the 19th-century eventually leads to the abandonment of common practice tonality. This situation, however, did not eliminate tonal elements from music; on the contrary, the vast majority of 20th-century music contains a number of tonal elements, albeit in altered forms. You will explore these forms and others, in addition to learning several new analytical methods.
Course Objectives: Elements to study: Modulation, Altered Dominant Chords, Late 19th-century Counterpoint, Sequence, Expanded Tonality, Chords as Colors, Modality, Altered Scales, Parallelism, New Chord Structures, Pandiatonicism, New Avenues in Rhythm and Meter, Set-Theory, Serialism, Change Music, and Expanded Textures. Skills to learn: visual and aural identification, identification of examples in the literature, and basic composition and scoring.
Course Materials Stefan Kostka and Dorothy Payne, Tonal Harmony, 5th ed. (text, workbook, and tapes) Charles Burkhart, Anthology for Musical Analysis, 6th ed. (optional) Blank sheet music, pencil and eraser
Expectations Reading: Each student is responsible for reading the assigned pages and listening to the musical examples. Workbook: Each student is responsible for completing the assigned tasks. These are due at the next class meeting. Late work will be marked off between 10% and 50% or may not even be accepted if it is deemed too late. Project: Each student will compose a short piece for an instrumental group yet to be determined. It must be 1 minute long and use a post-tonal concept covered in class.
Grading Policy Attendance | 10% | # of total classes/abscences | Assignments | 35% | | Composition | 10% | | Midterm Exam | 20% | Weeks 1-7 | Final Exam | 25% | Cumlative | Total | 100% | |
Class Meetings Each class meeting you will be required to bring all of your course materials. Each meeting will consist of listening examples, a lecture, an in-class assignment, and a question and answer session. Graded assignments will be assigned and explained in class or via Blackboard.
Exam Procedures Listening: Each student must identify the type of composition, likely composer, and the type of chromaticism in question, or identify the type of chords used in a given passage. Part writing: Each student must complete the given chorale melody or bass line, or must score a given progression in four-parts. Score Analysis: Each student must analyze the given score(s) by identifying the underlined chords and giving any information requested. The order of the examples will follow the order of presentation in class.
Tentative Schedule Weeks | Tuesday | Friday | 1 | Course Introduction Modulation: Altered Chords, Sequential, and Common-tone. Unusual uses of +6 chords. | Modulation: Monophonic, Direct and Mode Mixture. Unusual uses of +6 chords. | 2 | Enharmonic Spelling and Modulation with V7 | Enharmonic Modulation with o7 | 3 | Altered V Chords | 9th, 11th, and 13th Chords | 4 | Common-tone o7 | Simultaneities and Coloristic Chord Successions | 5 | Counterpoint in 19th-century | Treatment of Dominant Harmony and Sequence | 6 | Expanded Tonality | In Class Analysis of Chopin and Mahler excerpts | 7 | Introduction to the 20th Century Impressionism and Scales | Chord Structure | 8 | Midterm Review | Midterm | 9 | Parallelism | Pandiatonicism | 10 | Rhythm and Meter | Set Theory | 11 | Set Theory | Set Theory | 12 | Set Theory | Set Theory | 13 | 12-tone Technique | 12-tone Technique | 14 | Total Serialism | Chance Music and Expanded Textures | 15 | Electronic Music | Sophomore Comprehensive Theory Exam: 8-8:50 a.m. | 16 | Final Exam, Thursday, May 7, 2009, 8-10 am. Project Due |
| | 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 Dr. Bernard Scherr Syllabus Course Overview In this course we will explore musical form through detailed score study and listening. This exploration will entail learning a six-step method of analysis and writing an analysis paper. The purpose of this activity is to help you gain a thorough understanding of musical structures.
Course Materials Douglas Green, Form in Tonal Music, 2nd ed. Charles Burkhart, Anthology for Musical Analysis, 6th ed. This book must be new: no used books will be accepted. Blank sheet music, pencil and eraser
Expectations Reading: Each student is responsible for reading the assigned pages and listening to the musical examples. Assignments: Each student is responsible for completing the assignments. Graded assignments will be given in class. The due dates of these assignments will be given by the instructor in class. Late work will be marked off between 10% and 50%. The instructor reserves the right to not accept assignments that are extremely late (several weeks after the due date). Paper: Each student will write a 6-8 page analysis paper.
Grading Policy Attendance | 10% | # of total classes/abscences | Midterm Exam | 20% | Weeks 1-7 | Final Exam | 25% | Cumlative | Assignments | 45% | (20% analysis paper-25% assignments) | Total | 100% | |
Class Meetings Each class meeting you will be required to bring all of your course materials. Each meeting will consist of a listening example, a lecture presentation, in-class analysis, and a question and answer session. Assignments will be explained in class or on Blackboard.
Exam Procedures The mid-term and final exams will include a section on the definition of terms, identifying musical form in listening examples, and score analysis.
Tentative Schedule Week | Monday | Wednesday | Friday | 1 | Course Introduction: Form, Shape, and Genre | Harmonic Structure of the Phrase | Harmonic Structure of the Phrase | 2 | Melodic Structure of the Phrase | Melodic Structure of the Phrase | Melodic Structure of the Phrase | 3 | Development of the Phrase | Development of the Phrase | Development of the Phrase | 4 | Phrases in Combination | Phrases in Combination | Phrases in Combination | 5 | Small Forms | Small Forms | Small Forms | 6 | Theme and Variation | Theme and Variation | Theme and Variation | 7 | Ternary Form | Ternary Form | Ternary Form | 8 | Paper Assignment and Mid-Term Review | Mid-Term Exam | Fall Break-No Class | 9 | Rondo | Rondo | Rondo | 10 | Binary Form | Binary Form | Binary Form | 11 | Sonata Form | Sonata Form | Sonata Form | 12 | Sonata Form | Sonata Form | Sonata Form | 13 | Concerto Form | Concerto Form | Concerto Form | 14 | Fugal Designs | Thanksgiving Holiday-No Class | 15 | Fugal Designs | Sophomore/Senior Comprehensive Exams-No Class | 16 | Cumulative Final Exam-TBA The paper is Wednesday at noon. |
| | 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 Dr. Charles Coltman Syllabus Course Structure This course is intended as an introduction to the orchestral instruments, and as such, will focus primarily on basic information (e.g., instrumental ranges, score setups, transposition, special terminology, etc.), as well as some score study. Reading assignments will be given from the text, and there will be several short orchestration projects throughout the semester. Visiting performers will be in class on a regular basis to discuss and demonstrate their respective instruments. There will be four examinations (one on each of three sections: strings, woodwinds, brass) and a final comprehensive exam which emphasizes the material from the last section (percussion and harp). These exams will cover basic information such as ranges, instrumental characteristics, and terminology, and will include several brief listening identifications. The final project consists of a short arrangement for orchestra of a pre-existing piano work, to be assigned during the twelfth week of classes.
Course Materials Samuel Adler, The Study of Orchestration, 3rd Ed. and workbook.
Grading Policy Final grades will be based upon the regular assignments, exams, final project, and attendance/class participation, distributed as follows:
Assignments | 25% | Exam 1 | 10% | Exam 2 | 10% | Exam 3 | 10% | Exam 4 (final) | 15% | Final Project | 20% | Attendance/Participation | 10% |
Expectations Assignments are expected to be turned in on time. Late assignments will not be accepted. If there are extenuating circumstances come see me. (Illness, death in the family, etc)
IMPORTANT DATES Thurs., Dec. 4: Final Project Due Thursday Dec. 11 8:00 - 9:50: Final Exam
Schedule of Topics Day | Date | Topic | Tuesday | 8/26 | Introduction | Thursday | 8/28 | Instruments of the orchestra; score & part setup Reading: Chapters 1-2 (pp. 1-50) | Tuesday | 9/2 | Bowed String Instruments: violin, viola Reading: Chapter 3 (pp. 51-75) | Thursday | 9/4 | Bowed String Instruments: violoncello, contrabass Reading: Chapter 3 (pp. 75-88) | Tuesday | 9/9 | Scoring for strings Reading: Chapter 5 (pp. 111-163) | Thursday | 9/11 | Review | Tuesday | 9/16 | Exam 1: bowed string instruments | Thursday | 9/18 | Transpositions/clefs, articulation, the woodwind section of the orch., etc. Reading: Chapter 6 (pp. 164-179) | Tuesday | 9/23 | Woodwind instruments: flutes, clarinets, saxophones Reading: Chapter 7 (pp. 180-193; 205-221) | Thursday | 9/25 | Woodwind instruments: oboes, bassoons Reading: Chapter 7 (pp. 194-204; 221-228) | Tuesday | 9/31 | Scoring for woodwinds Reading: Chapter 8 (pp. 229-294) | Thursday | 10/2 | Review | Tuesday | 10/7 | Exam 2: Woodwind Instruments | Thursday | 10/9 | Intro to Brass Instruments Reading: Chapter 9 (pp. 295-311) | Tuesday | 10/14 | Brass instruments: horn, trumpets Reading: Chapter 10 (pp.312-340) | Thursday | 10/16 | Brass instruments: trombones, tubas Reading: Chapter 10 (pp. 241-356) | Tuesday | 10/21 | Scoring for brass Reading; Chapter 11(pp. 357-430) | Thursday | 10/23 | Review | Tuesday | 10/28 | Exam 3: brass instruments | Thursday | 10/30 | Percussion Instruments Reading: Chapter 12 (pp. 431-467) | Tuesday | 11/4 | Percussion Instruments | Thursday | 11/6 | Miscellaneous instruments: harp, piano, etc. Reading: Chapter 4 (pp. 89-110), Chapter 13 (pp. 468-485) | Tuesday | 11/11 | Final project assignments Scoring for Percussion Reading: Chapter 14 (486-544) | Thursday | 11/13 | Harp Demonstration Scoring for Orchestra I Reading: Chapter 15 (pp. 459-509) | Tuesday | 11/18 | Scoring for Orchestra II Reading: Chapter 15 (pp. 459-509) | Thursday | 11/25 | Review & discussion of final projects | Tuesday | 11/27 | Review & discussion of final projects | Thursday | 12/2 | Review for Final | Tuesday | 12/4 | Final projects due! | Thursday | 12/11 | 8:00 - 9:50: Final Exam |
| | | 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 hoursCOURSE SYLLABUS I. Course Information A. Title: Musicianship I Course Number: MUS 1413 Semester: Fall, 2006 Class Meets: 11:00 to 11: 50 a.m. M-F in DMC 302 and the Music Computer Lab B. Required Texts: Kostka, Stefan, and Payne, Dorothy. Tonal Harmony, 5th Edition. McGraw-Hill, 2004. ___Workbook for Tonal Harmony. Horvit, Michael, et al. Music for Ear Training. Schirmer, 2001 Ottman, Robert W. Music for Sight Singing, 5th Edition. Prentice-Hall, 2001. C. Instructor: Dr. Allen Reed Office: DMC 409 Telephone: Ext. 5521 Office Hours: Posted on door II. Purpose/Objectives/Assessment A. The purpose of Music 1413 is to provide essential knowledge of the grammar of music – music theory and aural skills – for students pursuing a music career as a performer or teacher. The course fulfills the program objective of “preparing students for careers in the fields of music performance, public school and/or private music teaching, and church music ministry. B. The objectives of Music 1413 are to enable students who successfully complete the course requirements to: 1. Demonstrate familiarity with rhythmic concepts, scales, key signatures, intervals, and chord construction. [ASSESSMENT: Class discussions, written assignments, tests] 2. Demonstrate the ability to utilize the Music Computer Lab to complete corollary computer assignments. [ASSESSMENT: Successful completion of computer lab assignments] 3. Display a practical and theoretical grasp of various elements of music. [ASSESSMENT: Class participation, written assignments, tests] 5. Display ability to read and notate music. [ASSESSMENT: written assignments, sight singing, tests] III. Methods and Procedures A. There are no prerequisites for enrolling in Music 1413. Students who may be unprepared by background and/or previous experience for the class will take a placement examination to determine if taking Music 1301, Fundamentals of Music, would be advisable prior to enrolling in Music 1413. B. Specific material to be covered includes Parts I and II from the text. Dates are given in the class schedule at the beginning of the semester. 1. Scales, modes 2. Harmonic progression 4. Specific diatonic chords 5. Inversions 6. Nonharmonic tones 7. 7th Chords 8. Part-writing 9. Analysis C. Teaching methodology will include lecture, demonstration, guided class discussion, class drill, and Music Computer Lab experience. D. In addition to class time, students enrolled in Music 1413 will be assigned written homework from the required texts and drills in the Music Computer Lab. This will provide additional practice and reinforcement of material covered in class. E. For additional assistance in Music 1413, the Instructor’s office hours are posted on his office door. An appointment would be appreciated. F. Class Policies 1. Homework or reading should be done BEFORE class and will be the basis of class discussions. 2. No late work will be accepted. If a student is ill, a 0 will be recorded, and this grade will be deleted when the student presents a written doctor’s excuse. (It will count neither for nor against the student.) 3. No food or drinks (including water) are allowed in class. Please do not bring these into the classroom. 4. No leaving class (except for personal emergency) until class is dismissed. IV. Grading System A. The final grade for Music 1413 will be determined from the average of 1. Written Mid-term Exam – 20% 2. Written Final Exam – 20% 3. Homework – 20% 4. Sight-Singing Average (Scheduled and Pop Quizzes)– 20% 5. Dictation Average (Scheduled and Pop Quizzes) – 20% Further Considerations: 1. If Computer Lab assignments are not completed, final grade will be reduced by one letter grade. 2. Students must achieve at least a 60% average on sight singing and a 60% average on dictation to pass the course. 3. ATTENDANCE POLICY (See below under IV.C.) B. The grading scale for Music 1413 will be A | 90-100 | B | 80-89 | C | 70-79 | D | 60-69 |
On work where a letter grade is assigned, the following table will apply Letter Grade | Errors | Numerical Grade | A | 0 | 95 | A- | 1 | 92 | B+ | 2 | 88 | B | 3 | 85 | B- | 4 | 82 | C+ | 5 | 78 | C | 6 | 75 | C- | 7 | 72 | D+ | 8 | 68 | D | 9 | 65 | D- | 10 | 62 | F | 11 | 50 | F* | NA | 0 |
*Assignment, quiz, or exam missed due to unexcused absence. C. Attendance: Students must attend seventy‑five percent of class periods to receive credit for the course. This class meets 71 days fall semester; a student will automatically fail on the 18th absence. There is no distinction between excused and unexcused absences for this attendance requirement. ATTENDANCE POLICY Regular attendance will ensure students’ success in class. Therefore, the following attendance policy will be enforced this semester: 0-3 Absences will not affect the final grade. 4-8 Absences will lower the final grade by one letter. 9-12 Absences will lower the final grade by two letters. 13-17 Absences will lower the final grade by three letters. 18 or more absences will cause the student to fail the course. Whether or not the absence is excused has no bearing on this policy. If a student has a concern about the policy, he/she may discuss it with the professor. D. There are no requirements regarding keeping exams and papers. V. Bibliography Aldwell, Edward, and Schachter, Carl. Harmony and Voice Leading, 2nd Edition. San Diego: Harcourt, Brace Jovanovich, 1989. Benjamin Thomas, Horvit, Michael, and Nelson, Robert. Techniques and Materials of Tonal Music, 3rd Ed. Boston: Houghton Mifflin Company, 1985. Benjamin, Thomas, Horvit, Michael, and Nelson, Robert. Music for Analysis, 2nd Ed. Boston: Houghton Mifflin Company, 1984. Benward, Bruce, and White, Gary. Music in Theory and Practice, 4th Ed. Dubuque, IA: Wm. C. Brown Publishers, 1989. Burkhart, Charles. Anthology for Musical Analysis, 4th Ed. New York: Holt, Rinehart & Winston, 1985. Christ, William et al. Materials and Structure of Music, 3rd Ed. Englewood Cliffs, NJ: Prentice‑Hall, Inc., 1980. Forte, Allen. Tonal Harmony in Concept and Practice, 3rd Ed. New York: Holt, Rinehart & Winston, 1979. Lester, Joel. Analytic Approach to Twentieth Century Music. New York: W. W. Norton & Company, 1989. McHose, Allen I. The Contrapuntal Harmonic Technique of the 18th Century. Englewood Cliffs, NJ: Prentice‑Hall, Inc., 1947. Mohn, Michael. Preparing Traditional Music Manuscript, 2nd Ed. Fairfield, CA: M. Mohn Publishing, 1990. Warfield, Gerald. How to Write Music Manuscript. New York: Schirmer Books, 1977. | | 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.COURSE SYLLABUS I. Course Information A. Title: Musicianship II Course Number: MUS 1414 Semester: Spring, 2007 Class Meets: 8:00 to 8: 50 a.m. M-F in DMC 302 and the Music Computer Lab B. Required Texts: Kostka, Stefan, and Payne, Dorothy. Tonal Harmony, 5th Edition. McGraw-Hill, 2004. ___Workbook for Tonal Harmony. Horvit, Michael, et al. Music for Ear Training. Schirmer, 2001 Ottman, Robert W. Music for Sight Singing, 5th Edition. Prentice-Hall, 2001. C. Instructor: Dr. Allen Reed Office: DMC 201 Telephone: 5521 Office Hours: Posted on door II. Purpose/Objectives/Assessment A. The purpose of Music 1414 is to provide essential knowledge of the grammar of music – music theory and aural skills – for students pursuing a music career as a performer or teacher. The course fulfills the program objective B. The objectives of Music 1414 are to enable students who successfully complete the course requirements to: 1. Demonstrate familiarity with rhythmic concepts, scales, key signatures, intervals, and chord construction. [ASSESSMENT: Class discussions, written assignments, tests] 2. Demonstrate the ability to utilize the Music Computer Lab to complete corollary computer assignments. [ASSESSMENT: Successful completion of computer lab assignments] 3. Display a practical and theoretical grasp of various elements of music. [ASSESSMENT: Class participation, written assignments, tests] 5. Display ability to read and notate music. [ASSESSMENT: written assignments, sight singing, tests] III. Methods and Procedures A. There are no prerequisites for enrolling in Music 1414. B. Specific material to be covered will be found in Chapters 7 – 16 of the required text, and includes the following topics. Dates for exams and quizzes are given in the class schedule at the beginning of the semester. 1. Harmonic Progression 2. Part-writing 3. Analysis 4. Figured bass 5. Triads in inversion 6. Nonharmonic tones 7. 7th Chords 8. Elementary musical form 9. Secondary triads C. Teaching methodology will include lecture, demonstration, guided class discussion, class drill, and Music Computer Lab experience. D. In addition to class time, students enrolled in Music 1414 will be assigned written homework from the required texts and drills in the Music Computer Lab. This will provide additional practice and reinforcement of material covered in class. E. For additional assistance in Music 1414, the Instructor’s office hours are posted on his office door. An appointment would be appreciated. F. Class Policies 1. Homework or reading should be done BEFORE class and will be the basis of class discussions. 2. No late work will be accepted. If a student is ill, a 0 will be recorded, and this grade will be deleted when the student presents a written doctor’s excuse. (It will count neither for nor against the student.) IV. Grading System A. The final grade for Music 1414 will be determined from the average of 1. Written Mid-term Exam – 20% 2. Written Final Exam – 20% 3. Homework – 20% 4. Sight-Singing Average – 20% 5. Dictation Average – 20% Further Considerations: 1. If Computer Lab assignments are not completed, final grade will be reduced by one letter grade. 2. Students must achieve at least a 60% average on sight singing and a 60% average on dictation to pass the course. 3. ATTENDANCE POLICY (See below under IV.C.) B. The grading scale for Music 1414 will be A | 90-100 | B | 80-89 | C | 70-79 | D | 60-69 |
On work where a letter grade is assigned, the following table will apply Letter Grade | Errors | Numerical Grade | A | 0 | 95 | A- | 1 | 92 | B+ | 2 | 88 | B | 3 | 85 | B- | 4 | 82 | C+ | 5 | 78 | C | 6 | 75 | C- | 7 | 72 | D+ | 8 | 68 | D | 9 | 65 | D- | 10 | 62 | F | 11 | 50 | F* | NA | 0 |
*Assignment, quiz, or exam missed due to unexcused absence. C. Attendance: Regular attendance will ensure students’ success in class. Therefore, the following attendance policy will be enforced this semester: 0-3 Absences will not affect the final grade. 4-8 Absences will lower the final grade by one letter. 9-12 Absences will lower the final grade by two letters. 13-16 Absences will lower the final grade by three letters. 17 or more absences will cause the student to fail the course. Excused absences (determined by the professor) will be taken into account in enforcing this attendance policy. If a student has a concern about the policy, he/she may discuss it with the professor. D. There are no requirements regarding keeping exams and papers. V. Bibliography Aldwell, Edward, and Schachter, Carl. Harmony and Voice Leading, 2nd Edition. San Diego: Harcourt, Brace Jovanovich, 1989. Benjamin Thomas, Horvit, Michael, and Nelson, Robert. Techniques and Materials of Tonal Music, 3rd Ed. Boston: Houghton Mifflin Company, 1985. Benjamin, Thomas, Horvit, Michael, and Nelson, Robert. Music for Analysis, 2nd Ed. Boston: Houghton Mifflin Company, 1984. Benward, Bruce, and White, Gary. Music in Theory and Practice, 4th Ed. Dubuque, IA: Wm. C. Brown Publishers, 1989. Burkhart, Charles. Anthology for Musical Analysis, 4th Ed. New York: Holt, Rinehart & Winston, 1985. Christ, William et al. Materials and Structure of Music, 3rd Ed. Englewood Cliffs, NJ: Prentice‑Hall, Inc., 1980. Forte, Allen. Tonal Harmony in Concept and Practice, 3rd Ed. New York: Holt, Rinehart & Winston, 1979. Lester, Joel. Analytic Approach to Twentieth Century Music. New York: W. W. Norton & Company, 1989. McHose, Allen I. The Contrapuntal Harmonic Technique of the 18th Century. Englewood Cliffs, NJ: Prentice‑Hall, Inc., 1947. Mohn, Michael. Preparing Traditional Music Manuscript, 2nd Ed. Fairfield, CA: M. Mohn Publishing, 1990. Warfield, Gerald. How to Write Music Manuscript. New York: Schirmer Books, 1977. | | 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 MUSICIANSHIP 3 MUS2413-01 FALL 2006 bb1.hputx.edu Instructor: Patricia Banks DMC104 pbanks@hputx.edu (325) 649-8504 See Personal Information on Blackboard for Office Hours Please read this syllabus carefully. It outlines exactly what will be expected of you in this course, which concepts will be included in tests, and how your grade will be determined. Assessment of the effectiveness of this course will be made through a jury examination at the close of the semester, question #5 on the SET, the "Exit Survey" given to graduating music majors, and alumni survey questions regarding course work at HPU and its relevance to their chosen career Assessment of student achievement of stated goals will be made through class assignments, class quizzes, music computer lab assignments, and two examinations. Textbooks: Kostka-Payne: TONAL HARMONY, 5th edition. McGraw-Hill.2004 Textbook and set of 2 CD's to accompany text. Workbook with accompanying CD Ottman: Music for Sight Singing, 6th edition Prentice-Hall, 2004. Horvit/Koozin/Nelson: Music for Ear Training, CD-ROM & Workbook. 2nd edition. Thomson/Schirmer, 2005. Computer Media: Blank Computer Media: 3.5 disks, CD-RW, Flash Drive at least 256MB Other materials: Staff paper and PENCILS Mus2413 is the third in a four-semester sequence of courses which introduce music students to the theoretical concepts of the Common Practice Period. The fourth semester also introduces some concepts of 20th Century theory. HPU music majors are required to complete all four semesters with a grade of "C" or better. . All students enrolled in MUS2413 must also be enrolled in MUS0171-0074, Music Computer Lab 1-4. Much of the ear training associated with this course will be accomplished in the Music Computer Lab
The PURPOSE of MUS2413 is to continue equipping students to analyze and understand the music which they perform, as well as to understand the basic rules of music composition. Students will be introduced to Non-Diatonic Harmony in this second year of theory.
4. The OBJECTIVES of MUS2413 are to master the following concepts: a. Chromaticism and Altered Chords b. Secondary Functions c. Secondary Dominant Chords d. Secondary Leading-Tone Chords e. Modulation and Change of Key f. Tonicization g. Key Relationships h. Common-Chord Modulation i. Sequential Modulation j. Modulation by Common Tone k. Monophonic Modulation l. Direct Modulation m. Formal Terminology n. Binary and Ternary Forms o. 12-Bar Blues, and other Formal Designs p. Mode Mixture q. Borrowed Chords in Minor and Major r. Modulations involving Mode Mixture 1. Teaching methodology will include lecture, demonstration, guided class discussion, class drill, group practice, and self-paced work in the Music Computer Lab, DMC109 2. Grading System a. Assignments and test dates for this semester will be posted on Blackboard. It is the student's responsibility to check Blackboard carefully, EVERY DAY, and to be prepared for tests. b. The final grade for the semester will be determined by averaging the grades for the following (1) Assignment average 30% (2) Mid-Term exam 15% (3) Final exam 25% (4) Music Computer Lab assignments 30% 3. Grading Scale for MUS2413 90-100 = A 80--89 = B 70--79 = C 60--69 = D below 60 = F 4. The final grade in MUS2413 will be determined by a student's performance on two examinations, quizzes, class assignments, and computer lab grades and assignment completion. 5. Three absences are allowed during the semester, but NOT encouraged. The fourth absence will reduce the semester average by one letter grade. Each subsequent absence will reduce the semester average by one letter grade. Absences exceeding 25% of class time will result in failure of the course, as mandated by the HPU catalogue 6. Students are required to keep all MUS2413 materials in a three ring binder which is brought to each class session. 7. Any student may be dismissed from class for disruptive conduct or inappropriate dress. A student who is discovered cheating or who plagiarizes will be dismissed from the course and will receive a failing grade (F) for MUS2413. | | 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 MUSICIANSHIP 4 MUS2414-01 SPRING 2007 BB2.hputx.edu Instructor: Patricia Banks DMC104 pbanks@hputx.edu (325) 649-8504 Office Hours are posted on Blackboard, (See Personal Information) and outside DMC104. Please read this syllabus carefully. It outlines exactly what will be expected of you in this course, which concepts will be included in tests, and how your grade will be determined. Assessment of the effectiveness of this course will be made through a jury examination at the close of the semester, question #5 on the SET, the "Exit Survey" given to graduating music majors, and alumni survey questions regarding course work at HPU and its relevance to their chosen career.
Assessment of student achievement of stated goals will be made through class assignments, class quizzes, music computer lab assignments, and two examinations.
TEXTBOOKS: Kostka-Payne: TONAL HARMONY, 5th edition Textbook and set of 2 CD's to accompany text. Workbook with accompanying CD Ottman: Music for Sight Singing, 6th edition
Horvit/Koozin/Nelson: Music for Ear Training CD-ROM and Workbook Staff paper and PENCILS
COURSE GOALS: 1. Mus2414 is the fourth in a four-semester sequence of courses which introduce music students to the theoretical concepts of the Common Practice Period. This fourth semester also introduces some concepts of 20th Century theory. HPU music majors are required to complete all four semesters with a grade of "C" or better. 2. All students enrolled in MUS2414 must also be enrolled in MUS0171-0074, Music Computer Lab 1-4. Much of the ear training associated with this course will be accomplished in the Music Computer Lab.
3. The PURPOSE of MUS2414 is to continue equipping students to analyze and understand the music which they perform, as well as to understand the basic rules of music composition. Students will be introduced to Non-Diatonic Harmony in this second year of theory.
4. The OBJECTIVES of MUS2414
By the end of the semester, students will demonstrate, through the use of original compositions, a thorough understanding of the following theoretical concepts:
Augmented Sixth Chords
Enharmonic Spellings and Modulations
Further Elements of the Harmonic Vocabulary
Tonal Harmony in the Late 19th Century
An Introduction to 20th Century Practices
(1)Impresionism
(2)Scales
(3)Chord Structure
(4)Parallelism
(5)Pandiatonicism
(6)Rhythm and Meter
(7)Set Theory
(8)The Twelve-Tone Technique
(9)Total Serialization
(10)Aleatory or Chance Music
(11)Texture and Expanded Instrumental Resources
(12)Electronic Music
COURSE POLICIES AND PROCEDURES 1. Teaching methodology will include lecture, demonstration, guided class discussion, class drill, group practice, and self-paced work in the Music Computer Lab, DMC109.
2. Grading System:
a. Assignments and test dates dates for this semester will be posted on this site. It is the student's responsibility to check carefully, and to be prepared for tests.
b. The final grade for the semester will be determined by averaging the grades for the following:
(1) Assignment and Quiz average (30 %)
(2) Mid-Term exam (20%)
(3) Final exam (25%)
(4) Music Computer Lab assignments (25%)
3.Grading Scale for MUS2414:
90-100 = A
80-89 = B
70-79 = C
60-69 = D
below 60 = F
4. The final grade in MUS2414 will be determined by a student's performance on two examinations/compositions, quizzes, class assignments, and computer lab grades and assignment completion.
5. Three absences are allowed during the semester, but NOT encouraged. The fourth absence will reduce the semester average by one letter grade. Each subsequent absence will reduce the semester average by one letter grade. Absences exceeding 25% of class time will result in failure of the course, as mandated by the HPU catalogue.
6. Students are required to keep all MUS2414 materials in a three ring binder which is brought to each class session.
7. Any student may be dismissed from class for disruptive conduct or inappropriate dress. A student who is discovered cheating or who plagiarizes will be dismissed from the course and will receive a failing grade (F) for MUS2414.
| | 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 hoursCOURSE SYLLABUS I. Course Information A. Title: Form and Analysis Course Number: MUS 4213 Semester: Fall, 2008 Class Meets: 1:00 to 1: 50 p.m. MW in DMC 408 and the Music Computer Lab B. Required Texts: Spencer, Peter, and Temko, Peter. A Practical Approach to the Study of Form in Music. Burkhardt, Charles, and Rothstein, William. Anthology for Musical Analysis, 6th Ed. C. Instructor: Dr. Allen Reed Office: DMC 409 Telephone: 5521 Office Hours: Posted on door II. Purpose/Objectives/Assessment A. Music 4213 is an upper level theory course which introduces students to the formal designs of music of the Common Practice Period. The purpose of the course is to fulfill the program objective of helping students develop an understanding of the theoretical fundamentals of how music synthesizes melody, harmony, and rhythm. The course is required of all students with a major in music. B. The objectives of Music 4213 are to enable students who successfully complete the course requirements to: 1. Be able to identify the basic factors in form, e.g., rhythm, melody, harmony, and tonality. [ASSESSMENT: Class discussions, written assignments, tests] 2. Recognize small structural elements of music, such as phrases, phrase groupings. [ASSESSMENT: Class discussions, written assignments, tests] 3. Display an understanding of part forms, rondo, variation forms. [ASSESSMENT: Class discussions, written assignments, tests] 4. Be able to identify the compositional devices in contrapuntal music. [ASSESSMENT: Class discussions, written assignments, tests] 5. Analyze the sections of sonata form and multi-movement forms. [ASSESSMENT: Class discussions, written assignments, tests] III. Methods and Procedures A. Successful completion of MUS 2214/2234 is required for enrolling in Music 4213. B. Specific material to be covered includes topics listed in IIB, above. Dates are given in the class schedule at the beginning of the semester. C. Teaching methodology will include lecture, demonstration, guided class discussion, class drill, and Music Computer Lab experience. D. For additional assistance in Music 4213, the Instructor’s office hours are posted on his office door. An appointment would be appreciated. E. Class Policies 1. Homework or reading should be done BEFORE class and will be the basis of class discussions. All homework, exercises, written exams, and quizzes must be completed in PENCIL. 2. No late work will be accepted. If a student is ill, a 0 will be recorded, and this grade will be deleted when the student presents a written doctor’s excuse. (It will count neither for nor against the student.) 3. No leaving class (except for personal emergency) until class is dismissed. IV. Grading System A. The final grade for Music 4213 will be determined from the average of 1. Homework Assignments – 25% 2. Mid-term Exam – 25% 3. Analysis Project – 25% 4. Final Exam – 25% 2. If a student has more than 3 unexcused absences, the final grade for the course will be lowered by one letter grade. (See below under IV.C.) B. The grading scale for Music 4213 will be A | 90-100 | B | 80-89 | C | 70-79 | D | 60-69 |
On work where a letter grade is assigned, the following table will apply Letter Grade | Errors | Numerical Grade | A | 0 | 95 | A- | 1 | 92 | B+ | 2 | 88 | B | 3 | 85 | B- | 4 | 82 | C+ | 5 | 78 | C | 6 | 75 | C- | 7 | 72 | D+ | 8 | 68 | D | 9 | 65 | D- | 10 | 62 | F | 11 | 50 | F* | NA | 0 |
*Assignment, quiz, or exam missed due to unexcused absence. C. Attendance: Students must attend seventy-five percent of class periods to receive credit for the course. This class meets 29 days fall semester; a student will automatically fail on the 8th absence. There is no distinction between excused and unexcused absences for this attendance requirement. A student will be counted absent if textbooks and materials are not brought to class or if the student sleeps during part or all of the class. If a student has more three unexcused absences, the grade for the course will be reduced by one letter. A written excuse must be presented for an absence to be considered, and whether or not the absence is excused will be determined by the instructor. D. There are no requirements regarding keeping exams and papers. | | 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 3233, Music 4253—Choral Arranging/Orchestration Instructor: Dr. Robert Tucker Office: DMC 201 649-8600 Office hours: MWF—8:00-9:00 a.m. or by appointment Text: No required text for this class Course Description: Music 3233, 4253 is designed as a choral arranging/orchestration course for music majors. The course is a comprehensive course that synthesizes previous knowledge of music theory and vocal performance. The students will learn the material through lecture, discussion, tests, and assignments. This course satisfies the music education requirement for teacher certification as well as the Bachelor of Music, Church Music, and the Bachelor of Arts. The class is designed for music majors and substitutes for orchestration. Outcomes: the student successfully completing Music 3233 should: 1. Understand the basic techniques of successful choral arranging and orchestration 2. Should know and understand transposition of instruments 3. Demonstrate a technical knowledge of music theory 4. Demonstrate adequate skills at Finale 2007 or 2008. 3. Demonstrate a comprehensive knowledge of vocal performance, arranging, and orchestration skills Requirements: 1. Take a midterm and a final examination 2. Turn in 6 assignments and 1 final project 3. Participate actively in discussions and questions 4. BE ON TIME and PREPARED, NEVER MISS CLASS Evaluation Procedures: The grading scale is a ten-point scale. 20%--midterm 20%--final exam 15%--participation including attendance and promptness 35%--periodic assignments 10%--final project Assessment: The course will be assessed through grades and skills gained. Alumni follow-up is done periodically to insure the students are prepared for graduate school or market demand. | | | | | 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.MUS 122: Music Theory I MWF 11-11:50am, Room 216 Fall 2008 Instructor: Vincetti Frizzo Office: Kirkley G02 Phone: 936-294-4008 Office hours: M/W 3:00-5:00 pm, Th 9:30-10:30 am Email: vincetti@shsu.edu Required Texts and Materials * · Tonal Harmony, Kostka and Payne (6th edition) · Workbook for Tonal Harmony, Kostka and Payne (6th edition) · Example CD’s and Finale® Workbook software – included with your Workbook for Tonal Harmony · Music for Analysis: Examples from the Common Practice Period and the Twentieth Century, Benjamin, Horvit, and Nelson (6th edition) · Music staff paper; pencils, eraser (Assignment/exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT FOR EVERY CLASS PERIOD. Course Description 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). Course Objectives · Elements of Pitch (Chapter 1): The keyboard and octave registers, notation of the staff, major and minor scales and key signatures, scale degree names, intervals, modes. · Elements of Rhythm (Chapter 2): Rhythm, durational symbols, beat and tempo, meter, division of the beat, simple and compound time signatures. · Introduction to Triads and Sevenths (Chapter 3): Triads, and seventh chords, inversions, inversion symbols and figured bass, lead sheet symbols, recognizing chords in various textures. · Diatonic Chords in Major and Minor (Chapter 4): The minor scale, diatonic triads in major and minor, diatonic seventh chords in major and minor. · Harmonic Progression and the Sequence (Chapter 7): Qualities of typical chord progressions and sequences found in tonal music. · Principles of Voice Leading (Chapter 5): The melodic line, notating chords, voicing a single triad, parallel motion. · Root Position Part Writing (Chapter 6): Root position, part writing with repeated roots, root position part writing a 4th (5th) apart, root position part writing a 3rd (6th) apart, root position part writing a 2nd (7th) apart, instrumental ranges and transpositions. · Triads in First Inversion (Kostka, Chapter 8): Bass arpeggiation, substituting first inversion triads, parallel sixth chords, part writing first inversion triads, soprano-bass counterpoint. Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 124 (Musicianship I) and MUS 111X (Class Piano I). The principles dealt with in these corresponding theory, musicianship, and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in corresponding theory, musicianship, and piano classes. CLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time attendance is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) !!! Attendance is a significant factor affecting your success in this course !!! BLACKBOARD Grades, attendance, and tardies will be posted and updated regularly on Blackboard by your instructor so that you may keep track of this important information throughout the semester and report any discrepancies you may find. CLASSROOM ETIQUETTE Students will NOT be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable with instructor’s approval. Students may NOT use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students may be penalized one tardy for each disruption caused by any of these devices during class. Special needs accommodations for allowing any of the above is allowed, but only through approval of the university and the Counseling Center. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class MUST be legible as determined by the instructor. Any work the instructor considers to be illegible will NOT be graded and will NOT receive credit. TIMED QUIZZES Timed quizzes may be given each week throughout the semester. If you make an 80% or higher on the original timed quiz in class, you have the option to take up to two retakes to improve your grade. The highest grade will be recorded. If you do not make an 80% or higher on the original timed quiz in class, you will be required to take the first retake. If you do not make an 80% or higher on the first retake, you will be required to do the final retake. If you make an 80% or higher on the first retake, you may keep your grade, or you have the option to take the final retake to improve your score. The highest grade will be recorded. If your score is below an 80% on the final retake, the grade you receive will be your final grade for the timed quiz. If you miss the original timed quiz in class, you must take the first retake. The first and final retakes must be taken at timed quiz/tutoring sessions. Please see attached schedule of deadlines for the first and final retakes. If you miss a required first or final retake, you will receive a zero for that quiz. Homework Policy for Theory I-IV Your three lowest homework/pop quiz grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a pop quiz because of an absence, excused or unexcused, you will not be able to retake it. Resubmission policy for homework: Students who receive unsatisfactory marks (79 or below) will have the opportunity to resubmit an assignment to the instructor. You will receive half credit for all points corrected, with a highest possible grade of 80. Revised work is due the class meeting after it is returned to the student. Students turning in an incomplete assignment, you may only resubmit the portion that was originally completed. FINAL GRADE CALCULATIONS FOR THEORY I-IV Assignments 15% Quizzes 20% Final Project 5% Unit Exams (3 Unit Exams worth 20% each)** 60% Possible Penalties for Class Attendance/Participation (see above) **50 minutes will be allotted for each of the first two Theory Unit Exams. The Final Exam will be a cumulative exam given during the scheduled final time. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 89.5 – 100 B = 79.5 – 89.4 C = 69.5 – 79.4 D = 59.5 – 69.4 F = 0 – 59.4 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The Kostka/Payne Tonal Harmony text now has online tutorials to help you with the basic concepts from each chapter in the text. Simply take the following link (www.mhhe.com/kp5), click on “Student Edition” under “Online Learning Center” at the left and choose the desired part of the book on the scroll-down list on the left and lesson with which you desire extra help or practice. Other free websites such as www.musictheory.net can be a great resource for students seeking help. Ask your instructor or see the SHSU Theory and Composition website for even more ideas. Unit Exam Dates (subject to change if needed): Unit One Exam 9/26/08 Friday Unit Two Exam 10/31/08 Friday Final Exam (check university final exam schedule) Early Warning Slips / FIRST ALERT After the first two exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The Counseling Center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of D or F in any theory or musicianship course must repeat that course until they receive a final grade of C or higher before promotion to the next level will be granted. Note that all theory and musicianship courses with prerequisites require the student to have passed the previous level of both theory and musicianship with a final grade of C or higher. For example, before you may enroll in Musicianship 2, you must have passed both Theory I and Musicianship I with a final grade of C or higher. These courses are designed to work together to gradually build upon your level of knowledge and skill in these areas. Taking any course out of sequence or without the approval of the theory department can jeopardize your grade point average, your ability to succeed in more advanced theory courses, and even your chances of graduation. Again, the theory department is committed to ensuring the academic success of each and every student. University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. No accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first 15 days of the semester or the first 7 days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. MUS 123: Music Theory II MWF _________, Room ___ Spring 2009 Instructor: Office: Phone: Office hours: Email: Required Texts and Materials * · Tonal Harmony, Kostka and Payne (6th edition) · Workbook for Tonal Harmony, Kostka and Payne (6th edition) · Example CD’s and Finale® Workbook software – included with your Workbook for Tonal Harmony · Music staff paper; pencils, eraser (Assignment/exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT FOR EVERY CLASS PERIOD. Course Description This course is a continuation of the Western musical elements introduced in Theory I (MUS 122). The course begins with a brief introduction to contrapuntal principles and small formal (phrase) structures found in music from the common practice period. The remainder of the semester involves more detailed work with part-writing and analyzing diatonic music, including non-chord tones and diatonic seventh chords. This course’s content is coordinated with that of Musicianship II (MUS 125). Course Objectives · Cadences, Phrases, and Periods (Chapter 10): Musical form, cadences, cadences and harmonic rhythm, motives and phrases, period forms · Introduction to Counterpoint (Supplement): Underlying principles of soprano-bass counterpoint in four-voice writing. · Triads in Second Inversion (Chapter 9): Bass arpeggiation and the melodic bass, the cadential six-four, the passing six-four, the pedal six-four part writing for second inversion triads. · Non-Chord Tones 1 (Chapter 11): Classification of non-chord tones, passing tones, neighboring tones, suspensions and retardations, figured bass and lead sheet symbols, embellishing a simple texture. · Non-Chord Tones 2 (Chapter 12): Apoggiaturas, escape tones, the neighbor group, anticipations, the pedal point, special problems in the analysis of non-chord tones. · The V7 Chord (Chapter 13): General voice-leading considerations, the V7 in root position, the V7 in three parts, other resolutions of the V7, the inverted V7, the V6/5 chord, the V4/3 chord, the V4/2 chord, the approach to the 7th. · The II7 and VII7 Chords (Chapter 14): The II7 chord, the VII7 chord in major, the VII7 chord in minor. · Other Diatonic Seventh Chords (Chapter 15): The IV7 chord, the VI7 chord, the I7 chord, the III7 chord, seventh chords and the circle-of-fifths progression. Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 125 (Musicianship II) and MUS 112X (Class Piano II). The principles dealt with in these corresponding theory, musicianship, and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in corresponding theory, musicianship, and piano classes. CLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time attendance is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) !!! Attendance is a significant factor affecting your success in this course !!! BLACKBOARD Grades, attendance, and tardies will be posted and updated regularly on Blackboard by your instructor so that you may keep track of this important information throughout the semester and report any discrepancies you may find. CLASSROOM ETIQUETTE Students will NOT be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable with instructor’s approval. Students may NOT use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students may be penalized one tardy for each disruption caused by any of these devices during class. Special needs accommodations for allowing any of the above is allowed, but only through approval of the university and the Counseling Center. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class MUST be legible as determined by the instructor. Any work the instructor considers to be illegible will NOT be graded and will NOT receive credit. TIMED QUIZZES Timed quizzes may be given at any point throughout the semester. If you make an 80% or higher on the original timed quiz in class, you have the option to take up to two retakes to improve your grade. The highest grade will be recorded. If you do not make an 80% or higher on the original timed quiz in class, you will be required to take the first retake. If you do not make an 80% or higher on the first retake, you will be required to do the final retake. If you make an 80% or higher on the first retake, you may keep your grade, or you have the option to take the final retake to improve your score. The highest grade will be recorded. If your score is below an 80% on the final retake, the grade you receive will be your final grade for the timed quiz. If you miss the original timed quiz in class, you must take the first retake. The first and final retakes must be taken at timed quiz/tutoring sessions. Please see attached schedule of deadlines for the first and final retakes. If you miss a required first or final retake, you will receive a zero for that quiz. Homework Policy for Theory I-IV Your three lowest homework/pop quiz grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a pop quiz because of an absence, excused or unexcused, you will not be able to retake it. Resubmission policy for homework: Students who receive unsatisfactory marks (79 or below) will have the opportunity to resubmit an assignment to the instructor. You will receive half credit for all points corrected, with a highest possible grade of 80. Revised work is due the class meeting after it is returned to the student. Students turning in an incomplete assignment, you may only resubmit the portion that was originally completed. FINAL GRADE CALCULATIONS FOR THEORY I-IV Assignments 15% Quizzes 20% Final Project 5% Unit Exams (3 Unit Exams worth 20% each)** 60% Possible Penalties for Class Attendance/Participation (see above) **50 minutes will be allotted for each of the first two Theory Unit Exams. The Final Exam will be a cumulative exam given during the scheduled final time. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 89.5 – 100 B = 79.5 – 89.4 C = 69.5 – 79.4 D = 59.5 – 69.4 F = 0 – 59.4 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The Kostka/Payne Tonal Harmony text now has online tutorials to help you with the basic concepts from each chapter in the text. Simply take the following link (www.mhhe.com/kp5), click on “Student Edition” under “Online Learning Center” at the left and choose the desired part of the book on the scroll-down list on the left and lesson with which you desire extra help or practice. Other free websites such as www.teoria.com and www.musictheory.net can be a great resource for students seeking help. Ask your instructor for suggestions for individual practice outside of class. TENTaTIVE Unit Exam Dates (subject to change if needed): Unit One Exam 2/27/09 Friday Unit Two Exam 4/10/08 Friday Final Exam (check university final exam schedule) Early Warning Slips / FIRST ALERT After the first two exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The Counseling Center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of D or F in any theory or musicianship course must repeat that course until they receive a final grade of C or higher before promotion to the next level will be granted. Note that all theory and musicianship courses with prerequisites require the student to have passed the previous level of both theory and musicianship with a final grade of C or higher. For example, before you may enroll in Musicianship 2, you must have passed both Theory I and Musicianship I with a final grade of C or higher. These courses are designed to work together to gradually build upon your level of knowledge and skill in these areas. Taking any course out of sequence or without the approval of the theory department can jeopardize your grade point average, your ability to succeed in more advanced theory courses, and even your chances of graduation. Again, the theory department is committed to ensuring the academic success of each and every student. University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. No accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first 15 days of the semester or the first 7 days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. MUS 124: Musicianship I MWF ???-???am, Room 2?? Fall 2008 Instructor: Office: Phone: Office hours: Email: Required Texts and Materials · Music for Ear Training, Horvit, Koozin, and Nelson (2nd edition)??????????????????????????????????? · Music for Sight-Singing, Benjamin, Horvit, and Nelson (5th edition)????????????????????????????????? · Music for Ear Training CD-ROM, included with text. · Music staff paper; pencils, eraser (Assignment, quizzes, or exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT FOR EVERY CLASS PERIOD. Course Description This course provides intensive drill in identifying and reproducing the fundamental structures of music. The course content, which is coordinated with that of Music Theory I, 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. Course Objectives Sight-Singing: Melodies implying I, IV, V, and V7; Introducing the Alto Clef Rhythm Reading: Simple meters, Anacruses (Upbeats) and 4:1 Subdivisions of the Beat --------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Interval ID: All intervals (m2-P8) Rhythmic Dictation: Simple meters, Beat subdivision by 4, Anacrusis Melodic Dictation: Primary triads and the dominant seventh Scale ID: Major and minor scales Harmonic Dictation: Primary triads and the dominant seventh; Cadential tonic six-four Chord Identification: Major, minor, augmented, and diminished triads (in root position) Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 122 (Theory I) and MUS 111X (Class Piano I). The principles dealt with in these corresponding theory, musicianship, and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in corresponding theory, musicianship, and piano classes. cLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time roll is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) !!! Attendance is a significant factor affecting your success in this course !!! CLASSROOM ETIQUETTE Students will NOT be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable with instructor’s approval. Students may NOT use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students will be penalized one tardy for each disruption caused by any of these devices during class. Special needs accommodations for allowing any of the above is allowed, but only through approval of the university and the Counseling Center. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class MUST be legible as determined by the instructor. Any work the instructor considers to be illegible will NOT be graded and will NOT receive credit. Homework Policy for MUSICIANSHIP I-III Your three lowest homework/quiz grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a quiz because of an absence, excused or unexcused, you will not be able to retake it. On most class days, homework assignments will be given to provide further practice for students with rhythmic, melodic, and harmonic dictation. These dictation exercises will require the use of the CD-ROM that goes with the Music for Ear Training text. Each student will be able to hear each exercise as many times as they wish, allowing them to work at their own pace. For some assignments, full answers to the dictation exercises will be given on the CD-ROM upon completion. For other assignments, the instructor will provide a key or devote a few minutes of class-time to discussing the exercises after they have been checked for completion and handed back on the due date. Because of the availability of infinite hearings and occasional answers from the CD-ROM, it is up to each student to conduct each homework exercise honestly and in a manner that will give them ample opportunity to improve their skills. NOTE: Homework comprises only 10% of the overall grade. Its main purpose is to prepare the student for the dictation quizzes and exams which are a much more substantial portion of the overall grade. FINAL GRADE CALCULATIONS FOR MUSICIANSHIP I-III Daily Homework Assignments 10% Practical Skills Quizzes 15% Practical Skills Exams (3 worth 10% each) 30% Aural Skills Quizzes 15% Aural Skills Exams (3 worth 10% each) 30% Penalties for Absences/Failure to Participate (see above) *50 minutes will be allotted for each of the first two Musicianship Unit Exams and the final exam. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 90 - 100 B = 80 - 89 C = 70 - 79 D = 60 - 69 F = 0 - 59 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor aide may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The CD-ROM included with the Music for Ear Training text includes a wealth of examples for extra practice with aural skills. Further, free websites such as www.musictheory.net can be a great resource for students seeking help. AURAL SKILLS Exam Dates (subject to change if needed): Unit One Exam 9/29/07 Unit Two Exam 11/3/07 Final Exam 12/10/07 (Last day of class) ***Pracitcal Skills Exams will be given individually outside of class at times/dates to be announced by instructor. Early Warning Slips / FIRST ALERT After the first two exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The Counseling Center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of F in any theory or musicianship course the previous semester will be required to drop the next course in the sequence if still enrolled at the beginning of the next semester. Prerequisite courses MUST be passed with a grade of C or higher for promotion to the next level. Students who have received a final grade of D in any prerequisite theory or musicianship course will be required to attend one hour of tutoring each week from one of our official theory/musicianship tutors until that student makes a C or higher on an exam. Any student receiving a grade of D or F on any exam throughout the semester will be required to attend one hour of tutoring each week until that student makes a C or higher on an exam. Again, the theory department is committed to ensuring the academic success of each and every student. University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in a, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the SHSU Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. NOTE: no accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first fifteen days of the semester or the first seven days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. MUS 125: Musicianship II (Day and Time) Spring 2009 Instructor: Office: Kirkley (Room #) Phone: Office hours: Email: Required Texts and Materials · Music for Ear Training, Horvit, Koozin, and Nelson (3rd edition) · Music for Sight-Singing, Benjamin, Horvit, and Nelson (5th edition) · Music for Ear Training CD-ROM, included with text. · Music staff paper; pencils, eraser (Assignment, quizzes, or exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT FOR EVERY CLASS PERIOD. Course Description This course provides intensive drill in identifying and reproducing the fundamental structures of music. The course content, which is coordinated with that of Music Theory II, 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. Course Objectives Sight-Singing: Minor mode, Supertonic triad, Submediant and mediant triads, Tenor clef, Seventh chords Rhythm Reading: Dots and ties, Compound meter, Tuplets --------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Rhythmic Dictation: Dots and ties, Compound meter, Tuplets Melodic Dictation: Minor mode, Supertonic triad, All diatonic triads, Supertonic and leading-tone sevenths Harmonic Dictation: Minor mode and First inversion of triads, Supertonic triad, Inversions of V7, All diatonic triads, Supertonic and leading-tone sevenths Chord ID: All Root position and Inverted triads and V7 chords, Root positions of all other seventh chords Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 222 (Theory III) and MUS 113X (Class Piano III). The principles dealt with in these corresponding theory, musicianship, and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in corresponding theory, musicianship, and piano classes. CLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time attendance is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) !!! Attendance is a significant factor affecting your success in this course !!! BLACKBOARD Grades, attendance, and tardies will be posted and updated regularly on Blackboard by your instructor so that you may keep track of this important information throughout the semester and report any discrepancies you may find. CLASSROOM ETIQUETTE Students will NOT be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable with instructor’s approval. Students may NOT use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students may be penalized one tardy for each disruption caused by any of these devices during class. Special needs accommodations for allowing any of the above is allowed, but only through approval of the university and the Counseling Center. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class MUST be legible as determined by the instructor. Any work the instructor considers to be illegible will NOT be graded and will NOT receive credit. Homework Policy for MUSICIANSHIP I-III Your three lowest homework/quiz grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a quiz because of an absence, excused or unexcused, you will not be able to retake it. On most class days, homework assignments will be given to provide further practice for students with rhythmic, melodic, and harmonic dictation. These dictation exercises will require the use of the CD-ROM that goes with the Music for Ear Training text. Each student will be able to hear each exercise as many times as they wish, allowing them to work at their own pace. NOTE: Homework comprises only 10% of the overall grade. Its main purpose is to prepare the student for the dictation quizzes and exams which are a much more substantial portion of the overall grade. FINAL GRADE CALCULATIONS FOR MUSICIANSHIP I-III Daily Homework Assignments 10% Practical Skills Quizzes 15% Practical Skills Exams (3 worth 10% each) 30% Aural Skills Quizzes 15% Aural Skills Exams (3 worth 10% each) 30% Penalties for Absences/Failure to Participate (see above) *50 minutes will be allotted for each of the first two Musicianship Unit Exams and the final exam. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 89.5 – 100 B = 79.5 – 89.4 C = 69.5 – 79.4 D = 59.5 – 69.4 F = 0 – 59.4 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The Kostka/Payne Tonal Harmony text now has online tutorials to help you with the basic concepts from each chapter in the text. Simply take the following link (www.mhhe.com/kp5), click on “Student Edition” under “Online Learning Center” at the left and choose the desired part of the book on the scroll-down list on the left and lesson with which you desire extra help or practice. Other free websites such as www.teoria.com and www.musictheory.net can be a great resource for students seeking help. Ask your instructor for suggestions for individual practice outside of class. TENTaTIVE Unit Exam Dates (subject to change if needed): Unit One Exam 2/23/09 Friday Unit Two Exam 4/8/09 Friday Final Exam 5/6/09 Wednesday Early Warning Slips / FIRST ALERT After the first two exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The Counseling Center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of D or F in any theory or musicianship course must repeat that course until they receive a final grade of C or higher before promotion to the next level will be granted. Note that all theory and musicianship courses with prerequisites require the student to have passed the previous level of both theory and musicianship with a final grade of C or higher. For example, before you may enroll in Musicianship 2, you must have passed both Theory I and Musicianship I with a final grade of C or higher. These courses are designed to work together to gradually build upon your level of knowledge and skill in these areas. Taking any course out of sequence or without the approval of the theory department can jeopardize your grade point average, your ability to succeed in more advanced theory courses, and even your chances of graduation. Again, the theory department is committed to ensuring the academic success of each and every student. University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. No accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first 15 days of the semester or the first 7 days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. MUS 222: Theory III MWF ?-?:50am, Room 2??, CID:????? Fall 2008 Instructor: Office: Phone: Email: Office hours: Required Texts and Materials · Tonal Harmony, Kostka and Payne (6th edition) · Workbook for Tonal Harmony, Kostka and Payne (6th edition) · Example CD’s and Finale® Workbook software – included with your Workbook for Tonal Harmony · Music for Analysis: Examples from the Common Practice Period and the Twentieth Century, Benjamin, Horvit, and Nelson (6th edition) · Music staff paper; pencils, eraser (Assignment/exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT EVERY CLASS PERIOD. Course Description 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. This course’s content is coordinated with that of Musicianship III. Course Objectives Secondary Functions 1 (Kostka, Chapter 16) Chromaticism and altered chords, secondary functions, secondary dominant chords, spelling and recognizing secondary dominants, secondary dominants in context Secondary Functions 2 (Kostka, Chapter 17) Secondary leading-tone chords, spelling and recognizing secondary leading-tone chords, secondary leading-tone chords in context, sequences involving secondary functions, deceptive resolutions of secondary functions, other secondary functions Modulations Using Diatonic Common Chords (Kostka, Chapter 18) Modulation and change of key, modulation and tonicization, key relationships, common-chord modulation, analyzing common-chord modulation Some Other Modulatory Techniques (Kostka, Chapter 19) Altered chords as common chords, sequential modulation, modulation by common tone, monophonic modulation, direct modulation Binary and Ternary Forms (Kostka, Chapter 20) Binary, Ternary, and Rounded Binary, 12-bar blues, sonata, rondo, and other formal designs Mode Mixture (Kostka, Chapter 21) Borrowed chords in minor, the use of flat-6 in major, modulations involving mode mixture The Neapolitan Chord (Chapter 22) Qualities and typical uses of the Neapolitan in the tonal tradition Augmented Sixth Chords 1 (Kostka, Chapter 23) The interval of the augmented sixth, Italian, French, German, other uses of conventional augmented sixth chords Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 224 (Musicianship III) and MUS 113X (Class Piano III). The principles dealt with in these corresponding theory, musicianship, and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in corresponding theory, musicianship, and piano classes. CLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time roll is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) ***Attendance is a significant factor affecting your success in this course. CLASSROOM ETIQUETTE Students will not be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable. Students may not use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students will be penalized one tardy for each disruption caused by any of these devices during class. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class must be legible as determined by the instructor. Any work the instructor considers to be illegible will not be graded and will not receive credit. Unit Exam Dates (subject to change): Unit One Exam 9/26/07 Friday Unit Two Exam 10/31/07 Friday Final Exam (check university final exam schedule) Homework Policy for Theory I-IV Your three lowest homework/pop quiz grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a pop quiz because of an absence, excused or unexcused, you will not be able to retake it. Resubmission policy for homework: Students who receive unsatisfactory marks (79 or below) will have the opportunity to resubmit an assignment to the instructor. You will receive half credit for all points corrected, with a highest possible grade of 80. Revised work is due the class meeting after it is returned to the student. Students turning in an incomplete assignment, you may only resubmit the portion that was originally completed. FINAL GRADE CALCULATIONS FOR THEORY I-IV Assignments and Quizzes 30% Final Project 10% *Exams (3 @ 20% each) 60% Possible Penalties for Class Attendance/Participation (see above) *50 minutes will be allotted for each of the first two Theory Unit Exams. The final exam will be a cumulative exam given during the scheduled final time. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 90 - 100 B = 80 - 89 C = 70 - 79 D = 60 - 69 F = 0 - 59 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor aide may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The Kostka/Payne Tonal Harmony text now has online tutorials to help you with the basic concepts from each chapter in the text. Simply take the following link (www.mhhe.com/kp5), click on “Student Edition” under “Online Learning Center” at the left and choose the desired part of the book on the scroll-down list on the left and lesson with which you desire extra help or practice. Other free websites such as www.musictheory.net can be a great resource for students seeking help. Ask your instructor or see the SHSU Theory and Composition website for even more ideas. Early Warning Slips / FIRST ALERT After the first and second exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The counseling center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of F in any theory or musicianship course the previous semester will be required to drop the next course in the sequence if still enrolled at the beginning of the next semester. Prerequisite courses must be passed with a grade of C or higher for promotion to the next level. Students who have received a final grade of D in any prerequisite theory or musicianship course will be required to attend one hour of tutoring each week from one of our official theory/musicianship tutors until that student makes a C or higher on an exam. Any student receiving a grade of D or F on any exam throughout the semester will be required to attend one hour of tutoring each week until that student makes a C or higher on an exam. Again, the theory department is committed to ensuring the academic success of each and every student. University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in a, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the SHSU Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. NOTE: no accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first fifteen days of the semester or the first seven days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. MUS 223: Music Theory IV MWF 9:00-9:50 Room 219 Spring 2009 Instructor: Dr. John Crabtree Office: Kirkley G02 Phone: 832-215-4431 Office hours: MWF by appointment Email: jmc001@shsu.edu Required Texts and Materials * · Tonal Harmony, Kostka and Payne (5th edition) · Workbook for Tonal Harmony, Kostka and Payne (5th edition) · Example CD’s and Finale® Workbook software – included with your Workbook for Tonal Harmony · HAND-OUTS to be given in class to further expand material in text. · Music staff paper; pencils, eraser (Assignment/exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT FOR EVERY CLASS PERIOD. Course Description This course expands the study of ultra-chromatic harmony of Western music to the late 19th Century. In addition, it continues the study of music by surveying composition and analytical techniques of the 20th Century. Course Objectives · Augmented Sixth Chords 2 (Chapter 24): · Enharmonic Spellings and Enharmonic Modulations (Chapter 25): · Further Elements of the Harmonic Vocabulary (Chapter 26): · Tonal Harmony in the Late Nineteenth-Century (Chapter 27): · An Introduction to Twentieth-Century Music (Chapter 28): Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 114X (Class Piano IV). The principles dealt with in this corresponding theory and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in the corresponding theory and piano classes. CLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time roll is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) !!! Attendance is a significant factor affecting your success in this course !!! CLASSROOM ETIQUETTE Students will not be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable. Students may not use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students will be penalized one tardy for each disruption caused by any of these devices during class. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class must be legible as determined by the instructor. Any work the instructor considers to be illegible will not be graded and will not receive credit. Homework Policy for Theory I-IV Your three lowest homework grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a pop quiz because of an absence, excused or unexcused, you will not be able to retake it. Resubmission policy for homework: Students who receive unsatisfactory marks (79 or below) will have the opportunity to resubmit an assignment to the instructor. You will receive half credit for all points corrected, with a highest possible grade of 80. Revised work is due the class meeting after it is returned to the student. Students turning in an incomplete assignment, you may only resubmit the portion that was originally completed. FINAL GRADE CALCULATIONS FOR THEORY I-IV Assignments 15% Quizzes 15% Final Project 5% Exams (2 Unit Exams worth 20% each) ** 40% Final Exam ** 25% Possible Penalties for Class Attendance/Participation (see above) **50 minutes will be allotted for each of the first two Theory Unit Exams. The final exam will be a cumulative exam given during the scheduled final time. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 89.5 – 100 B = 79.5 – 89.4 C = 69.5 – 79.4 D = 59.5 – 69.4 F = 0 – 59.4 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. . SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor aide may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The Kostka/Payne Tonal Harmony text now has online tutorials to help you with the basic concepts from each chapter in the text. Simply take the following link (www.mhhe.com/kp5), click on “Student Edition” under “Online Learning Center” at the left and choose the desired part of the book on the scroll-down list on the left and lesson with which you desire extra help or practice. Other free websites such as www.musictheory.net can be a great resource for students seeking help. Ask your instructor or see the SHSU Theory and Composition website for even more ideas. Unit Exam Dates (subject to change): Unit One Exam 2/25/09 Unit Two Exam 3/30/09 Final Exam As Scheduled by the University in the Final Exam Schedule Early Warning Slips / FIRST ALERT After the first and second exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The Counseling Center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of F in any theory or musicianship course the previous semester will be required to drop the next course in the sequence if still enrolled at the beginning of the next semester. Prerequisite courses must be passed with a grade of C or higher for promotion to the next level University Policy on Academic Dishonesty The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. PROPER CLASSROOM DEMEANOR/RULES OF CONDUCT Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in a, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the SHSU Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. NOTE: no accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first fifteen days of the semester or the first seven days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. MUS 224: Musicianship III TTH 11am – 12:20pm, Room 216 Fall 2008 Instructor: Dr. Kyle Kindred Office: Kirkley G-3 Phone: (936) 294-1377 Office hours: M-F, 1-4pm (by appt.) Email: KDK001@shsu.edu (best way to contact me!) Required Texts and Materials · Music for Ear Training, Horvit, Koozin, and Nelson (2nd edition) · Music for Sight-Singing, Benjamin, Horvit, and Nelson (4th edition) · Music for Ear Training CD-ROM, included with text. · Music staff paper; pencils, eraser (Assignment, quizzes, or exams done in ink will not be accepted!) *ALL STUDENTS MUST OWN THEIR OWN BOOKS AND HAVE ALL MATERIALS PRESENT FOR EVERY CLASS PERIOD. Course Description This course provides intensive drill in identifying and reproducing the fundamental structures of music. The course content, which is coordinated with that of Music Theory III, 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. Course Objectives Sight-Singing: Seventh chords, Inflected scale degrees; Scalar variants in minor, Modal borrowing, Secondary dominants, and Modulations Rhythm Reading: Dots and ties, Compound meter, Tuplets, Syncopation, Asymmetrical meters --------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Rhythmic Dictation: Dots and ties, Compound meter, Tuplets, Syncopation, Asymmetrical meters Melodic Dictation: Seventh chords, Inflected scale degrees; Scalar variants in minor, Modal borrowing, Secondary dominants, and Modulations Harmonic Dictation: Non-dominant seventh chords, Scalar variants and modal borrowing, Secondary dominants, N6 and +6 chords Chord ID: All Root position and Inverted triads and Seventh chords Co-ENROLLMENT Normally, students in this class will be enrolled in MUS 222 (Theory III) and MUS 113X (Class Piano III). The principles dealt with in these corresponding theory, musicianship, and piano classes all build upon and reinforce each other. These courses should be taken concurrently to ensure maximum success in learning the fundamental principles of Western music. Please notify your instructor if you are not currently enrolled in corresponding theory, musicianship, and piano classes. CLASS PARTICIPATION When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, etc. Bring your questions to class. Students who have not brought their materials, are sleeping in class, are not paying attention, or are disrupting the learning environment in any way may be counted absent for that class period. Being physically present in class does not necessarily constitute attendance! THEORY DEPARMENT Attendance AND TARDY POLICIES Regular and punctual attendance is expected of you throughout the semester. University policy permits three classroom hours of unexcused absence without penalty per semester (MWF = 3 absences, TTH = 2 absences). Reserve these for possible emergency or illness. For each additional unexcused MWF absence, one-third of a letter grade will be deducted from your final grade. For each additional unexcused TTH absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions or illness with appropriate documentation. If you anticipate a legitimate absence on a test date, contact your instructor at least one week in advance so that a make-up test can be scheduled. Once a test has been returned, a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. The instructor will take attendance at the beginning of each class period. Students not arriving by the time attendance is completed will need to sign the official tardy sign-in sheet at the front of the classroom in order to be counted present for that class period. Students failing to sign this list when tardy will be counted absent without exception. Every student will be allowed 2 tardies without penalty per semester. Every third tardy will be counted as equal to one absence. (3 tardies = 1 absence, 6 tardies = 2 absences, etc.) !!! Attendance is a significant factor affecting your success in this course !!! BLACKBOARD Grades, attendance, and tardies will be posted and updated regularly on Blackboard by your instructor so that you may keep track of this important information throughout the semester and report any discrepancies you may find. CLASSROOM ETIQUETTE Students will NOT be allowed to have food or drinks in the classroom; however, water in a closed container is acceptable with instructor’s approval. Students may NOT use cell phones or other electronic devices such as laptops, iPods, etc. during class. Students will be penalized one tardy for each disruption caused by any of these devices during class. Special needs accommodations for allowing any of the above is allowed, but only through approval of the university and the Counseling Center. NEATNESS In order to properly evaluate your work, your instructor must be able to read it. Therefore, all work done for this class MUST be legible as determined by the instructor. Any work the instructor considers to be illegible will NOT be graded and will NOT receive credit. Homework Policy for MUSICIANSHIP I-III Your three lowest homework/quiz grades will be dropped. Homework is due at the beginning of class –NO EXCEPTIONS. If you are absent, you may get someone to turn your homework in for you at the beginning of class. No homework is accepted late. If you miss a quiz because of an absence, excused or unexcused, you will not be able to retake it. On most class days, homework assignments will be given to provide further practice for students with rhythmic, melodic, and harmonic dictation. These dictation exercises will require the use of the CD-ROM that goes with the Music for Ear Training text. Each student will be able to hear each exercise as many times as they wish, allowing them to work at their own pace. For some assignments, full answers to the dictation exercises will be given on the CD-ROM upon completion. For other assignments, the instructor will provide a key or devote a few minutes of class-time to discussing the exercises after they have been checked for completion and handed back on the due date. Because of the availability of infinite hearings and occasional answers from the CD-ROM, it is up to each student to conduct each homework exercise honestly and in a manner that will give them ample opportunity to improve their skills. NOTE: Homework comprises only 10% of the overall grade. Its main purpose is to prepare the student for the dictation quizzes and exams which are a much more substantial portion of the overall grade. FINAL GRADE CALCULATIONS FOR MUSICIANSHIP I-III Daily Homework Assignments 10% Practical Skills Quizzes 15% Practical Skills Exams (3 worth 10% each) 30% Aural Skills Quizzes 15% Aural Skills Exams (3 worth 10% each) 30% Penalties for Absences/Failure to Participate (see above) *50 minutes will be allotted for each of the first two Musicianship Unit Exams and the final exam. The Final Exam will take place as scheduled by the university, unless your instructor indicates otherwise. Grading Scale A = 90 - 100 B = 80 - 89 C = 70 - 79 D = 60 - 69 F = 0 - 59 Note: Your instructor will NOT freely give points or extra credit to students to improve their final grade. SHSU THEORY DEPARTMENT TUTORING POLICY Each student has his/her own unique areas of strength and weakness. If you are falling behind in a certain area and are not able to visit your instructor during scheduled office hours, feel free to contact them via email to arrange a time to meet that will fit your schedule. A department tutor aide may also be available for free tutoring for all theory and musicianship students throughout the semester. (More information on this will be given a week or two into the semester.) NOTE: The CD-ROM included with the Music for Ear Training text includes a wealth of examples for extra practice with aural skills. Further, free websites such as www.musictheory.net can be a great resource for students seeking help. AURAL SKILLS Exam Dates (subject to change if needed): Unit One Exam 9/30/08 Tuesday Unit Two Exam 11/4/08 Tuesday Final Exam 12/11/08 Thursday (Last day of class) ***Practical Skills Exams will be given individually outside of class at times to be announced by instructor. Early Warning Slips / FIRST ALERT After the first two exams, the instructor will fill out an “Early Warning Slip” on behalf of any student having problems with grades, attendance, attitude, fundamental skills, etc. These official notifications by the theory department are sent to a student’s applied instructor and/or ensemble director in order to express specific concerns regarding the student’s academic performance. The Counseling Center on campus also offers a service called “First Alert” which aims to give aid to students identified by their instructors as needing extra help with their coursework. At any time during the semester, instructors may send a “First Alert” warning to the counseling center on campus, if a student seems to be having any kind of difficulty in class. The theory department is committed to working with students, applied instructors, and ensemble directors to ensure each student’s success in the classroom. Requirements for Students Receiving Unsatisfactory Grades Students who have received a final grade of D or F in any theory or musicianship course must repeat that course until they receive a final grade of C or higher before promotion to the next level will be granted. Note that all theory and musicianship courses with prerequisites require the student to have passed the previous level of both theory and musicianship with a final grade of C or higher. For example, before you may enroll in Musicianship 2, you must have passed both Theory I and Musicianship I with a final grade of C or higher. These courses are designed to work together to gradually build upon your level of knowledge and skill in these areas. Taking any course out of sequence or without the approval of the theory department can jeopardize your grade point average, your ability to succeed in more advanced theory courses, and even your chances of graduation. Again, the theory department is committed to ensuring the academic success of each and every student. University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials. Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in a, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, then I encourage you to register with the SHSU Counseling Center and to talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. NOTE: no accommodation can be made until you register with the Counseling Center. Student Absences on Religious Holidays Policy: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to be absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first fifteen days of the semester or the first seven days of a summer session in with the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable timeframe in which the missed assignments and/or examinations are to be completed. | | | | 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. Course Syllabus MUS 363.02W: Structure and Analysis, Credit: 3 hrs. TTh 11AM – 12:20PM, Fall 2008 Music Building, Room 217 Instructor: Dr. Trent Hanna Office: Kirkley, G07 Email: trenthanna@shsu.eduOffice hours: Mon - Thur. 10-10:45AM, TTh 12:30-1PM, and by appointment. Required Texts and Materials Spencer, Peter and Peter Temko. Practical Approach to the Study of Form in Music. Pencils (do not use ink for written assignments or exams!). 1.5” Binder for musical examples, copies of presentation pieces, etc. NOTE: Bring these materials to every class. Course Description This course will provide a study of musical structure and design, with a majority of the focus on works from the common practice period. Students will develop diverse methods of musical analysis and gain the ability to distinguish various stylistic idioms. Relationships between theoretical analysis and other musical disciplines (performance, conducting, education) will be explored. Coursework will include small analysis assignments, short written assignments, an analysis-based major project (including a paper and presentation), in class quizzes and class discussion. Prerequisites: MUS 223. Course Objectives Students will demonstrate their understanding of the harmonic, melodic and formal procedures of representative works primarily from the common practice period. They will be able to analyze works in a wide variety of media, including piano, vocal, instrumental and orchestral textures. Major Project •Each student will pick a musical work (preferably one that they are working on this semester) to analyze for their major project. This piece must be approved by the professor on or before Sept. 23. •Students will be assigned a three- or four-person group (explained below). •The first stage will involve collecting data and analyzing the composition. Understand that we may not have covered the form of your piece in class yet. This just means that you might have to do research ahead of what is covered in class. A mandatory 20-minute meeting with the professor is required during this stage, before the next step. This is not a chance for me to give you the answers, but a chance for you to ask questions and get advice, direction, assistance, etc. •Following this, they are to trade pieces and corresponding analyses (both on the score as well as on notebook paper or typed) with a member of their group. Then each student will constructively examine the other person’s work, making legible comments, notes, and suggestions in red pen on the piece and/or a separate sheet. The analysis and pieces will be handed in, in a folder, along with the suggestions from the other student. A grade will be given for both aspects. •The next stage will be completing a rough draft, of which they will trade with the other member of their group. Again, the paper will be handed in, in a folder, along with the legible editorial markings in red pen from the other student, AND the analysis from earlier. A grade will be given for both aspects. Students in need of help will either be encouraged or required to visit the Writing Center. •The final stage is the completed term paper and 10-minute presentation. The term paper should be 3-5 pages long, double-spaced and typed. The term paper should discuss the overall form of the piece, smaller forms within the composition, particular structural aspects that make the piece unusual, etc. Considering the length of the presentation, it should be concise; perhaps covering only one or a few interesting aspects of the piece. Points will be taken off for surpassing the time limit. Copies of the piece, double-sided and hole punched, need to be given to each student in class before each presentation begins. •Details as to groups, deadlines, dates, etc. will be given on a separate sheet soon. Grading for Major Project is as follows: Analysis 10% Comments on Analysis 10% Rough draft 10% Comments on rough draft 10% Presentation 20% Final draft 40% This major project is worth 25% of the final grade. Class Participation When you come to class, be prepared to participate in discussions and other activities involving the assigned readings, exercises, and pieces. Bring your questions to class! Unannounced quizzes may be given at any time to verify that assigned readings are being completed. Homework Policy Assignments are due at the beginning of class. No late homework is accepted. Exceptions will be made only in cases of serious illness or death in the family. Attendance Regular and punctual attendance will be expected of you throughout the semester. University policy permits three hours – that’s two TTh classes - (excused or unexcused) absences without penalty (except for announced tests). Reserve these for possible emergency or illness. For each additional unexcused absence, one-half of a letter grade will be deducted from your final grade. Valid excuses include official university functions, serious illness or family emergency with an acceptable explanation/note. If you anticipate a legitimate absence on a test date, contact me well inadvance so that a make-up test can be scheduled. Once a test has beenreturned (usually the next class meeting), a make-up test will not be possible. You are responsible for all assignments and material covered on the days of your absence. Bring your textbook and binder to every class. Failure to do so could result in an unexcused absence. Tardiness will be counted as at least one-third off your attendance for the day. Attendanceis the most significant factor affecting your success in this course. Individual Tutorials I am available to provide explanations or extra help during my office hours or by appointment. Please take advantage of this offer if you are having any problems. Grading 2 Unit Exams: 30% Homework and In-Class Quizzes: 15% Major Project: 25% Final Exam: 30% Final Exam The final comprehensive exam will be given during the scheduled final exam time. Grading Scale For the final grade, the following grading scale will be used: 90 - 100% A 80 - 89% B 70 - 79% C 60 - 69% D 0 - 59% F Homework Copying/Collaboration Policy Consultation between students about general concepts is allowed, but copying and/or collaboration (working together) on exams or homework assignments is cheating and will be dealt with severely. Course Outline Unit 1 – Possible topics - Review of Harmony and Modulation, Phrase Structures, and Small Forms. Introduction to Rhetoric. Binary and Ternary Form Study. Overview of forms. Spencer/Temko chapters 1-6 (Roughly 4-5 weeks) Unit 2 – Possible topics - Focus on Larger Forms. Imitative Genres and Variation Form. Sonata Form, Rondo, and Sonata Rondo. Spencer/Temko chapters 6-9 (Roughly 5-6 weeks) Remainder of the Semester - More In-Depth Study, Analysis and Presentations. University Policies University Policy on Academic Dishonesty: The Faculty Handbook states that the University expects all students to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. Furthermore, the University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials Proper Classroom Demeanor/Rules of Conduct: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Please turn off or mute your cellular phone and/or pager before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking among each other at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in a, minimally, a directive to leave class or being reported to the Dean of Students for disciplinary action in accordance with university policy. Americans with Disabilities Act: According to University policy, requests for accommodations must be initiated by the student. A student seeking accommodations should go to the Counseling Center and Services for Students with Disabilities (SSD) in a timely manner. Every semester that the student desires accommodations, it is the student's responsibility to complete a Classroom Accommodation Request Form at the SSD office and follow the stated procedure in notifying faculty. Accommodations for disabled students are decided based upon documentation and need on a case-by-case basis by the Counseling Center Religious Holidays: Section 51.911(b) of the Texas Education Code requires that an institution of higher education excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy 861001 provides the procedures to be followed by the student and instructor. A student desiring to absent himself/herself from a scheduled class in order to observe (a) religious holy day(s) shall present to each instructor involved a written statement concerning the religious holy day(s). This request must be made in the first fifteen days of the semester or the first seven days of a summer session in which the absence(s) will occur. The instructor will complete a form notifying the student of a reasonable time frame in which the missed assignments and/or examination are to be completed. | | | 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 | | MUTH 1129 | Aural Skills I | 1 | (MUTH) 1129, 1130. Aural Skills I and II. Beginning studies in solfeggio, melodic, and harmonic dictation. Must be taken in sequence. Fall and spring terms. Corequisites: MUTH 1229, 1230. Dr. Robert Frank Syllabus MUTH 1129.001 - Aural Skills I – Fall, 2008 (Letter Grade) M W 8:00 – 8:50 a.m. - Room 1040 Dr. Robert Frank - OFAC 2018 - Office Phone: (214) 768-2142 email: robfrank@smu.edu web: faculty.smu.edu/robfrank click: [Academics] Office Hours: M 10-11 a.m. and others TBA Required Texts: Ottman, Robert, Music for Sight Singing, 7th Ed. Dictation PDF files to be downloaded and printed by the student (www.smu.edu/musictheory) Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. MacGamut Software, as needed per instructor Course Aims and Objectives: MUTH 1129 is an introductory-level Aural Skills course. The objective of the course is to develop and enhance musicianship through the production, perception, and identification of rhythm, melody, and harmony in diatonic music. This will be in the form of in-class and private singing, homework, dictation, practice and drill. Examples will be drawn from the texts, the musical repertoire, and other sources. Performance goals are to master the ability to sing all major and minor scales, basic triads, all simple intervals, diatonic melodies (rehearsed and at sight, conducted or not) using solfege syllables, and to conduct and perform at sight rhythms in common two-part subdivision and dotted values in simple and compound meter. Dictation goals are to be able to identify all of the above and to correctly notate basic melodies and short, basic harmonic progression. Course Requirements, Expectations, and Policies: The class will meet Mondays and Wednesdays. There will be four dictation tests and may be additional quizzes throughout the semester to monitor progress, however daily practice is necessary in order to succeed. Students are urged to schedule specific daily practice times in order to best master the skills this course will cover. The four sight singing exams will be on or about: Sept. 15, Oct. 8, Nov. 12, and at the final exam (Dec. 13). Each will cover materials covered in class to that point and are accumulative. Dictation exams (3-4) will be announced in class at least one week in advance. Sight singing exams will be by individual appointment during available sign-up times (which may be outside of normal class times, pending student's scheduling) on the day of the exam. In addition, a Department of Music Theory Mastery Level Exam covering basic fundamental skills will be required to be passed by Oct. 13th. Students not passing this exam by this date will be dropped from the course without appeal. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, at the discretion of the instructor. Class begins promptly at 8:00 AM. Attendance is taken at 8:05 and directly effects your grade. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no later than 30 minutes before class, or by turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority within one week of an absence. Pop-quizes, dictation homework, exams, and in-class singing grades during unexcused absences normally will not be allowed to be made up. It is solely the student's responsibility to obtain all materials, information, assignments from all missed classes, excused or not ,or to schedule make-up quizzes prior to, or within one week following, excused absences. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Cell phones must be turned off during class except for emergencies (please inform instructor). Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. MacGamut software (about $40) may be required individually at the instructor's discretion to assist you to develop your skills. The theory department has graduate assistants that are available to help tutor this class. You are also always welcome to see me with questions during my office hours (posted on my door or web site following scheduling of private lessons) or by appointment. Please ask if there is a question. SMU Course Policies: Disability Accommodations: Students needing academic accommodations for a disability must first contact Ms. Rebecca Marin, Coordinator, Services for Students with Disabilities (214-768-4557) to verify the disability and establish eligibility for accommodations. They should then schedule an appointment with the professor to make appropriate arrangements. (See University Policy No. 2.4.)
Religious Observance: Religiously observant students wishing to be absent on holidays that require missing class should notify their professors in writing at the beginning of the semester, and should discuss with them, in advance, acceptable ways of making up any work missed because of the absence. (See University Policy No. 1.9.)
Excused Absences for University Extracurricular Activities: Students participating in an officially sanctioned, scheduled University extracurricular activity should be given the opportunity to make up class assignments or other graded assignments missed as a result of their participation. It is the responsibility of the student to make arrangements with the instructor prior to any missed scheduled examination or other missed assignment for making up the work. (University Undergraduate Catalogue) All policies in the Division of Music Handbook apply. Assessment: Final Grades are derived from a weighted-percentage point system: · Class Participation 10% · Homework and assignments: 20% · Sight Singing Tests (4) 40% · Dictation Tests (4) 30% · Department of Music Theory Fundamentals Exam: Must be passed by October 13th to continue in this course. Attendance Policy: · All unexcused absences beyond 2 will lower your final grade by 2 points · Late arrivals (after 8:05 AM) beyond 2 will lower your final grade by 1 point · After 4 consecutive unexcused absences, you may be dropped from the course without notice or appeal. Assessment of in-class participation is solely at the discretion of the instructor without appeal, and requires you to sing to be heard, contribute positively to the classroom discussions, and behave in a non-disruptive manner. Disruptive behavior will receive one warning after which the student may be dropped immediately without appeal for subsequent repeat offences. Dictation homework and exams will be graded on a point system assessing contextual and/or specific accuracy. Sight Singing exams will be assessed on a point system by the instructor for overall and specific accuracy of given pitch, rhythm, intonation, and if applicable, dynamics and conducting ability. Tone quality is not assessed. This syllabus is subject to oral or written revision by the instructor. Revisions will be posted to the instructor’s web site. | | MUTH 1130 | Aural skills II | 1 | MUTH 1130 - Aural Skills II M W 8:00 - 8:50 a.m. - Room 1030 Dr. Robert Frank - OFAC 2018 - Office Phone: (214) 768-2142 faculty.smu.edu/robfrank Office Hours: as posted or by appointment Required Texts: Ottman, Robert, Music for Sight Singing, 6th Ed. Dictation PDF files downloaded off my web site, printed to turn in. Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. MacGamut Software, as needed per instructor You should also be enrolled in MUTH 1230 at this time. See me if you are not. MUTH 1130 is the second level Aural Skills course. The objective of the course is to continue the development of musicianship skills begun in MUTH 1129. This semester we will focus on harmonic as well as melodic skills. This will be in the form of in-class and private singing, homework, dictation, practice and drill. Examples will be drawn from the texts, the musical repertoire, and other sources. The class will meet Mondays and Wednesdays. There will be four tests and may be additional quizzes throughout the semester to monitor progress, however daily practice is necessary in order to succeed. Students are urged to schedule specific daily practice times - at least 30 minutes per day - in order to best master the skills this course will cover. The four sight singing exams will be on or about: Feb. 7, March 7, April 11, and at the final exam time (Tuesday May 8: 11:30AM-2:30PM Room 1030 and my office). Each will cover materials announced in the class. Grading is on a point system based on student's accuracy, tempo, and musicality. Dictation exams (2-3) will be announced in class at least one week in advance plus a comprehensive dictation exam during the first hour of the final exam time in room 1030. Pop quizes may be administered without announcement at any time. Attendance and punctuality will have a strong impact on your grade. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, as approved by the instructor. Class begins promptly at 8:00. See the below policy on attendance - these do affect your grade! Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no later than 30 minutes before class, or turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority. As per department policy, missed dictation and in-class singing grades normally may not be made up. It is the student's responsibility to obtain any materials, information, assignments or to schedule make-up quizzes from all missed classes. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. Don't let little problems grow into bigger ones! MacGamut software (about $35) may be required to assist you to develop your skills. There is a graduate assistant that is available to help tutor this class. You are also always welcome to see me with questions during my office hours or by appointment. Please ask if there is a question. Grading: Grades are on a point system and will be based on the following: o Attendance and Class Participation 10% o Homework and assignments: 20% o Sight Singing Tests (4) 40% o Dictation Tests (3-4) 30% 2-4 unexcused absences: -5% 5 or more unexcused absenses: -10% 2 late arrivals = 1 absence This syllabus is subject to oral or written revision by the instructor. Revisions will be posted to this site.
| | MUTH 1229 | Theory I | 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.MUTH 1229 - Music Theory I T TR 8:00 - 9:20 a.m. - Room 2020 Dr. Robert Frank - OFAC 2018 - Office Phone: 768-2142 www.smu.edu/robfrank Office Hours: as posted or by appointment: Required Texts: Kostka & Payne, Tonal Harmony, 5th Ed. Kostka & Payne, Workbook for Tonal Harmony, 5th Ed. Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. WWW access via lab or personal PC/Mac - http://www.smu.edu/totw
Recommended Materials: Kostka & Payne, CDs for use with Tonal Harmony, 5th Ed.
MUTH 1229 is the first semester of a two year music theory program intended for music majors and minors. It is expected that students have basic music reading abilities. This quarter's class will cover roughly the equivalent of Chapters 1-10 in the text. The course will cover this material in classroom lectures, practice and drill, readings from the texts, written exercises, and the materials on the WWW site listed above. There will be written/WWW quizzes, a mid-term exam, and a final comprehensive exam. By the end of the quarter, all students will be required to pass a timed scales/key signatures test with a score of 90% or better. Active classroom participation is required. In addition, a Department of Music Theory Mastery Level Exam covering basic fundamental skills (note name in treble and bass clef, key signatures, scales, basic triads, etc.) will be required to be passed by the end of the 8th week (Oct. 13th). Students not passing this exam by this date will be dropped from the course. Attendance and punctuality in turning in homework assignments will have a strong impact on your grade. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, as approved by the instructor. Class begins promptly at 8:00. Two late arrivals equals one absense. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no later than 30 minutes before class, or turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority. It is the student's responsibility to obtain any materials or assignments or to schedule make-up quizzes from missed classes, excused or unexcused. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. Don't let little problems grow into bigger ones! There are computer programs and the above linked "Theory on the Web" site available for you to work on your skills. There is also a graduate assistant that will be available to help tutor this class. You are also always welcome to see me with questions during my office hours or by appointment. Please ask if there is a question. Grading: Grades will be based on the following: Daily assignments/projects: 40% Quizzes 20% Mid-term 15% Final Exam 15% Attendace/class participation (see below) 10% Department of Music Theory Mastery Exam: Must be passed by Oct. 13th for continuation in this course.
2-4 unexcused absences: -5% 5 or more unexcused absenses: -10% 2 late arrivals = 1 absense This syllabus is subject to oral or written revision by the instructor. Revisions will be posted to this site.
| | MUTH 1230 | Theory II | 2 | MUTH 1230 - Music Theory II T TR 8:00 - 9:20 a.m. - Room 2040 Dr. Robert Frank - OFAC 2018 - Office Phone: 768-2142 www.smu.edu/robfrank Office Hours: as posted or by appointment: Required Texts: Kostka & Payne, Tonal Harmony, 5th Ed. Kostka & Payne, Workbook for Tonal Harmony, 5th Ed. Other Required Materials: 8 1/2 x 11 music staff paper, pencils, etc. WWW access via lab or personal PC/Mac - http://www.smu.edu/totw Recommended Materials: Kostka & Payne, CDs for use with Tonal Harmony, 5th Ed. You should also be enrolled in MUTH 1130 at this time. See me if you are not. MUTH 1230 is the second semester of a two year music theory program intended for music majors. It is expected that students have successfully completed MUTH 1229. This semesterπs class will cover part-writing and basic chromatic harmony. The course will cover this material in classroom lectures, readings from the texts, written exercises, and periodic demonstrations. There will be written quizzes, a mid-term exam, and a final comprehensive exam. One or more pop-quizes covering reading and/or listening & other assignments will occur throughout the semester and may count for as much as 10% of your final grade. Active classroom participation is required. Attendance and punctuality in turning in homework assignments will have a strong impact on your grade. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, as approved by the instructor. Class begins promptly at 8:00. Two late arrivals equals one absence. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no later than 30 minutes before class, or turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority. It is the student's responsibility to obtain any materials or assignments or to schedule make-up quizzes from missed classes, excused or unexcused. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. Don't let little problems grow into bigger ones! There are computer programs and the above linked "Theory on the Web" site available for you to work on your skills. There is also a graduate assistant that may be available to help tutor this class. You are also always welcome to see me with questions during my office hours or by appointment. Please ask if there is a question. Grading: Grades will be based on the following: Daily assignments/projects, (10% of which may be pop quizzes): 40% Quizzes 20% Mid-term 15% Final Exam 15% Attendace/class participation (see below) 10% 2-4 unexcused absences: -5% 5 or more unexcused absenses: -10% 2 late arrivals = 1 absense This syllabus is subject to oral or written revision by the instructor. Revisions will be posted to this site. | | MUTH 2129 | Aural Skills III | 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. MUTH 2129.001 - Aural Skills III M W F 9:00 - 9:50 a.m. - Room 2020 Dr. Robert Frank - OFAC 2018 - Office Phone: 768-2142 http:faculty.smu.edu/robfrank Office Hours: as posted or by appointment: email Dr. Frank Required Texts: Berkowitz, Fontrier, & Kraft, A New Approach Sight Singing, 4th Ed. Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. Recommended: MacGamut Software
Overview of the Course:MUTH 2129 is the continuation of the Aural Skills sequence. The objective of the course is to develop and enhance musicianship through the production, perception, and identification of rhythm, melody, and harmony. This will be in the form of in-class and private singing, dictation, practice and drill. Examples will be drawn from the text, the musical repertoire, and other sources. The class will meet Mondays and Fridays as noted above. The Wednesday time is reserved for individual meetings, tests, or special needs. There will be four tests and may be additional quizzes throughout the semester to monitor progress, however daily practice is necessary in order to succeed. Students are urged to schedule specific daily practice times in order to best master the skills this course will cover. The four sight singing exams will be on or about: Sept. 17, Oct. 15, Nov. 12, and Dec. 6 (Final Exam Day), and will cover materials announced in the class. Dictation Exams will be announced in class at least one week in advance. Attendance and punctuality will have a strong impact on your grade. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, as approved by the instructor. Class begins promptly at 9:00. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no less than 30 minutes before class, or turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority. No missed dictation or in-class singing grades may be made up. It is the student's responsibility to obtain any materials, information, assignments or to schedule make-up quizzes from excused classes. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. Don't let little problems grow into bigger ones! There are computer programs available for you to work on your skills. There is also a graduate assistant that is available to help tutor this class. You are also always welcome to see me with questions during my office hours or by appointment. Please ask if there is a question. Grading: Grades are on a point system and will be based on the following: Attendance 10% (see below) Class Participation/Homework 10% Sight Singing Tests (4) 40% Dictation Tests (4) 40% 2-4 unexcused absences: -5% 5 or more unexcused absenses: -10% 2 late arrivals = 1 absense This syllabus is subject to oral or written revision by the instructor. Revisions will be posted to this site. Students needing academic accommodations for a disability must first contact Ms. Rebecca Marin at 768-4557 then schedule an appointment with the professor to make appropriate arrangements. Religiously observant students wishing to be absent on holidays that require missing class should notify their professors in writing at the beginning of the semester, and should discuss with them, in advance, acceptable ways of making up any work missed because of the absence. Students participating in an officially sanctioned, scheduled University extracurricular activity will be given the opportunity to make up class assignments or other graded assignments missed as a result of their participation. It is the responsibility of the student to make arrangements with the instructor prior to any missed scheduled examination or other missed assignment for making up the work. Students are encouraged to refer to the Student Handbook for violations of the Honor Code regarding academic honesty.
| | MUTH 2130 | Aural Skills IV | 1 | MUTH 2130 - Aural Skills IV – Spring, 2009 (Letter Grade) M F 9:00 - 9:50 a.m. - Room 1040 Dr. Robert Frank - OFAC 2018 - Office Phone: (214) 768-2142 http:faculty.smu.edu/robfrank Office Hours: as posted or by appointment: email Dr. Frank Required Texts: § Ottman, Music for Sight Singing (current edition used last semester) § Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. § On line Dictation Materials at: http://www.smu.edu/musictheory/
Overview of the Course:MUTH 2130 is the final semester of the Aural Skills sequence. The objective of the course is to develop and enhance musicianship through the production, perception, and identification of rhythm, melody, and harmony. This will be in the form of in-class and private singing, dictation, practice and drill. Examples will be drawn from the text, the musical repertoire, and other sources. Course Requirements, Expectations, and Policies:The class will meet Mondays and Fridays during regular school days. There will be approximately four dictation tests and may be additional quizzes throughout the semester to monitor progress, however daily practice is necessary in order to succeed. Students are urged to schedule specific daily practice times in order to best master the skills this course will cover. Four sight singing exams will be on or about: Feb. 13, March 20, April 17, and at the final exam (May 8). Each will cover materials covered in class to that point and are accumulative. Dictation exams (3-4) will be announced in class at least one week in advance. The final dictation exam will be given during the first hour of the final exam time, May 8. Sight singing exams will be by individual appointment during available sign-up times (which may be outside of normal class times, pending student's scheduling) on the day of the exam. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, at the discretion of the instructor. Class begins promptly at 9:00 AM. Attendance is taken at 9:05 and directly affects your grade. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no later than 30 minutes before class, or by turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority within one week of an absence. Pop-quizes, dictation homework, exams, and in-class singing grades during unexcused absences normally will not be allowed to be made up. It is solely the student's responsibility to obtain all materials, information, assignments from all missed classes, excused or not ,or to schedule make-up quizzes prior to, or within one week following, excused absences. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Cell phones must be turned off during class except for emergencies (please inform instructor). Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. The theory department has graduate assistants that are available to help tutor this class. You are also always welcome to see me with questions during my office hours (posted on my door or web site following scheduling of private lessons) or by appointment. Please ask if there is a question. SMU Course Policies:Disability Accommodations: Students needing academic accommodations for a disability must first contact Ms. Rebecca Marin, Coordinator, Services for Students with Disabilities (214-768-4557) to verify the disability and establish eligibility for accommodations. They should then schedule an appointment with the professor to make appropriate arrangements. (See University Policy No. 2.4.)
Religious Observance: Religiously observant students wishing to be absent on holidays that require missing class should notify their professors in writing at the beginning of the semester, and should discuss with them, in advance, acceptable ways of making up any work missed because of the absence. (See University Policy No. 1.9.)
Excused Absences for University Extracurricular Activities: Students participating in an officially sanctioned, scheduled University extracurricular activity should be given the opportunity to make up class assignments or other graded assignments missed as a result of their participation. It is the responsibility of the student to make arrangements with the instructor prior to any missed scheduled examination or other missed assignment for making up the work. (University Undergraduate Catalogue) All policies in the Division of Music Handbook apply. Assessment: Final Grades are derived from a weighted-percentage point system: · Class Participation 10% · Homework and assignments: 20% · Sight Singing Tests (4) 40% · Dictation Tests (4) 30% Attendance Policy: · All unexcused absences beyond 2 will lower your final grade by 2 points (1 point = 1%) · Late arrivals (after 9:05 AM) beyond 2 will lower your final grade by 1 point · After 4 consecutive unexcused absences, you may be dropped from the course without notice or appeal. Assessment of in-class participation is solely at the discretion of the instructor without appeal, and requires you to sing to be heard, contribute positively to the classroom discussions, and behave in a non-disruptive manner. Disruptive behavior will receive one warning after which the student may be dropped immediately without appeal for subsequent repeat offences. Dictation homework and exams will be graded on a point system assessing contextual and/or specific accuracy. Sight Singing exams will be assessed on a point system by the instructor for overall and specific accuracy of given pitch, rhythm, intonation, and if applicable, dynamics and conducting ability. Tone quality is not assessed. | | MUTH 2229 | Theory III | 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.MUTH 2229.001 - Music Theory III T R 9:30 - 10:50 a.m. - Room 2030 Dr. Robert Frank - OFAC 2018 - Office Phone: 768-2142 http:faculty.smu.edu/robfrank Office Hours: as posted or by appointment: email Dr. Frank Required Texts: Mancini & Wick: Theory for Musicians - Second Year Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. You should also be enrolled in MUTH 2129 at this time. See me if you are not. Overview of the Course: MUTH 2229 is the third semester of a two year music theory program intended for music majors. It is expected that students have successfully completed MUTH 1229-1230. There will be only a brief review of materials from these classes - if you feel you need more review, please see me at once! you may wish to review the materials on the ³Theory on the Web² site: http://www.smu.edu/totw. This class will cover roughly the equivalent of Chapters 14-20 in the text plus basic counterpoint. Materials may be covered in a different sequence than presented in the text. The course will cover this material in classroom lectures, practice and drill, readings from the texts, written exercises, and periodic demonstrations. There will be written quizzes, a mid-term exam, and a final comprehensive exam. Active classroom participation is required. Attendance and punctuality in turning in homework assignments will have a strong impact on your grade. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, as approved by the instructor. Class begins promptly at 9:30. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no less than 30 minutes before class, or by turning in a legitimate, written excuse from your appropriate medical, legal, clergical, or university authority. It is the student's responsibility to obtain any materials or assignments or to schedule make-up quizzes from missed classes, excused or unexcused. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. Don't let little problems grow into bigger ones! There will be a graduate assistant assigned to help tutor this class. You are encouraged to contact him or her with questions. You are also always welcome to see me with questions during my office hours or by appointment. Grading: Grades are on a point system and will be based on the following: Daily assignments/projects: 40% Quizzes 20% Mid-term 15% Final Exam 15% Attendace/class participation (see below) 10%
2-4 unexcused absences: -5% 5 or more unexcused absenses: -10% 2 late arrivals = 1 absense This syllabus is subject to oral or written revision by the instructor. Revisions will be posted to this site. Students needing academic accommodations for a disability must first contact Ms. Rebecca Marin at 768-4557 then schedule an appointment with the professor to make appropriate arrangements. Religiously observant students wishing to be absent on holidays that require missing class should notify their professors in writing at the beginning of the semester, and should discuss with them, in advance, acceptable ways of making up any work missed because of the absence. Students participating in an officially sanctioned, scheduled University extracurricular activity will be given the opportunity to make up class assignments or other graded assignments missed as a result of their participation. It is the responsibility of the student to make arrangements with the instructor prior to any missed scheduled examination or other missed assignment for making up the work. Students are encouraged to refer to the Student Handbook for violations of the Honor Code regarding academic honesty.
| | MUTH 2230 | Theory IV | 2 | MUTH 2230.001 - Music Theory IV T TR 9:30 - 10:50 a.m. - Room 1030 Dr. Robert Frank - OFAC 2018 - Office Phone: (214) 768-2142 http://faculty.smu.edu/robfrank - robfrank@smu.edu Office Hours: as posted or by appointment Required Texts: Mancini & Wick: Theory for Musicians - Second Year Other Materials: 8 1/2 x 11 music staff paper, pencils, etc. You should also be enrolled in MUTH 2130.001 at this time. See me if you are not. Overview of the Course: MUTH 2230 is the final semester of a two year music theory program intended for music majors. It is expected that students have successfully completed MUTH 1229-2229. This class will cover roughly the equivalent of Chapters 18-26 in the text. The course will cover this material in classroom lectures, practice and drill, readings from the texts, written exercises, and periodic demonstrations. There will be a significant paper analyzing Wagnerπs Prelude to Tristan und Isolde that will weigh heavily in the homework/projects portion of the grade in the first half of the semester. There may also be required reading assignments and listening/score study in the library. There will be 3-5 written quizzes, a mid-term exam, just before spring break and a final comprehensive exam on Tuesday, May 4 from 11:30-2:30 in this room. Active classroom participation is required. Donπt be shy, everyone has questions and makes mistakes. Attendance and punctuality in turning in homework assignments will have a strong impact on your grade. Homework is due at the beginning of class and late homework will not be accepted except under extenuating circumstances, as approved by the instructor, and may be at reduced credit. Class begins promptly at 9:30. See the policy on attendance listed below. Excused absences require a legitimate excuse and notification by leaving a message on my voice mail or in the main music office no later than 30 minutes before class, or turning in a legitimate written excuse from your appropriate medical, legal, clergical, or university authority. It is the student's responsibility to obtain any materials or assignments or to schedule make-up quizzes from missed classes, excused or unexcused. If there are any extenuating circumstances or special needs that I should be aware of, please feel free to see me at any time. Please do not hesitate to see me in or out of class regarding anything that may interfere with your learning and successful completion of this course. Don't let little problems grow into bigger ones! There are computer programs (MacGamut, Theory on the Web, etc.) available for you to work on your skills. The Graduate Teaching Assistant for this course is Sarah King. You are also always welcome to see me with questions during my office hours or by appointment. Please ask if there is a question. Grading: Grades are on a point system and will be based on the following: Ä Homework/projects/Wagner paper:............................. 40% Ä Quizzes (3-5)............................................................... 20% Ä Mid-term Exam............................................................ 15% Ä Final Exam................................................................... 15% Ä Attendance and class participation *............................ 10% * 3-4 unex. abs. = -5%; 5+ = -10% This syllabus is subject to oral or written revision by the instructor. | | MUTH 5330 | Instrumentation and Arranging | 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. MUTH 5330.001 – Instrumentation and Arranging – Letter Grade Fall 2007 M-W-F: 2:00- 2:50 PM in Room 2030 Dr. Robert Frank, OFAC 2018 Office Hours W 1:00-2:00 PM and additional hours by appointment or as posted. (214) 768-2142 - email: robfrank@mail.smu.edu Required Texts: Text: Adler, The Study of Orchestration On Reserve: CDs of Examples to accompany Adler, The Study of Orchestration Other scores as needed Other Materials: 8 1/2 x 11 staff paper, black fine tip ink pens, blue pencils, rulers, curves, etc. or students may make use of Finale or other music notation software as approved by the instructor. Course Rationale The study of instrumentation and arranging is perhaps one of the most practical and applicable skills needed by musicians today. The ability to create practical, playable, and artistic transcriptions, arrangements, and original compositions for the full range of standard instruments allows a musician to build a unique and personalized repertoire for themselves and the ensembles in which they perform. Music educators will find daily use for these skills. This course directly applies knowledge covered in MUTH and MUHI courses in what many find the most enjoyable aspect of their musical training: the ability to create new and original works. Course Aims and Learning Outcomes: This class will cover instrumentation and arranging techniques for chorus/voice and the standard acoustic instruments of the modern orchestra. Lectures and demonstrations will present the general and specific skills needed for writing feasible and effective parts for each instrument/voice. A strong emphasis will be placed on practical considerations facing music educators, composers and arrangers as well as general knowledge of the instruments. This course consists of both an in-depth study of the possibilities, limits, and characteristics of each instrument and voice (instrumentation), and application via in-class projects to the realization of practical, playable, and artistic arrangements. Basic skill using modern notation software, score and part preparation standards, and historical / stylistic orchestration techniques also will be addressed. Course Requirements, Expectations, and Policies Because aural feedback of the examples you write is an essential part of the learning process, active class attendance and participation by everyone in reading examples is essential. Three or more unexcused absences or an absence during a prearranged demonstration/reading day on your instrument will result in a lowering of your grade as noted below. Excused absences require a legitimate reason (when in doubt, ask, and emergency situations will of course be excused) and notification of the instructor before the beginning of the missed class period. You may call and/or leave a note with the music office or my office voice mail at least 60 minutes before class or see me in advance. Four or more consecutive absences may result in your being dropped from the course at the instructorπs discretion. If you have questions or special needs, it is your responsibility to ask. Office hour will be available for additional help and the instructor will make every effort to assist students. Small projects will be assigned throughout the semester. These projects will apply and demonstrate the skills learned. Students are expected to bring their instruments to class for demonstration during lectures pertaining to that instrument. Assignments may include worksheets, essays, mini-projects score analysis, reading assignments from the text or reserve Materials. Periodic quizzes will be given (see below). "Pop" quizzes may be given at any time covering any assigned material. All students will complete a final project as determined in consultation with the instructor that will be an arrangement or original composition for a mixed group of instruments and/or voices (pending availability of resources for a reading session). This project serves as the final exam. A written proposal of the work to be done, instrumentation, and arranging/transcribing techniques is due Nov. 9th in class. Every effort will be made to have a reading of all projects. Due date for final projects will be determined by ensemble availability and/or final exam time as per the registrar's office. Late/incomplete projects will receive at most 50% credit. Grading: Grades will be calculated as follows: ∑ Attendance (see policy below)........................................ 10% ∑ Homework/class projects/assignments........................... 20% ∑ Quizzes (4) .................................................................... 20% ∑ MidTerm Exam............................................................... 20% ∑ Final Project.................................................................... 30% Attendance Policy: 3-4 unexcused abs. or 1 during project reading/demo day..... -5% 5 or more............................................................................. -10% MUTH 5330: Fall 2007 Rough Outline of Class Topics (subject to change as per class needs): Note: Due to varying class makeup and backgrounds, a specific day-by-day plan of this project-based, upper division course is not practical. Introduction, syllabus review, listening and discussion Notation/Score layout/terms String Family Quiz #1: Strings Woodwind Family Quiz #2: Woodwinds and transposition Readings of Project #1: transcription for strings & WW Brass Family Arranging Techniques review for Mid-term Mid Term Exam Percussion Family Quiz #3: Brass & Percussion Readings of Project #2: arrangement for small ensemble Choral/Vocal Scoring Final Project Proposal due Arranging/basic orchestration techniques for different levels (Elementary/HS/etc.) Quiz #4: Choral and Basic Orchestration Readings of Project #3: choral arrangement/transcription Final Project Project Grading Criteria: Each project will be evaluated for use of required instruments in correct ranges and performance limitations, as well as according to idiomatic, stylistic, and artistic guidelines as presented in the text and in class. Legibility of score/parts will also count toward the project grade. Projects not ready at the scheduled reading time may receive a 20% reduction in grade and may not receive a reading. Final Project Grading Criteria: 10% each for the following: 1. Proposal listing instrumentation, source (a photocopy of the score), brief outline of how the work is to be transcribed/arranged, and approximate duration. (Due Nov. 9th) 2. Accuracy of transpositions, pitches, etc. 3. Correct use of articulation, dynamics, idiomatic techniques 4. Appropriate ranges 5. Creative and appropriate doublings 6. Voicing/spacing & voice leading 7. Accompaniment/arranging 8. Score layout and notation 9. Neatness and legibility 10. Example parts (layout and notation and transposition) Complete parts if reading session can be arranged. | | | | | NOTE: Theory Outline and Aural Skills Outlines sent by Dr. Frank are in Data/Syllabi | | | Total | 15 | Credit hours not given for each course, but the total was specified 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. Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 2133 Official Course Title: Fundamentals of Music Master Syllabus Approved by Department on: I. Catalog Description: Development of music reading, performance, and listening skills. May be taken by all who desire to develop basic music skills. II. Prerequisites: None. III. Expanded Course Description: Course work includes lectures, discussions, listening exercises, and weekly reading/application assignments. Intended for all students, this course meets the visual and performing arts core curriculum requirement. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: 1. the essential parameters of music: pitch, melodic range and contour, harmony, rhythm, meter, tempo, texture, form 2. practical application of the technical aspects of music writing: key signatures, time signatures, interval identification, chord identification 3. the four families of instruments in a standard orchestra 4. a variety of music representing periods in western music B. Skill Outcomes: Students will be able to: 1. aurally identify the time period of recorded western music. 2. practically apply knowledge of the structure of rhythm. 3. identify and construct both major and minor scales. 4. identify and construct key signatures in major keys. 5. identify and construct intervals. 6. identify and construct major, minor, augmented, and diminished root position triads. C. Value Outcomes: Students will: 1. understand music’s basic elements and vocabulary. 2. gain historical perspective. 3. have the knowledge to become educated consumers of music, making discriminating choices. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Class attendance 30% Class assignments 30% Concert attendance 10% Test #1 10% Test #2 10% Final 10% 2. Attendance Policy: Required. B. Required Texts and Recordings: The Music Kit, Tom Manoff (Workbook and Rhythm Reader) C. Bibliography: N/A | | 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. Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 1474 Official Course Title: Theory I: Basics of Music Master Syllabus Approved by Department on: I. Catalog Description: 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. II. Prerequisites: A passing grade on the placement examinations in theory and aural skills. Lab fee $5. III. Expanded Course Description: Course work includes lectures, demonstrations, analyses; as well as reading, listening, and written assignments. Intended for music majors, but non-majors may also enroll. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: Students will become familiar with the following: 1. clefs 2. pitch and rhythmic notation 3. conventional rhythmic patterns, such as half- and quarter beat values, dotted rhythms 4. simple and compound intervals 5. chord quality and inversion 6. all major and minor scales 7. non-Western scales and medieval modes 8. all major and minor key signatures 9. conventional tempo and dynamic markings 10. melodic characteristics: sequences, phrases, and phrase relationships 11. chordal analysis 12. categories of non-harmonic tones and cadences B. Skill Outcomes: Students will be able to: 1. read pitches in four different clefs: soprano, alto, tenor and bass. 2. sight sing melodies containing mostly stepwise motion, but with some tonic and dominant triad leaps. 3. read and aurally recognize conventional rhythmic patterns. 4. identify and construct all intervals within the octave. 5. identify and construct major, minor, augmented, and diminished triads in all positions. 6. identify I, IV, and V in four-chord progressions. 7. identify and construct both major and minor scales. 8. construct non-Western scales and medieval modes. 9. identify and construct key signatures in major keys. 10. visually identify the following non-harmonic tones: passing, neighboring, escape, and anticipation; as well as appoggiaturas and suspensions. 11. visually identify perfect authentic, imperfect authentic, plagal, deceptive, and half cadences. 12. analyze a chorale with roman numerals and figured bass symbols. C. Value Outcomes: Students will: 1. understand music’s basic elements and vocabulary. 2. begin to acquire musicianship. 3. be able to analyze triadic music for voice and/or piano. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Homework and computer lab assignments 30% Lab tests (3 @ 10% each) 30% Midterm exam 20% Final exam 20% 2. Attendance Policy: Students are allowed three missed classes in theory and two missed classes in lab. 3. Required Texts and Recordings: Bruce Benward and Marilyn Saker. Music in Theory and Practice, (7th ed.), Vol. 1, text and workbook. Bruce Benward and J. Timonthy Kolosick, Ear Training: A Technique for Listening, (6th ed.). Robert W. Ottman. Music for Sight Singing, (6th ed.). C. Bibliography: N/A | | | | 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.Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 1474 Official Course Title: Theory II: Diatonic Harmony Master Syllabus Approved by Department on: I. Catalog Description: Part writing of figured bass requiring all diatonic triads and seventh chords; nonharmonic and elementary modulation, harmonization of melodies in eighteenth-century style; aural skills. II. Prerequisites: MUSC 1474. III. Expanded Course Description: Course work includes lectures, demonstrations, analyses; as well as reading, listening, and written assignments. Intended for music majors, but non-majors may also enroll. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: Students will become familiar with: 1. voice-leading and part-writing techniques of diatonic music. 2. common chord progressions. 3. harmonic rhythm. 4. harmonization of folk melodies. 5. seventh chords: dominant, leading-tone, and non-dominant. 6. modulation between closely related keys. 7. secondary dominant and secondary leading-tone chords. 8. syncopation. B. Skill Outcomes: Students will be able to: 1. transcribe the melody and underlying harmony of a simple song using computer notation. 2. harmonize a given melody with common chord progressions. 3. sight sing melodies containing any leap within an octave. 4. read and aurally recognize syncopated rhythms. 5. construct all seventh chords in all positions. 6. identify I, ii, IV, V and vi in brief chord progressions. 7. aurally identify the following non-harmonic tones: passing, neighboring, escape, and anticipation; as well as appoggiaturas and suspensions. 8. aurally identify perfect authentic, imperfect authentic, plagal, deceptive, and half cadences. 9. compose short works that contain seventh chords, common chord modulations, and secondary chords. C. Value Outcomes: Students will: 1. gain a better appreciation of the craft of composition during the common practice period. 2. be able to understand more complex types of tonal music. 3. continue to develop aural skills and musicianship. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Homework and computer lab assignments 30% Lab tests (3 @ 10% each) 30% Midterm exam 20% Final exam 20% 2. Attendance Policy: Students are allowed three missed classes in theory and two missed classes in lab. 3. Required Texts and Recordings: Bruce Benward and Marilyn Saker. Music in Theory and Practice, (7th ed.), Vol. 1, text and workbook. Bruce Benward and J. Timonthy Kolosick, Ear Training: A Technique for Listening, (6th ed.). Robert W. Ottman. Music for Sight Singing, (6th ed.). C. Bibliography: N/A | | | | 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.Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 2474 Official Course Title: Theory III: Counterpoint Master Syllabus Approved by Department on: I. Catalog Description: Practice in contrapuntal composition in eighteenth-century tonal styles. A review of Musical Instrument Digital Interface (MIDI) will be presented early in the semester. Computer software will be used for some written and ear training assignments. II. Prerequisites: MUSC 1474, 1484 III. Expanded Course Description: Course work includes lectures, demonstrations, and analyses; as well as reading, listening, and written assignments. Intended for music majors. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: Students will continue to develop aural skills. They will also become familiar with the: 1. construction of a single melodic line. 2. specific techniques associated with single melodies, such as sequences, step progressions, and compound construction. 3. principles of two-, three-, and four-part counterpoint. 4. canons and invertible counterpoint. 5. learned devices, including augmentation, diminution, contrary motion, retrograde, and stretto. 6. construction of J. S. Bach’s two-part inventions. 7. construction of J. S. Bach’s three- and four-part fugues. B. Skill Outcomes: Students will be able to: 1. compose melodies that are coherent in terms of key, contour (shape), and rhythm. 2. identify sequences, step progressions, and compound melodies in the works they are currently working on in applied lessons. 3. compose two-, three-, and four-part counterpoint. 4. compose canons and invertible counterpoint. 5. apply learned devices to original melodies. 6. analyze a two-part invention by J. S. Bach. 7. analyze a three- or four-part fugue by J. S. Bach. 8. aurally identify all seventh chords. 9. viio°6 and vii°7 in four-chord progressions. 10. sing melodies containing intervals within the V7 chord and wide leaps. 11. identify rhythms with sixteenth-note subdivisions and syncopation. C. Value Outcomes: Students will: 1. understand how counterpoint is present in virtually all music. 2. have a better grasp of music of the 18th and 19th centuries. 3. be able to analyze keyboard music from the 18th and 19th centuries. 4. continue to develop aural skills and musicianship. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Homework and computer lab assignments 30% Lab tests (3 @ 10% each) 30% Midterm exam 20% Final exam 20% 2. Attendance Policy: Students are allowed three missed classes in theory and two missed classes in lab. 3. Required Texts and Recordings: Kent Kennan, Counterpoint Based on Eighteenth-Century Practice (4th ed.) Bruce Benward and J. Timonthy Kolosick, Ear Training: A Technique for Listening, (6th ed.). Robert W. Ottman. Music for Sight Singing, (6th ed.). C. Bibliography: N/A | | | | 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.Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 2484 Official Course Title: Theory IV: Chromatic Harmony Master Syllabus Approved by Department on: I. Catalog Description: 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. II. Prerequisites: MUSC 1474, 1484, 2474 III. Expanded Course Description: Course work includes lectures, demonstrations, analyses; as well as reading, listening, and written assignments. Intended for music majors. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: Students will become familiar with the following: 1. borrowed chords 2. Neapolitan 6th chords 3. augmented 6th chords 4. altered dominants 5. chromatic modulation 6. variation technique 7. the construction of classical sonata and rondo forms 8. the defining characteristics of a romantic character piece 9. basic elements of Schenkerian linear analysis B. Skill Outcomes: Students will be able to: 1. identify and construct all categories of chromatic harmony. 2. analyze a sonata allegro by Mozart or Beethoven. 3. compose a theme and set of five variations for piano. 4. compose a brief piano piece in the romantic style. 5. read and aurally recognize rhythmic patterns with triplet subdivisions and eighth-beat values. 6. aurally identify inverted seventh chords. 7. identify the correct sonority from a series of triads and seventh chords (all possible positions). 8. identify secondary chords, Neapolitan 6ths, and augmented 6ths chords in brief chord progressions. 9. aurally identify binary, rounded binary, and ternary forms. 10. sight sing modulating and modal melodies. C. Value Outcomes: Students will: 1. gain a better understanding of the common formal designs of tonal music. 2. be able to comprehend and analyze chromatic music. 3. continue to develop aural skills and musicianship. 4. gain an appreciation of one of the most sophisticated analytical techniques in use today. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Homework and computer lab assignments 30% Lab tests (3 @ 10% each) 30% Midterm exam 20% Final exam 20% 2. Attendance Policy: Students are allowed three missed classes in theory and two missed classes in lab. 3. Required Texts and Recordings: Bruce Benward and Marilyn Saker. Music in Theory and Practice, (7th ed.), Vol. 2, text only. Bruce Benward and J. Timonthy Kolosick, Ear Training: A Technique for Listening, (6th ed.). Robert W. Ottman. Music for Sight Singing, (6th ed.). C. Bibliography: N/A | | | | 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.Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 3492 Official Course Title: Twentieth Century Theory Master Syllabus Approved by Department on: I. Catalog Description: A study of scales, chords, key centers, set-theory, polytonality, sound mass, electronic and computer techniques in analysis and writing. II. Prerequisites: None. III. Expanded Course Description: Course work includes lectures, demonstrations, analyses; as well as reading, listening, and written assignments. Intended for music majors. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: Students will become familiar with: 1. chromatic mediant relationships. 2. modes and other scale formations. 3. polychords and other simultaneities. 4. bitonality, polytonality, atonality, and pandiatonicism. 5. nontraditional time signatures, meters, and rhythm. 6. set theory. 7. serial procedures. 8. electronic techniques. 9. aleatoric, chance, and minimalist techniques. B. Skill Outcomes: Students will be able to: 1. analyze music based on the organizing principles of 20th-century music. 2. compose a character piece for piano in the style of Claude Debussy. 3. compose a serial piece in the style of Alban Berg or Ruth Crawford. C. Value Outcomes: Students will gain: 1. a basic understanding of the wide variety of compositional styles that comprise 20th-century music. 2. an appreciation of 20th-century art music from a theoretical perspective. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Homework assignments 30% 3 compositions (@ 5% each) 15% Midterm exam 25% Final exam 30% 2. Attendance Policy: Attendance is required. Unexcused absences will result in one point deducted from the student’s overall grade regardless of the situation. 3. Required Text: Stefan Kostka. Materials and Techniques of Twentieth-Century Music, (2nd ed.). C. Bibliography: N/A | | | | 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.Master Course Syllabus Outline Department: Fine Arts & Communications Course Prefix/Number: MUSC 4482 Official Course Title: Scoring and Arranging for Ensembles Master Syllabus Approved by Department on: I. Catalog Description: 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. II. Prerequisites: MUSC 2484 or approval of department head. III. Expanded Course Description: The intent of this course is to provide students with knowledge of traditional orchestration practices and the ability to read orchestral scores. In addition, this course provides students the opportunity to gain the practical ability in arranging and scoring for a school band or chorus. Intended for music majors. IV. Intended Student Learning Outcomes A. Knowledge Outcomes: Students will develop an understanding of: 1. the different families of instruments and voices, including their ranges, timbre and special effects. 2. transposing instruments. 3. standard terminology. 4. notational symbols found in scores. 5. how instruments of the band and orchestra are used within a composition. 6. the methods of scoring voices and instruments in an effective and artistic manner. B. Skill Outcomes: Students will be able to 1. read and understand band, choir and orchestra scores. 2. score idiomatically for standard instruments. 2. arrange solo pieces for a variety of ensembles at the secondary level. 4. reinforce the formal structure of music with changes in instrumentation and orchestration. 5. utilize current music technology to produce and print musical score C. Value Outcomes: Students will gain a deeper understanding of: 1. instruments. 2. attributes that cause and affect the sounds that the instruments and voice can produce, singly and in combination with each other. 3. how sounds and their combinations can be manipulated in the compositional process. V. Other A. Course Requirements: 1. Grading/Evaluation Procedures: Students receive a grade for each of the five units based on workshetts, scoring projects, and unit quizzes. These five grades are then averaged equally for the final grade in the course. 2. Attendance Policy: Students are expected to attend all classes. 3. Required Text: Brad Hansen, The Essentials of Instrumentation. C. Bibliography: N/A | | | | | | | | | | | | 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. This is online at http://www.tamu-commerce.edu/music/currentstudents/mus127/downloads/DruhanSyllabus.pdf but will have to be retyped | | | | 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. [not sure if this should be counted as analysis, or strictly music history] | | | 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 1103: Elementary Aural Skills I Prerequisites: Concurrent enrollment in MUTH1303 required. Required Texts: • Gary S. Karpinski, Manual for Ear Training and Sight Singing. New York: W. W. Norton & Company, 2007. [Available in the bookstore.] • Gary S. Karpinski and Richard Kram, Anthology for Sight Singing. New York: W. W. Norton & Company, 2007. [Available in the bookstore.] Course Content: 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. Course Purpose: The purpose of the course is to develop a “seeing ear” and a “hearing eye.” Over the course of the semester, you will develop the ability to translate sound into notation and vice versa. Sightsinging and dictation skills are of paramount importance to the aspiring professional musician. Sightsinging improves your ability to sight-read on your instrument; dictation facilitates error-checking, transcription, and a host of other activities. MUTH 1103 is required of all music majors, and it lays the groundwork for the subsequent three semesters of the aural skills sequence. The skills developed in MUTH 1103 are intended to complement the skills being developed concurrently in MUTH 1303. This course is required of all undergraduate music majors. Core Curriculum Objective: The objective of the visual and performing arts in a core curriculum is to expand students' knowledge of the human condition and human cultures, especially in relation to behaviors, ideas, and values expressed in works of human imagination and thought. Through study in disciplines such as the visual and performing arts, students will engage in critical analysis, form aesthetic judgments, and develop an appreciation for arts as fundamental to the health and survival of any society. Expected Learning Outcomes: Upon completion of MUTH 1103, you will be able to: • Perform a variety of rhythmic patterns at sight while conducting • Know and be able to demonstrate basic conducting patterns • Sing major and minor scales, intervals, and triads using solfege. • Identify types of intervals, triads and seventh chords by ear • Notate short melodic and harmonic dictation exercises • Sing short tonal melodies • Improvise in a variety of tonal and rhythmic contexts 2 Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily sightsinging and dictation quizzes • Homework assignments • A variety of in-class activities • Sightsinging midterm and final exam Criteria for Grading: Your final grade will be determined as follows: • Dictation quizzes: 40% • Homework assignments: 10% • Sightsinging quizzes: 25% • Sightsinging final: 15% • Sightsinging midterm: 10% An excessive number of missed classes can lower your final grade by as much as one letter grade. Three unexcused absences will lower your grade by a sign (ex. from a B+ to a B, from a C- to a D+); five or more unexcused absences will lower your grade by a letter (ex. from C to D). Grading scale: 90-100% = A; 80-89% = B; 70-79% = C; 60-69% = D; below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup sightsinging quiz; a student with an unexcused absence should not ask for one. No dictation quizzes will be made up. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. 3 ADA Compliance http://www.depts.ttu.edu/opmanual/OP34.22.pdf Any student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. Academic Integrity http://www.depts.ttu.edu/opmanual/OP34.12.pdfIt is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension. “Scholastic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student (such as, but not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor) or the attempt to commit such an act. a. “Cheating” includes, but is not limited to: (1) Copying from another student’s test paper; (2) Using during a test materials not authorized by the person giving the test; (3) Failing to comply with instructions given by the person administering the test; (4) Possession during a test of materials that are not authorized by the person giving the test, such as class notes or specifically designed “crib notes.” The presence of textbooks constitutes a violation only if they have been specifically prohibited by the person administering the test. (5) Using, buying, stealing, transporting, or soliciting in whole or in part the contents of an unadministered test, test key, homework solution, or computer program; (6) Collaborating with or seeking aid or receiving assistance from another student or individual during a test or in conjunction with other assignment without authority; (7) Discussing the contents of an examination with another student who will take the examination; (8) Divulging the contents of an examination for the purpose of preserving questions for use by another when the instructor has designated that the examination is not to be removed from the examination room or not to be returned to or kept by the student; (9) Substituting for another person or permitting another person to substitute for oneself to take a course, a test, or any course-related assignment; 4 (10) Paying or offering money or other valuable thing to or coercing another person to obtain an unadministered test, test key, homework solution, or computer program, or information about an unadministered test, test key, homework solution, or computer program; (11) Falsifying research data, laboratory reports, and/or other academic work offered for credit; and (12) Taking, keeping, misplacing, or damaging the property of the university or of another if the student knows or reasonably should know that an unfair academic advantage would be gained by such conduct. b. “Plagiarism” includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source, including words, ideas, illustrations, structure, computer code, other expression and media, and presenting that material as one’s own academic work being offered for credit. c. “Collusion” includes, but is not limited to, the unauthorized collaboration with another person in preparing academic assignments offered for credit or collaboration with another person to commit a violation of any section of the rules on scholastic dishonesty. d. “Falsifying academic records” includes, but is not limited to, altering or assisting in the altering of any official record of the university and/or submitting false information or omitting requested information that is required for or related to any academic record of the university. Academic records include, but are not limited to, applications for admission, the awarding of a degree, grade reports, test papers, registration materials, grade change forms, and reporting forms used by the Office of the Registrar. A former student who engages in such conduct is subject to a bar against readmission, revocation of a degree, and withdrawal of a diploma. e. “Misrepresenting facts” to the university or an agent of the university includes, but is not limited to, providing false grades or resumes; providing false or misleading information in an effort to receive a postponement or an extension on a test, quiz, or other assignment for the purpose of obtaining an academic or financial benefit for oneself or another individual; or providing false or misleading information in an effort to injure another student academically or financially. Last Day to drop a course: The 45 th class day is the last day to drop a course.Student Absence for Observance of Religious Holy Day http://www.depts.ttu.edu/opmanual/OP34.19.pdf "Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. 5 Absence due to officially approved trips – The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. Civility in the Classroom http://www.depts.ttu.edu/studentaffairs/CampusCrime/documents/CivilityInTheClassroom.pdf Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from engaging in any other form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class. Student Handbook and Code of Conduct http://www.depts.ttu.edu/studentaffairs/publications/2008_2009_Handbook_and_Code.pdf Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. _____________________________________________________________________ Session/Class Topic Assignment (due next class) ________________________________________________________________________ 1. Introduction sing major scale with solfege 2. Chapters 1-5 sing Warm-Up No. 1, Line 1 (memorized) dictation: Manual, p.12, Exx 2.1-2.4 3. Chapters 1-5 sing Warm-Up No. 1, Line 2 (memorized) dictation: Manual, p. 14, Exx 3.1 and 3.2 4. Chapters 1-5 sing Warm-Up No. 1, Line 3 (memorized) dictation: Manual, p. 20, Exx. 4.1-4.4 5. Chapters 1-5 sing Warm-Up No. 1, Line 4 (memorized) dictation: Manual, p. 23, Exx. 5.1 and 5.2 6. Chapters 6-10 sing Warm-Up No. 2, Line 1 (memorized) dictation: Manual, p. 34, Exx. 7.1 and 7.2 6 7. Chapters 6-10 sing Warm-Up No. 2, Line 2 (memorized) dictation: Manual, p. 38, Exx. 8.1 and 8.2 8. Chapters 6-10 sing Warm-Up No. 2, Line 3 (memorized) dictation: Manual, p. 42, Exx. 9.1 and 9.2 9. Chapters 6-10 sing Warm-Up No. 2, Line 4 (memorized) dictation: Manual, p. 46, Exx. 10.1 and 10.2 10. Chapters 11-14 sing Anthology, pp. 10-13 dictation: Manual, p. 52, Exx. 11.1 and 11.2 11. Chapters 11-14 sing Anthology, pp. 14-17 dictation: Manual, p. 55, Exx. 12.1 and 12.2 12. Chapters 11-14 sing Anthology, pp. 18-21 dictation: Manual, p. 63, Exx. 14.1 and 14.2 13. Chapters 11-14 14. Sightsinging Midterm Exam 15. Chapters 15 and 16 sing Anthology, pp. 22-23 dictation: Manual, p. 67, All 16. Chapters 15 and 16 sing Anthology, pp. 24-25 dictation: Manual, p. 73, Exx. 16.1 and 16.2 17. Chapters 15 and 16 sing Anthology, pp. 26-27 dictation: Manual, p. 73, Exx. 16.3 and 16.4 18. Chapter 17: Minor Keys sing melodic and harmonic minor scales dictation: Manual, p. 81, 17.1 and 17.2 19. Chapter 17: Minor Keys sing 1st half of Warm-Up No. 1 in minor dictation: Manual, p. 81, 17.3 and 17.4 20. Chapter 17: Minor Keys sing 2nd half of Warm-Up No. 1 in minor dictation: Manual, p. 81, 17.5 and 17.6 21. Chapter 17: Minor Keys sing Anthology, pp. 30-33 22. Chapter 18: Chromatic Lower Neighbors sing Anthology, pp. 34-35 dictation: Manual, p. 84 23. Chapter 18: Chromatic Lower Neighbors sing Anthology, p. 36 dictation: Manual, p. 84 24. Chapters 19: More About the Minor Mode sing 1st half of Warm-Up No. 2 in minor dictation: Manual, p. 90, 19.1 and 19.2 25. Chapters 19: More About the Minor Mode sing 2nd half of Warm-Up No. 2 in minor dictation: Manual, p. 90, 19.3 and 19.4 26. Chapters 19: More About the Minor Mode sing Anthology, pp. 37-38 dictation: Manual, p. 90, 19.5-19.6 27. Chapters 19: More About the Minor Mode sing Anthology, pp. 39-40 28. review Practice! 29. Sightsinging Final Exam | | 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 1104: Elementary Aural Skills II Prerequisites: Completion of MUTH1103 and MUTH1303 with a C or better, or equivalent. Concurrent enrollment in MUTH1304 required. Required Texts: • Gary S. Karpinski, Manual for Ear Training and Sight Singing. New York: W. W. Norton & Company, 2007. [Available in the bookstore.] • Gary S. Karpinski and Richard Kram, Anthology for Sight Singing. New York: W. W. Norton & Company, 2007. [Available in the bookstore.] Course Content: In this course, you will develop sightsinging and dictation skills necessary for the performance and teaching of tonal music. MUTH 1104 focuses primarily on melodic performance, melodic and harmonic dictation. Course Purpose: The purpose of the course is to develop a “seeing ear” and a “hearing eye.” Over the course of the semester, you will develop the ability to translate sound into notation and vice versa. Sightsinging and dictation skills are of paramount importance to the aspiring professional musician. Sightsinging improves your ability to sight-read on your instrument; dictation facilitates error-checking, transcription, and a host of other activities. MUTH 1104 is required of all music majors, and it lays the groundwork for the subsequent two semesters of the aural skills sequence. The skills developed in MUTH 1104 are intended to complement the skills being developed concurrently in MUTH 1304. This course is required of all undergraduate music majors. Core Curriculum Objective: The objective of the visual and performing arts in a core curriculum is to expand students' knowledge of the human condition and human cultures, especially in relation to behaviors, ideas, and values expressed in works of human imagination and thought. Through study in disciplines such as the visual and performing arts, students will engage in critical analysis, form aesthetic judgments, and develop an appreciation for arts as fundamental to the health and survival of any society. Expected Learning Outcomes: Upon completion of MUTH 1104, you will be able to: • Perform a variety of rhythmic patterns at sight while conducting • Know and be able to demonstrate basic conducting patterns • Sing major and minor scales, intervals, and triads using solfege. • Identify types of intervals, triads and seventh chords by ear • Notate short melodic and harmonic dictation exercises • Sing short tonal melodies • Improvise in a variety of tonal and rhythmic contexts Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily sightsinging and dictation quizzes • Homework assignments • A variety of in-class activities • Sightsinging midterm and final exam Criteria for Grading: Your final grade will be determined as follows: • Dictation quizzes: 40% • Homework assignments: 10% • Sightsinging quizzes: : 25% • Sightsinging final: 15% • Sightsinging midterm: 10% An excessive number of missed classes can lower your final grade by as much as one letter grade. Three unexcused absences will lower your grade by a sign (ex. from a B+ to a B, from a C- to a D+); five or more unexcused absences will lower your grade by a letter (ex. from C to D). Grading scale: 90-100% = A; 80-89% = B; 70-79% = C; 60-69% = D; below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Homework assignments and Sight singing quizzes missed due to an excused absence must be turned in no later than one week from the date of the students return to class. It is the students responsibility to turn in the missed homework within that time period or a grade of 0 will be given. It is also the students responsibility to schedule a time with the instructor to make up the sight singing exam within the allotted time or a grade of 0 will be given. Missed dictation quizzes will not be made up. Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup sightsinging quiz; a student with an unexcused absence should not ask for one. No dictation quizzes will be made up. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. ADA Compliance http://www.depts.ttu.edu/opmanual/OP34.22.pdf Any student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. Academic Integrity http://www.depts.ttu.edu/opmanual/OP34.12.pdfIt is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension. “Scholastic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student (such as, but not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor) or the attempt to commit such an act. a. “Cheating” includes, but is not limited to: (1) Copying from another student’s test paper; (2) Using during a test materials not authorized by the person giving the test; (3) Failing to comply with instructions given by the person administering the test; (4) Possession during a test of materials that are not authorized by the person giving the test, such as class notes or specifically designed “crib notes.” The presence of textbooks constitutes a violation only if they have been specifically prohibited by the person administering the test. (5) Using, buying, stealing, transporting, or soliciting in whole or in part the contents of an unadministered test, test key, homework solution, or computer program; (6) Collaborating with or seeking aid or receiving assistance from another student or individual during a test or in conjunction with other assignment without authority; (7) Discussing the contents of an examination with another student who will take the examination; (8) Divulging the contents of an examination for the purpose of preserving questions for use by another when the instructor has designated that the examination is not to be removed from the examination room or not to be returned to or kept by the student; (9) Substituting for another person or permitting another person to substitute for oneself to take a course, a test, or any course-related assignment; (10) Paying or offering money or other valuable thing to or coercing another person to obtain an unadministered test, test key, homework solution, or computer program, or information about an unadministered test, test key, homework solution, or computer program; (11) Falsifying research data, laboratory reports, and/or other academic work offered for credit; and (12) Taking, keeping, misplacing, or damaging the property of the university or of another if the student knows or reasonably should know that an unfair academic advantage would be gained by such conduct. b. “Plagiarism” includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source, including words, ideas, illustrations, structure, computer code, other expression and media, and presenting that material as one’s own academic work being offered for credit. c. “Collusion” includes, but is not limited to, the unauthorized collaboration with another person in preparing academic assignments offered for credit or collaboration with another person to commit a violation of any section of the rules on scholastic dishonesty. d. “Falsifying academic records” includes, but is not limited to, altering or assisting in the altering of any official record of the university and/or submitting false information or omitting requested information that is required for or related to any academic record of the university. Academic records include, but are not limited to, applications for admission, the awarding of a degree, grade reports, test papers, registration materials, grade change forms, and reporting forms used by the Office of the Registrar. A former student who engages in such conduct is subject to a bar against readmission, revocation of a degree, and withdrawal of a diploma. e. “Misrepresenting facts” to the university or an agent of the university includes, but is not limited to, providing false grades or resumes; providing false or misleading information in an effort to receive a postponement or an extension on a test, quiz, or other assignment for the purpose of obtaining an academic or financial benefit for oneself or another individual; or providing false or misleading information in an effort to injure another student academically or financially. Last Day to drop a course: The 45 th class day is the last day to drop a course.Student Absence for Observance of Religious Holy Day http://www.depts.ttu.edu/opmanual/OP34.19.pdf "Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. Absence due to officially approved trips – The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. Civility in the Classroom http://www.depts.ttu.edu/studentaffairs/CampusCrime/documents/CivilityInTheClassroom.pdf Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from engaging in any other form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class. Student Handbook and Code of Conduct http://www.depts.ttu.edu/studentaffairs/publications/2008_2009_Handbook_and_Code.pdf Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness: Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. ________________________________________________________________________ Session/Class Topic Assignment Due ________________________________________________________________________ 1. Introduction; Chapters 20 and 21 2. Chapters 20 and 21 sing Anthology, pp. 41-42 dictation: Manual, p. 93, exx. 20.1 and 20.2 3. Chapters 22 and 25 sing Anthology, pp. 50-51 dictation: Manual, pp. 96-97, exx. 21.1 and 21.2 4. Chapters 22 and 25 sing Anthology, pp. 62-63 dictation: Manual, p. 101, exx. 22.1 and 22.2 5. Chapter 26: The C Clefs sing Anthology, pp. 66-67 dictation: Manual, p. 118, exx. 25.1 and 25.2 6. Chapter 26: The C Clefs sing Anthology, pp. 68-69 dictation: Manual, p. 121, exx. 26.1 and 26.2 7. Chapters 27 and 28 sing Anthology, pp. 74-75 dictation: Manual, p. 121, exx. 26.3 and 26.4 8. Chapters 27 and 28 sing Anthology, pp. 80-81 dictation: Manual, p. 124, exx. 27.1 and 27.2 9. Chapters 30 and 31 sing Anthology, pp. 90-91 dictation: Manual, pp. 128-129 , exx. 28.1 and 28.2 10. Chapters 30 and 31 sing Anthology, pp. 100-101 dictation: Manual, p. 136, exx. 30.1 and 30.2 11. Chapters 32 and 34 sing Anthology, pp. 106-107 dictation: Manual, p. 139, exx. 31.1 and 31.2 12. Chapters 32 and 34 sing Anthology, pp. 110-111 dictation: Manual, p. 143, exx. 32.1 and 32.2 13. Midterm Exam 14. Chapter 34 dictation: Manual, p. 151, exx. 34.1 and 34.2 15. Chapters 35 and 36 sing Warm-Up No. 2 in major (memorized) dictation: Manual, p.154, exx. 36.1 and 36.2 16. Chapters 37 and 38 sing Anthology, pp. 117-118 dictation: Manual, p.156, exx. 36.3 and 36.4 17. Chapters 37 and 38 sing Anthology, pp. 120-121 dictation: Manual, p.160, exx. 37.1 and 37.2 18. Chapters 39 and 40 sing Anthology, pp. 122-123 dictation: Manual, pp. 165-166, All 19. Chapters 39 and 40 sing Anthology, pp. 126-127 dictation: Manual, p. 171, exx. 40.6 and 40.7 20. Chapters 41 and 42 sing Anthology, pp. 128-129 dictation: Manual, p. 171, exx. 41.5 and 41.6 21. Chapters 41 and 42 sing Anthology, pp. 136-137 dictation: Manual, p. 175, exx. 41.7 and 41.8 22. Chapters 43 and 44 sing Anthology, pp. 148-149 dictation: Manual, p. 179, exx. 42.5 and 42.6 23. Chapters 43 and 44 sing Anthology, pp. 156-157 dictation: Manual, p. 183, exx. 43.5 and 43.10 24. Chapters 45 and 46 sing Manual, p. 187, no. 2 dictation: Manual, p. 188, exx. 44.1 and 44.2 25. Chapters 45 and 46 sing handout, lines 1-4 dictation: Manual, p. 193, exx. 46..1 and 46.2 26. review sing handout, lines 1-4 dictation: Manual, p. 198, exx. 47.1 and 47.2 27. review sing handout, lines 5-7 dictation: Mnaual, p. 203, exx. 47.3 and 47.4 28. review 29. Final Exam (April 28th, by individual appointment) | | 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 1303: Elementary Music Theory I Corequisites: Concurrent enrollment in MUTH1103 required.Required Text: • Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction toTwentieth-Century Music , 6th ed. New York: McGraw-Hill, 2008. [BUY BOTHTHE TEXTBOOK AND THE WORKBOOK; both are available in the bookstore.] • Course Packet for MUTH 1303 [Available at CopyTech] Course Content: This course introduces basic theoretical concepts dealing with commonpractice melody, harmony, and voice leading, and demonstrates their analytical and compositional uses. Course Purpose: The purpose of this course is to enable you to read, write, and comprehend the fundamental elements of common-practice harmony. These skills are essential to the aspiring performer, composer, and teacher. MUTH 1303 lays the groundwork for the subsequent three semesters in the harmony sequence. The skills acquired in MUTH 1303 are intended to complement the skills being developed concurrently in MUTH 1103. This course is required of all undergraduate music majors. Expected Learning Outcomes: Upon completion of this course, you should be able to: • Read music in treble, bass, alto, and tenor clefs. • Identify and write scales, key signatures, intervals, triads, and seventh chords • Compose short pieces in first- and second-species counterpoint • Understand the fundamentals of partwriting and be able to write simple four-part exercises using root-position triads • Understand the fundamentals of harmonic function and progression • Demonstrate any of the above on the piano Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily written quizzes • Homework assignments • A variety of in-class activities • Midterm and final examinations Criteria for Grading: Students are responsible for all material covered in class and assigned for homework. Grading will be weighted as follows: • Assignments and Quizzes = 50% • Midterm = 25% • Final = 25% Grading Scale: 90-100% = A, 80-89 = B, 70-79 = C, 60-69 = D, below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup quiz; a student with an unexcused absence should not ask for one. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the SOM are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. ADA Compliance http://www.depts.ttu.edu/opmanual/OP34.22.pdfAny student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. Academic Integrity http://www.depts.ttu.edu/opmanual/OP34.12.pdfIt is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension. “Scholastic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student (such as, but not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor) or the attempt to commit such an act. a. “Cheating” includes, but is not limited to: (1) Copying from another student’s test paper; (2) Using during a test materials not authorized by the person giving the test; (3) Failing to comply with instructions given by the person administering the test; (4) Possession during a test of materials that are not authorized by the person giving the test, such as class notes or specifically designed “crib notes.” The presence of textbooks constitutes a violation only if they have been specifically prohibited by the person administering the test. (5) Using, buying, stealing, transporting, or soliciting in whole or in part the contents of an unadministered test, test key, homework solution, or computer program; (6) Collaborating with or seeking aid or receiving assistance from another student or individual during a test or in conjunction with other assignment without authority; (7) Discussing the contents of an examination with another student who will take the examination; (8) Divulging the contents of an examination for the purpose of preserving questions for use by another when the instructor has designated that the examination is not to be removed from the examination room or not to be returned to or kept by the student; (9) Substituting for another person or permitting another person to substitute for oneself to take a course, a test, or any course-related assignment; (10) Paying or offering money or other valuable thing to or coercing another person to obtain an unadministered test, test key, homework solution, or computer program, or information about an unadministered test, test key, homework solution, or computer program; (11) Falsifying research data, laboratory reports, and/or other academic work offered for credit; and (12) Taking, keeping, misplacing, or damaging the property of the university or of another if the student knows or reasonably should know that an unfair academic advantage would be gained by such conduct. b. “Plagiarism” includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source, including words, ideas, illustrations, structure, computer code, other expression and media, and presenting that material as one’s own academic work being offered for credit. c. “Collusion” includes, but is not limited to, the unauthorized collaboration with another person in preparing academic assignments offered for credit or collaboration with another person to commit a violation of any section of the rules on scholastic dishonesty. d. “Falsifying academic records” includes, but is not limited to, altering or assisting in the altering of any official record of the university and/or submitting false information or omitting requested information that is required for or related to any academic record of the university. Academic records include, but are not limited to, applications for admission, the awarding of a degree, grade reports, test papers, registration materials, grade change forms, and reporting forms used by the Office of the Registrar. A former student who engages in such conduct is subject to a bar against readmission, revocation of a degree, and withdrawal of a diploma. e. “Misrepresenting facts” to the university or an agent of the university includes, but is not limited to, providing false grades or resumes; providing false or misleading information in an effort to receive a postponement or an extension on a test, quiz, or other assignment for the purpose of obtaining an academic or financial benefit for oneself or another individual; or providing false or misleading information in an effort to injure another student academically or financially. Last Day to drop a course: The 45 th class day is the last day to drop a course.Student Absence for Observance of Religious Holy Day http://www.depts.ttu.edu/opmanual/OP34.19.pdf "Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. Absence due to officially approved trips – The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. Civility in the Classroom http://www.depts.ttu.edu/studentaffairs/CampusCrime/documents/CivilityInTheClassroom.pdf Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from engaging in any other form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class. Student Handbook and Code of Conduct http://www.depts.ttu.edu/studentaffairs/publications/2008_2009_Handbook_and_Code.pdf Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness: Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. Abbreviations KP = Kostka/Payne (textbook); WB = workbook ______________________________________________________________________ Session/Class Topic Assignment Due ________________________________________________________________________ 1. Introduction, Keyboard, Clefs 2. Scales and Key Signatures written: WB, Exx. 1-1 and 1-2 3. Intervals written: WB, Ex. 1-3 4. Intervals, Consonance and Dissonance written: WB, Exx. 1-4 and 1-5 5. Meter written: WB, Ex. 1-6 6. Meter written: WB, Ex. 2-1 7. Triads and Seventh Chords written: WB, Ex. 2-4; reading: KP, pp. 41-57 8. Triads and Seventh Chords written: TBA 9. Inversion and Figured Bass written: WB, Ex. 3-1 and 3-2 10. Inversion and Figured Bass written: WB, Exx. 3-3 11. Diatonic Chords in Major and Minor Keys written: WB, Ex. 3-4; reading: KP, pp. 59-70 12. Diatonic Chords in Major and Minor Keys written: WB, Ex. 4-1 13. Cantus Firmus written: WB, Ex. 4-2 14. Counterpoint: First Species written: compose two cantus firmi 15. Counterpoint: First Species written: compose two cantus firmi 16. Counterpoint: First Species written: Counterpoint Assignment 1 17. Counterpoint: First Species written: Counterpoint Assignment 2 18. Counterpoint: First Species written: Counterpoint Assignment 3 19. Review written: Counterpoint Assignment 4 20. Midterm Exam 21. Principles of Voice Leading reading: KP, pp. 71-84 22. Principles of Voice Leading written: WB, Ex. 5-2 23. Principles of Voice Leading written: WB, Ex. 5-3 24. Root Position Part Writing reading: KP, pp. 88-102 25. Root Position Part Writing written: WB, Ex. 6-1 26. Root Position Part Writing written: WB, Ex. 6-2 27. Root Position Part Writing written: WB, Ex. 6-3 28. Root Position Part Writing written: WB, Ex. 6-4, pp. 47-48 29. Writing for Transposing Instruments written: WB, Ex. 6-4, pp. 49-50 30. Writing for Transposing Instruments written: WB, Ex. 6-5, pp. 51-52 31. Writing for Transposing Instruments written: WB, Ex. 6-5, pp. 53-54 32. Harmonic Progression written: handout; reading: KP, pp. 103-122 33. Harmonic Progression written: WB, Ex. 7-1, pp. 55-56 34. Harmonic Progression written: WB, Ex. 7-1, pp. 57-58 35. Counterpoint: Second Species written: WB, Ex. 7-1, pp. 59-60 36. Counterpoint: Second Species written: Counterpoint Assignment 5 37. Counterpoint: Second Species written: Counterpoint Assignment 6 38. Counterpoint: Second Species written: Counterpoint Assignment 7 39. Counterpoint: Second Species written: Counterpoint Assignment 8 40. Review written: TBA Written Final Exam: December 9th, 4:30-7:00 pm in M122 | | 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. MUTH 1304: Elementary Music Theory II Prerequisites: Concurrent enrollment in MUTH1104 required.Required Text: • Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction toTwentieth-Century Music , 6th ed. New York: McGraw-Hill, 2008. [BUY BOTHTHE TEXTBOOK AND THE WORKBOOK; both are available in the bookstore.] Course Content: This course will help you develop a deeper understanding of basic theoretical concepts dealing with common-practice melody, harmony, and voice leading, and will enable you to demonstrate their analytical and compositional uses. Course Purpose: This course expands upon the materials presented in MUTH 1303. Fundamentals of harmony, melody, and voice leading are examined through a variety of compositional and analytical exercises. These skills are essential to the aspiring performer, composer, and teacher, as they provide a deeper understanding of how music is organized. MUTH 1304 lays the groundwork for the subsequent two semesters in the harmony sequence. The skills acquired in MUTH 1304 are intended to complement the skills being developed concurrently in MUTH 1104. This course is required of all undergraduate music majors. Expected Learning Outcomes: Upon completion of MUTH 1304, you should be able to: • Compose short pieces in third and fourth-species counterpoint • Compose three and four-part exercises using all diatonic triads and seventh chords in all inversions • Realize a figured bass that includes all diatonic triads and seventh chords • Identify the most common types of cadences, phrases, and periods and compose simple examples of each • Identify the most common types of non-chord tones and include them in composition exercises • Demonstrate any of the above on the piano Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily written quizzes • Homework assignments • A variety of in-class activities • Midterm and final examinations Criteria for Grading: Students are responsible for all material covered in class and assigned for homework. Grading will be weighted as follows: • Assignments and Quizzes = 40% • Midterm = 20% • Final = 40% Grading Scale: 90-100% = A, 80-89 = B, 70-79 = C, 60-69 = D, below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup quiz; a student with an unexcused absence should not ask for one. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. ADA Compliance http://www.depts.ttu.edu/opmanual/OP34.22.pdfAny student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. Academic Integrity http://www.depts.ttu.edu/opmanual/OP34.12.pdfIt is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension. “Scholastic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student (such as, but not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor) or the attempt to commit such an act. a. “Cheating” includes, but is not limited to: (1) Copying from another student’s test paper; (2) Using during a test materials not authorized by the person giving the test; (3) Failing to comply with instructions given by the person administering the test; (4) Possession during a test of materials that are not authorized by the person giving the test, such as class notes or specifically designed “crib notes.” The presence of textbooks constitutes a violation only if they have been specifically prohibited by the person administering the test. (5) Using, buying, stealing, transporting, or soliciting in whole or in part the contents of an unadministered test, test key, homework solution, or computer program; (6) Collaborating with or seeking aid or receiving assistance from another student or individual during a test or in conjunction with other assignment without authority; (7) Discussing the contents of an examination with another student who will take the examination; (8) Divulging the contents of an examination for the purpose of preserving questions for use by another when the instructor has designated that the examination is not to be removed from the examination room or not to be returned to or kept by the student; (9) Substituting for another person or permitting another person to substitute for oneself to take a course, a test, or any course-related assignment; (10) Paying or offering money or other valuable thing to or coercing another person to obtain an unadministered test, test key, homework solution, or computer program, or information about an unadministered test, test key, homework solution, or computer program; (11) Falsifying research data, laboratory reports, and/or other academic work offered for credit; and (12) Taking, keeping, misplacing, or damaging the property of the university or of another if the student knows or reasonably should know that an unfair academic advantage would be gained by such conduct. b. “Plagiarism” includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source, including words, ideas, illustrations, structure, computer code, other expression and media, and presenting that material as one’s own academic work being offered for credit. c. “Collusion” includes, but is not limited to, the unauthorized collaboration with another person in preparing academic assignments offered for credit or collaboration with another person to commit a violation of any section of the rules on scholastic dishonesty. d. “Falsifying academic records” includes, but is not limited to, altering or assisting in the altering of any official record of the university and/or submitting false information or omitting requested information that is required for or related to any academic record of the university. Academic records include, but are not limited to, applications for admission, the awarding of a degree, grade reports, test papers, registration materials, grade change forms, and reporting forms used by the Office of the Registrar. A former student who engages in such conduct is subject to a bar against readmission, revocation of a degree, and withdrawal of a diploma. e. “Misrepresenting facts” to the university or an agent of the university includes, but is not limited to, providing false grades or resumes; providing false or misleading information in an effort to receive a postponement or an extension on a test, quiz, or other assignment for the purpose of obtaining an academic or financial benefit for oneself or another individual; or providing false or misleading information in an effort to injure another student academically or financially. Last Day to drop a course: The 45 th class day is the last day to drop a course.Student Absence for Observance of Religious Holy Day http://www.depts.ttu.edu/opmanual/OP34.19.pdf "Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. Absence due to officially approved trips – The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. Civility in the Classroom http://www.depts.ttu.edu/studentaffairs/CampusCrime/documents/CivilityInTheClassroom.pdf Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from engaging in any other form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class. Student Handbook and Code of Conduct http://www.depts.ttu.edu/studentaffairs/publications/2008_2009_Handbook_and_Code.pdf Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness: Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. Abbreviations KP = Kostka/Payne (textbook); WB = workbook ________________________________________________________________________ Session/Class Topic Assignment Due ________________________________________________________________________ 1. Introduction/Third-Species Counterpoint 2. Third-Species Counterpoint written: Counterpoint Assignment 9 3. Third-Species Counterpoint written: Counterpoint Assignment 10 (to turn in) 4. Third-Species Counterpoint written: Counterpoint Assignment 11 5. Fourth-Species Counterpoint written: Counterpoint Assignment 12 (to turn in) 6. Fourth-Species Counterpoint written: Counterpoint Assignment 13 7. Fourth-Species Counterpoint written: Counterpoint Assignment 14 (to turn in) 8. Fourth-Species Counterpoint written: Counterpoint Assignment 15 9. Triads in First Inversion written: Counterpoint Assignment 16 (to turn in) 10. Triads in First Inversion written: WB, pp. 61-62; reading: KP, pp. 123-142 11. Triads in First Inversion written: WB, p. 63 (to turn in) 12. Triads in First Inversion written: WB, pp. 65-66 13. Triads in First Inversion written: WB, pp. 67-68 (to turn in) 14. Triads in Second Inversion written: WB, p. 69; reading: KP, pp. 143-154 15. Triads in Second Inversion written: WB, pp. 71-72 (to turn in) 16. Triads in Second Inversion written: WB, pp. 73-74 17. Triads in Second Inversion written: WB, pp. 75-76 (to turn in) 18. Review written: WB, p. 77 19. Midterm Exam 20. Cadences, Phrases, and Periods reading: KP, pp. 155-180 21. Cadences, Phrases, and Periods written: WB, pp. 79-80 22. Cadences, Phrases, and Periods written: WB, pp. 81-84 (to turn in) 23. Non-Chord Tones 1 written: WB, pp. 85-86; reading: KP, pp. 181-195 24. Non-Chord Tones 1 written: WB, pp. 87-88 25. Non-Chord Tones 1 written: WB, pp. 89-90 (to turn in) 26. Non-Chord Tones 2 written: WB, pp. 91-92; reading: KP, pp. 197-208 27. Non-Chord Tones 2 written: WB, pp. 93-94 28. Non-Chord Tones 2 written: WB, pp. 95-96 (to turn in) 29. The V7 Chord written: WB, pp. 97; reading: KP, pp. 211-228 30. The V7 Chord written: WB, pp. 99-100 31. The V7 Chord written: WB, pp. 101-102 (to turn in) 32. The V7 Chord written: WB, pp. 103-104 33. The V7 Chord written: WB, pp. 107-109 (to turn in) 34. The II7 and VII7 Chords written: WB, pp. 111-114; reading: KP, pp. 229-242 35. The II7 and VII7 Chords written: WB, pp. 117-118 36. The II7 and VII7 Chords written: WB, pp. 119-122 (to turn in) 37. Other Diatonic Seventh Chords written: WB, pp. 123-124; reading: KP, pp. 243-256 38. Other Diatonic Seventh Chords written: WB, pp. 125-126 39. Other Diatonic Seventh Chords written: WB, pp. 127-130 (to turn in) 40. Review written: TBA Written Final Exam: see http://www.depts.ttu.edu/officialpublications/ClassSchedule/FinalExams.php | | 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 2103: Intermediate Aural Skills I Prerequisites: Completion of MUAP1124, MUTH1104, and 1304 with a C or better, or equivalent. Concurrent enrollment in MUAP2123 and MUTH2303 required. Required Texts: • Robert Ottman, Music for Sight Singing, 6th ed. Upper Saddle River, NY: Prentice Hall Inc., 2003. [Available in the bookstore.] • MacGamut 2003 User Disk [Available in the bookstore.] Course Content: In this course, you will develop sightsinging and dictation skills necessary for the performance and teaching of tonal music. MUTH 2103 focuses primarily on the introduction of chromaticism in harmonic and melodic contexts. Course Purpose: The purpose of the course is to develop a “seeing ear” and a “hearing eye.” Over the course of the semester, you will develop the ability to translate sound into notation and vice versa. Sightsinging and dictation skills are of paramount importance to the aspiring professional musician. Sightsinging improves your ability to sight-read on your instrument; dictation facilitates error-checking, transcription, and a host of other activities. MUTH 2103 is required of all music majors, and it lays the groundwork for the subsequent semester of the aural skills sequence. The skills developed in MUTH 2103 are intended to complement the skills being developed concurrently in MUTH 2303. This course is required of all undergraduate music majors. Expected Learning Outcomes: Upon completion of MUTH 2103, you will be able to: • Perform a variety of rhythmic patterns at sight while conducting • Know and be able to demonstrate basic conducting patterns • Sing major and minor scales, intervals, and triads using solfege. • Identify aurally size and quality of intervals, and quality of triads and seventh chords • Notate short melodic and harmonic dictation exercises, some of which modulate • Sing short tonal melodies that feature increased chromaticism • Improvise in a variety of tonal and rhythmic contexts Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily sightsinging and dictation quizzes • MacGamut ear-training software (see below) • A variety of in-class activities • Sightsinging midterm and final exam Criteria for Grading: Your final grade will be determined as follows: • Dictation quizzes: 40% • Sightsinging quizzes and homework assignments: 25% • Sightsinging final: 15% • Sightsinging midterm: 10% • MacGamut: 10% An excessive number of missed classes can lower your final grade by as much as one letter grade. Three unexcused absences will lower your grade by a sign (ex. from a B+ to a B, from a C- to a D+); five or more unexcused absences will lower your grade by a letter (ex. from C to D). Grading scale: 90-100% = A; 80-89% = B; 70-79% = C; 60-69% = D; below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). MacGamut: MacGamut software is designed to develop the aural skills of the student, while at the same time providing feedback to an instructor. The student’s work is saved each time the student exits the program in what is called a startup file (it has a file extension of “.mgs”). Assignments are to be submitted as startup files attached to an email message sent to the instructor. The student will also need to download the presets file “MUTH 2103 Presets.mgp” from the TTU Theory Website. Startup files and presets files are explained in the readme.txt file on the macgamut disk itself. Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup sightsinging quiz; a student with an unexcused absence should not ask for one. No dictation quizzes will be made up. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. Absence due to religious observance: The Texas Tech University Catalog states that a student who is absent from classes for the observance of a religious holy day will be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. (p.49) (Note: prior notification to the instructor is no longer required.) Absence due to officially approved trips: The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. (p.48) Academic Honesty: It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and a high standard of integrity. The attempt of students to present as their own any work that they have not honestly performed is regarded by the faculty and administration as a serious offense and renders the offenders liable to serious consequences, possibly suspension (TTU Catalog 49). See p. 49 in the Texas Tech University Catalog for definitions of cheating and plagiarism. ADA Statement: Any student who because of a disability may require special arrangements in order to meet course requirements should contact the instructor as soon as possible to make any necessary accommodations. Student should present appropriate verification from AccessTECH. No requirement exists that accommodations be made prior to completion of this approved university procedure. Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. Last day to drop a class: The 45th day of the semester is the last day to drop a class. ________________________________________________________________________ Session/Class Topic Assignment _______________________________________________________________________ 1. Introduction Dictation: melodic (scale-degree #4) 2. Chap. 13: Chromaticism I Sequences with Chromatic Tones, #1 Dictation: melodic (scale-degree #4) 3. Chap. 13: Chromaticism I Sequences with Chromatic Tones, #2 Dictation: harmonic (V7/V, any inv.) 4. Chap. 13: Chromaticism I Sequences with Chromatic Tones, #3 Dictation: harmonic (V7/V, any inv.) 5. Chap. 13: Chromaticism I Sousa, “Washington Post March” Dictation: melodic (scale-degree b7) 6. Chap. 13: Chromaticism I Chopin, Fantasie-Impromptu Dictation: melodic (scale-degree b7) 7. Chap. 15: Chromaticism I Handel, from Judas Maccabeus Dictation: harmonic (+ viio7/V, any inv.) 8. Chap. 15: Syncopation Ottman, #843 Dictation: harmonic (+ viio7/V, any inv.) 9. Chap. 15: Syncopation Ottman, #848-849 Dictation: melodic (syncopation) 10. Chap. 15: Syncopation Ottman, #852 Dictation: melodic (syncopation) 11. Chap. 15: Syncopation Beethoven, Symphony No. 9, III Dictation: harmonic (all secondary functions) 12. Chap. 15: Syncopation Berlioz, Roman Carnival Overture Dictation: harmonic (all secondary functions) 13. Chap. 15: Syncopation Foster, “Beautiful Dreamer” Dictation: TBA 14. Midterm Exam 15. Chap. 14: Chromaticism II Beethoven, Symphony No. 3, IV Dictation: melodic (modulating to V) 16. Chap. 14: Chromaticism II Sequences with Chromatic Tones, #4 Dictation: melodic (modulating to V) 17. Chap. 14: Chromaticism II Sequences with Chromatic Tones, #5 Dictation: harmonic (modulating to V) 18. Chap. 14: Chromaticism II Mozart, Clarinet Quintet, IV Dictation: harmonic (modulating to V) 19. Chap. 14: Chromaticism II Wagner, Tannhäuser, III Dictation: melodic (other modulations) 20. Chap. 14: Chromaticism II Beethoven, Symphony No. 5, II Dictation: melodic (other modulations) 21. Chap. 16: Triplets and Duplets Duplet and Triplet Sequences, #1 Dictation: harmonic (other modulations) 22. Chap. 16: Triplets and Duplets Duplet and Triplet Sequences, #2 Dictation: harmonic (other modulations) 23. Chap. 16: Triplets and Duplets Duplet and Triplet Sequences, #3 Dictation: melodic (scale-degree b6) 24. Chap. 16: Triplets and Duplets Verdi, Aida, I Dictation: melodic (scale-degree b6) 25. Chap. 16: Triplets and Duplets Duplet and Triplet Sequences, #4 Dictation: harmonic (mixture) 26. Chap. 16: Triplets and Duplets Duplet and Triplet Sequences, #5 Dictation: harmonic (mixture) 27. review 28. Final Exam | | 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 2104: Intermediate Aural Skills II Prerequisites: Completion of MUAP2123, MUTH 2103, and 2303 with a C or better, or equivalent. Concurrent enrollment in MUAP2124 and MUTH 2304 required. Required Texts: • Robert Ottman, Music for Sight Singing, 6th ed. Upper Saddle River, NY: Prentice Hall Inc., 2003. [Available in the bookstore.] • MacGamut 2003 User Disk [Available in the bookstore.] Course Content: In this course, you will develop sightsinging and dictation skills necessary for the performance and teaching of tonal music. MUTH 2104 continues to explore chromaticism in harmonic and melodic contexts. Course Purpose: The purpose of the course is to develop a “seeing ear” and a “hearing eye.” Over the course of the semester, you will develop the ability to translate sound into notation and vice versa. Sightsinging and dictation skills are of paramount importance to the aspiring professional musician. Sightsinging improves your ability to sight-read on your instrument; dictation facilitates error-checking, transcription, and a host of other activities. MUTH 2104 is required of all music majors, and it is the capstone of the aural skills sequence. The skills developed in MUTH 2104 are intended to complement the skills being developed concurrently in MUTH 2303. This course is required for all undergraduate music majors. Expected Learning Outcomes: Upon completion of MUTH 2104, you will be able to: • Perform a variety of rhythmic patterns at sight while conducting • Know and be able to demonstrate basic conducting patterns • Sing modal, chromatic, and non-tonal melodies at sight • Identify aurally size and quality of intervals, and quality of triads and seventh chords • Take melodic and harmonic dictation including chromatically altered chords and non-tonal materials • Improvise in a variety of musical contexts Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily sightsinging and dictation quizzes • MacGamut ear-training software (see below) • A variety of in-class activities • Sightsinging midterm and final exam Criteria for Grading: Your final grade will be determined as follows: • Dictation quizzes: 40% • Sightsinging quizzes and homework assignments: 25% • Sightsinging final: 15% • Sightsinging midterm: 10% • MacGamut: 10% An excessive number of missed classes can lower your final grade by as much as one letter grade. Three unexcused absences will lower your grade by a sign (ex. from a B+ to a B, from a C- to a D+); five or more unexcused absences will lower your grade by a letter (ex. from C to D). Grading scale: 90-100% = A; 80-89% = B; 70-79% = C; 60-69% = D; below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). MacGamut: MacGamut software is designed to develop the aural skills of the student, while at the same time providing feedback to an instructor. The student’s work is saved each time the student exits the program in what is called a startup file (it has a file extension of “.mgs”). Assignments are to be submitted as startup files attached to an email message sent to the instructor. The student will also need to download the presets file “MUTH 2104 Presets.mgp” from the TTU Theory Website. Startup files and presets files are explained in the readme.txt file on the macgamut disk itself. Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup sightsinging quiz; a student with an unexcused absence should not ask for one. No dictation quizzes will be made up. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. Absence due to religious observance: The Texas Tech University Catalog states that a student who is absent from classes for the observance of a religious holy day will be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. (p.49) (Note: prior notification to the instructor is no longer required.) Absence due to officially approved trips: The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. (p.48) Academic Honesty: It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and a high standard of integrity. The attempt of students to present as their own any work that they have not honestly performed is regarded by the faculty and administration as a serious offense and renders the offenders liable to serious consequences, possibly suspension (TTU Catalog 49). See p. 49 in the Texas Tech University Catalog for definitions of cheating and plagiarism. ADA Statement: Any student who because of a disability may require special arrangements in order to meet course requirements should contact the instructor as soon as possible to make any necessary accommodations. Student should present appropriate verification from AccessTECH. No requirement exists that accommodations be made prior to completion of this approved university procedure. Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness: Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. Last day to drop a class: The 45th day of the semester is the last day to drop a class. ________________________________________________________________________ Session/Class Topic Assignment ________________________________________________________________________ 1. Introduction Dictation: melodic (scale-degree b2) 2. Chap. 19: The Neapolitan Schumann, “Und wüssten die Blumen” Dictation: melodic (scale-degree b2) 3. Chap. 19: The Neapolitan Chopin, Mazurka, Op. 7, No. 2 Dictation: harmonic (Neapolitans) 4. Chap. 19: The Neapolitan Bach, Mass in B minor, Kyrie Dictation: harmonic (Neapolitans) 5. Chap. 17: Changing Time Signatures Ottman, #972-981 Dictation: harmonic (Augmented-6th Chords) 6. Chap. 17: Changing Time Signatures Ottman, #982-990 Dictation: harmonic (Augmented-6th Chords) 7. Chap. 17: Changing Time Signatures Ottman, #1011 (conduct mm. 5-6 as one bar in 3/2) Dictation: melodic (changing meters) 8. Chap. 17: Changing Time Signatures Ottman, #991-994 Dictation: melodic (changing meters) 9. Chap. 17: Changing Time Signatures Schumann, “Hör ich das Liedchen klingen” Dictation: harmonic (modulation) 10. Chap. 17: Changing Time Signatures Brahms, Symphony No. 3, III Dictation: harmonic (modulation) 11. Chap. 17: Changing Time Signatures Rimsky-Korsakov, Scheherazade, II Dictation: melodic (assymetrical meters) 12. Chap. 17: Changing Time Signatures Beethoven, Symphony No. 4, II Dictation: melodic (assymetrical meters) 13. Midterm Exam 14. Chap. 19: Remote Modulations Dictation: melodic (modulation) 15. Chap. 19: Remote Modulations Brahms, Die “Mainacht” Dictation: melodic (modulation) 16. Chap. 19: Remote Modulations Wagner, Lohengrin, I Dictation: harmonic (modulation) 17. Chap. 20: Medieval Modes Dorian, Phrygian, Lydian, and Mixolydian modes Dictation: harmonic (modulation) 18. Chap. 20: Medieval Modes Ottman, pp. 339-346 (Lydian and Mixolydian) Dictation: scale identification 19. Chap. 20: Medieval Modes Ottman, pp. 339-346 (Dorian and Phyrgian) Dictation: scale identification 20. Chap. 20: Medieval Modes Mussorgsky, Boris Godunov, I Dictation: (012), (024), (036), (048) 21. Chap. 21: Twentieth-Century Melody Nelson, “Stolen Moments” (sing and play bass line!) Dictation: (012), (024), (036), (048) 22. Chap. 21: Twentieth-Century Melody pentatonic, whole-tone, and octatonic scales Dictation: + (027) 23. Chap. 21: Twentieth-Century Melody Ives, “The Cage” ; whole-tone melodies Dictation: + (027) 24. Chap. 21: Twentieth-Century Melody Stravinsky, The Firebird; octatonic melodies Dictation: + (037), (014) 25. Chap. 21: Twentieth-Century Melody TBA Dictation: + (037), (014) 26. Chap. 21: Twentieth-Century Melody TBA Dictation: melodic (modal) 27. review Dictation: melodic (modal) 28. Final Exam | | 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 2303: Intermediate Music Theory I Prerequisites: Completion of MUAP1124, MUTH1104, and MUTH1304 with a C or better, or equivalent. Concurrent enrollment in MUAP2123 and MUTH2103 required.. Required Text: • Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to Twentieth-Century Music, 5th ed. New York: McGraw-Hill, 2003. [BUY BOTH THE TEXTBOOK AND THE WORKBOOK; both are available in the bookstore.] Course Content: This course introduces basic theoretical concepts dealing with commonpractice melody, harmony, and voice leading, and demonstrates their analytical and compositional uses. Course Purpose: The purpose of this course is to enable you to read, write, and comprehend the fundamental elements of common-practice harmony. These skills are essential to the aspiring performer, composer, and teacher. MUTH 2303 expands upon the harmonic vocabulary presented in MUTH 1303 and 1304. The skills acquired in MUTH 2303 are intended to complement the skills being developed concurrently in MUTH 2103. This course is required of all undergraduate music majors. Expected Learning Outcomes: Upon completion of MUTH 2303, you should be able to: • Identify secondary-functioning chords and incorporate them into written exercises • Identify various diatonic modulatory techniques and incorporate them into written exercises • Analyze and compose short pieces in binary and ternary form • Identify modally mixed harmonies and incorporate them into written exercises • Demonstrate any of the above on the piano Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily written quizzes • Homework assignments • A variety of in-class activities • Midterm and final examinations (both written and keyboard performance) Criteria for Grading: Students are responsible for all material covered in class and assigned for homework. Grading will be weighted as follows: • Assignments and Quizzes = 50% • Midterm = 25% • Final = 25% There will be a midterm keyboard skills exam and a final keyboard skills exam to be given along with the written midterm and final exams; the midterm keyboard skills exam will constitute 20% of the total midterm exam grade and the final keyboard skills exam will constitute 20% of the total final exam grade. Grading Scale: 90-100% = A, 80-89 = B, 70-79 = C, 60-69 = D, below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup quiz; a student with an unexcused absence should not ask for one. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. Absence due to religious observance: The Texas Tech University Catalog states that a student who is absent from classes for the observance of a religious holy day will be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. (p.49) (Note: prior notification to the instructor is no longer required.) Absence due to officially approved trips: The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. (p.48) Academic Honesty: It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and a high standard of integrity. The attempt of students to present as their own any work that they have not honestly performed is regarded by the faculty and administration as a serious offense and renders the offenders liable to serious consequences, possibly suspension (TTU Catalog 49). See p. 49 in the Texas Tech University Catalog for definitions of cheating and plagiarism. ADA Statement: Any student who because of a disability may require special arrangements in order to meet course requirements should contact the instructor as soon as possible to make any necessary accommodations. Student should present appropriate verification from AccessTECH. No requirement exists that accommodations be made prior to completion of this approved university procedure. Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness: Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. Last day to drop a class: The 45th day of the semester is the last day to drop a class. Abbreviations KP = Kostka/Payne (textbook); WB = workbook ________________________________________________________________________ Session/Class Topic Assignment Due ________________________________________________________________________ 1. Introduction/ Secondary Functions 1 2. Secondary Functions 1 reading: KP, pp. 245-261 3. Secondary Functions 1 written: WB, pp. 135-136 4. Secondary Functions 1 written: WB, pp. 137-138 5. Secondary Functions 1 written: WB, pp. 139-140 6. Secondary Functions 1 written: WB, pp. 141-142 7. Secondary Functions 1 written: WB, pp. 143-144 8. Secondary Functions 1 written: WB, p. 145 9. Secondary Functions 2 written: WB, p. 148 reading: KP, pp. 263-287 10. Secondary Functions 2 written: WB, pp. 149-152 11. Secondary Functions 2 written: WB, pp. 153-154 12. Secondary Functions 2 written: WB, pp. 155-156 13. Secondary Functions 2 written: WB, pp. 157-158 14. Secondary Functions 2 written: WB, pp. 159-160 15. Midterm Exam 16. Keyboard Skills Midterm Exam 17. Common-Chord Diatonic Modulations reading: KP, pp. 289-303 18. Common-Chord Diatonic Modulations written: WB, pp. 163-164 19. Common-Chord Diatonic Modulations written: WB, pp. 165-166, 171-172 omit D 20. Common-Chord Diatonic Modulations written: WB, pp. 167-170 21. Common-Chord Diatonic Modulations written: WB, pp. 172-173 22. Some Other Modulatory Techniques written: WB, pp. 175-176 reading: KP, pp. 305-321 23. Some Other Modulatory Techniques written: WB, pp. 179-180 24. Some Other Modulatory Techniques written: WB, pp. 181-182 25. Some Other Modulatory Techniques written: WB, pp. 183-184 26. Binary and Ternary Forms written: WB, p. 185 reading: KP, pp. 323-339 27. Binary and Ternary Forms written: WB, pp. 192-193 28. Binary and Ternary Forms written: WB, pp. 188-190 29. Binary and Ternary Forms written: WB, pp. 191 30. Binary and Ternary Forms written: WB, pp. 187, 194, 195 31. Mode Mixture reading: KP, pp. 343-358 32. Mode Mixture written: WB, pp. 197-198 33. Mode Mixture written: WB, pp. 199-200 34. Mode Mixture written: WB, pp. 201-204 35. Mode Mixture written: WB, pp. 205-206 36. Mode Mixture written: WB, p. 207 37. Review written: TBA 38. Review written: TBA 39. Review written: TBA 40. Review written: TBA 41. Keyboard Skills Final ExamWritten Final Exam: see http://www.depts.ttu.edu/officialpublications/SFSKEDEXAMS.html | | 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 2303: Intermediate Music Theory I Prerequisites: Completion of MUAP1124, MUTH1104, and MUTH1304 with a C or better, or equivalent. Concurrent enrollment in MUAP2123 and MUTH2103 required.. Required Text: • Kostka, Stefan & Dorothy Payne. Tonal Harmony with an Introduction to Twentieth-Century Music, 5th ed. New York: McGraw-Hill, 2003. [BUY BOTH THE TEXTBOOK AND THE WORKBOOK; both are available in the bookstore.] Course Content: This course introduces basic theoretical concepts dealing with commonpractice melody, harmony, and voice leading, and demonstrates their analytical and compositional uses. Course Purpose: The purpose of this course is to enable you to read, write, and comprehend the fundamental elements of common-practice harmony. These skills are essential to the aspiring performer, composer, and teacher. MUTH 2303 expands upon the harmonic vocabulary presented in MUTH 1303 and 1304. The skills acquired in MUTH 2303 are intended to complement the skills being developed concurrently in MUTH 2103. This course is required of all undergraduate music majors. Expected Learning Outcomes: Upon completion of MUTH 2303, you should be able to: • Identify secondary-functioning chords and incorporate them into written exercises • Identify various diatonic modulatory techniques and incorporate them into written exercises • Analyze and compose short pieces in binary and ternary form • Identify modally mixed harmonies and incorporate them into written exercises • Demonstrate any of the above on the piano Assessment of Learning Outcomes: The following methods will be used to assess your progress towards the learning outcomes given above: • Daily written quizzes • Homework assignments • A variety of in-class activities • Midterm and final examinations (both written and keyboard performance) Criteria for Grading: Students are responsible for all material covered in class and assigned for homework. Grading will be weighted as follows: • Assignments and Quizzes = 50% • Midterm = 25% • Final = 25% There will be a midterm keyboard skills exam and a final keyboard skills exam to be given along with the written midterm and final exams; the midterm keyboard skills exam will constitute 20% of the total midterm exam grade and the final keyboard skills exam will constitute 20% of the total final exam grade. Grading Scale: 90-100% = A, 80-89 = B, 70-79 = C, 60-69 = D, below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in the syllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quiz grade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup quiz; a student with an unexcused absence should not ask for one. Exams: Exams will not be given outside of the scheduled exam hour unless arrangements are made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave an email or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. Absence due to religious observance: The Texas Tech University Catalog states that a student who is absent from classes for the observance of a religious holy day will be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. (p.49) (Note: prior notification to the instructor is no longer required.) Absence due to officially approved trips: The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. (p.48) Academic Honesty: It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and a high standard of integrity. The attempt of students to present as their own any work that they have not honestly performed is regarded by the faculty and administration as a serious offense and renders the offenders liable to serious consequences, possibly suspension (TTU Catalog 49). See p. 49 in the Texas Tech University Catalog for definitions of cheating and plagiarism. ADA Statement: Any student who because of a disability may require special arrangements in order to meet course requirements should contact the instructor as soon as possible to make any necessary accommodations. Student should present appropriate verification from AccessTECH. No requirement exists that accommodations be made prior to completion of this approved university procedure. Incompletes: The grade of incomplete is granted only in cases of documented emergencies or illness, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Preparedness: Be sure to have a supply of manuscript paper and pencils (with erasers!) for use in class and for written assignments. Last day to drop a class: The 45th day of the semester is the last day to drop a class. Abbreviations KP = Kostka/Payne (textbook); WB = workbook ________________________________________________________________________ Session/Class Topic Assignment Due ________________________________________________________________________ 1. Introduction/ Secondary Functions 1 2. Secondary Functions 1 reading: KP, pp. 245-261 3. Secondary Functions 1 written: WB, pp. 135-136 4. Secondary Functions 1 written: WB, pp. 137-138 5. Secondary Functions 1 written: WB, pp. 139-140 6. Secondary Functions 1 written: WB, pp. 141-142 7. Secondary Functions 1 written: WB, pp. 143-144 8. Secondary Functions 1 written: WB, p. 145 9. Secondary Functions 2 written: WB, p. 148 reading: KP, pp. 263-287 10. Secondary Functions 2 written: WB, pp. 149-152 11. Secondary Functions 2 written: WB, pp. 153-154 12. Secondary Functions 2 written: WB, pp. 155-156 13. Secondary Functions 2 written: WB, pp. 157-158 14. Secondary Functions 2 written: WB, pp. 159-160 15. Midterm Exam 16. Keyboard Skills Midterm Exam 17. Common-Chord Diatonic Modulations reading: KP, pp. 289-303 18. Common-Chord Diatonic Modulations written: WB, pp. 163-164 19. Common-Chord Diatonic Modulations written: WB, pp. 165-166, 171-172 omit D 20. Common-Chord Diatonic Modulations written: WB, pp. 167-170 21. Common-Chord Diatonic Modulations written: WB, pp. 172-173 22. Some Other Modulatory Techniques written: WB, pp. 175-176 reading: KP, pp. 305-321 23. Some Other Modulatory Techniques written: WB, pp. 179-180 24. Some Other Modulatory Techniques written: WB, pp. 181-182 25. Some Other Modulatory Techniques written: WB, pp. 183-184 26. Binary and Ternary Forms written: WB, p. 185 reading: KP, pp. 323-339 27. Binary and Ternary Forms written: WB, pp. 192-193 28. Binary and Ternary Forms written: WB, pp. 188-190 29. Binary and Ternary Forms written: WB, pp. 191 30. Binary and Ternary Forms written: WB, pp. 187, 194, 195 31. Mode Mixture reading: KP, pp. 343-358 32. Mode Mixture written: WB, pp. 197-198 33. Mode Mixture written: WB, pp. 199-200 34. Mode Mixture written: WB, pp. 201-204 35. Mode Mixture written: WB, pp. 205-206 36. Mode Mixture written: WB, p. 207 37. Review written: TBA 38. Review written: TBA 39. Review written: TBA 40. Review written: TBA 41. Keyboard Skills Final Exam Written Final Exam: see http://www.depts.ttu.edu/officialpublications/SFSKEDEXAMS.html
| | 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. MUTH 3303: Form, Analysis, and Synthesis Instructor: Dr. Santa ________________________________________________________________________ Class Hours: 10-11:50 pm, MTWRF, M248 Office Hours: 9-10 am, MTWRF, M236 Phone: 742-2270, ext. 273 E-mail : matthew.santa@ttu.edu theory website: http://courses.ttu.edu/musictheory/Prerequisites: Completion of MUAP2124, MUTH2104, and MUTH2304 with a C orbetter, or equivalent. Course Content: This course covers musical forms from the Baroque Period to the 20thCentury. It also covers score reading and listening strategies. Course Purpose: The purpose of this course is to develop a deeper understanding ofmusical forms from the Baroque Period to the 20th Century, to synthesize the interrelationships of fields both inside and outside of music, and to further develop listening strategies and score reading through expanded means of critical thinking and logical reasoning. Expected Learning Outcomes: Upon completion of MUTH 3303, you should be able todo the following: • Identify phrase endings and cadence types in music with or without the score. • Identify modulations in music with or without a score. • Identify sequence types in music with or without a score. • Identify musical forms with or without a score. • Identify formal sections in music with or without a score. • Describe how the delineation of cadence, phrase, sequence, modulation, and formall depend upon mathematical relationships between pitches, sometimes linked by proximity (as in a melody or harmony), sometimes linked by salience (as in a key center or pedal tone), and sometimes linked by harmonic stability (as in a sequence of chord roots). Assessment of Learning Outcomes: The following methods will be used to assess yourprogress toward the learning outcomes given above: • Daily written quizzes • Homework assignments • A variety of in-class activities • Midterm and final examinations2 Criteria for Grading: Students are responsible for all material covered in class andassigned for homework. Grading will be weighted as follows: Assignments and Quizzes = 20%, Midterm = 30%, Final = 50% Grading Scale: 90-100% = A, 80-89 = B, 70-79 = C, 60-69 = D, below 60% = F Assignments: Assignments are due at the beginning of the class session indicated in thesyllabus. Late assignments will not be accepted without an acceptable excuse supported by documentation. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. Failure to attend class does not excuse late assignments (leave them in my mailbox before class if unable to attend). Homework assignments and in-class quizzes missed due to an excused absence must be turned in no later than one week fromthe date of the students return to class. It is the students responsibility to turn in the missed homework within that time period or a grade of 0 will be given. It is also the students responsibility to schedule a time with the instructor to make up missed quizzes within the allotted time or a grade of 0 will be given. Quizzes: A short quiz will be given in the first five minutes of every class session. 1 quizgrade = 1 homework grade. A student with an acceptable excuse supported by documentation (see Assignments above) will be allowed a makeup quiz; a student with an unexcused absence should not ask for one. Exams: Exams will not be given outside of the scheduled exam hour unless arrangementsare made with the instructor prior to the exam. If an emergency arises, students must notify the instructor by calling the School of Music prior to the scheduled exam time. Messages left at the School of Music are dated and timed. There will be no exceptions to this exam policy unless the student’s dean notifies the instructor otherwise. Attendance: Attendance is required. If you are unable to attend class, please leave anemail or phone message for the instructor indicating the reason for your absence. If you anticipate missing class, you should inform the instructor in advance. ADA Compliance http://www.depts.ttu.edu/opmanual/OP34.22.pdfAny student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. 3 Academic Integrity http://www.depts.ttu.edu/opmanual/OP34.12.pdfIt is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension. “Scholastic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student (such as, but not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor) or the attempt to commit such an act. a. “Cheating” includes, but is not limited to: (1) Copying from another student’s test paper; (2) Using during a test materials not authorized by the person giving the test; (3) Failing to comply with instructions given by the person administering the test; (4) Possession during a test of materials that are not authorized by the person giving the test, such as class notes or specifically designed “crib notes.” The presence of textbooks constitutes a violation only if they have been specifically prohibited by the person administering the test. (5) Using, buying, stealing, transporting, or soliciting in whole or in part the contents of an unadministered test, test key, homework solution, or computer program; (6) Collaborating with or seeking aid or receiving assistance from another student or individual during a test or in conjunction with other assignment without authority; (7) Discussing the contents of an examination with another student who will take the examination; (8) Divulging the contents of an examination for the purpose of preserving questions for use by another when the instructor has designated that the examination is not to be removed from the examination room or not to be returned to or kept by the student; (9) Substituting for another person or permitting another person to substitute for oneself to take a course, a test, or any course-related assignment; (10) Paying or offering money or other valuable thing to or coercing another person to obtain an unadministered test, test key, homework solution, or computer program, or information about an unadministered test, test key, homework solution, or computer program; (11) Falsifying research data, laboratory reports, and/or other academic work offered for credit; and (12) Taking, keeping, misplacing, or damaging the property of the university or of another if the student knows or reasonably should know that an unfair academic advantage would be gained by such conduct. b. “Plagiarism” includes, but is not limited to, the appropriation of, buying, receiving as a gift, or obtaining by any means material that is attributable in whole or in part to another source, including words, ideas, illustrations, structure, computer code, other expression and media, and presenting that material as one’sown academic work being offered for credit. c. “Collusion” includes, but is not limited to, the unauthorized collaboration with another person in preparing academic assignments offered for credit or collaboration with another person to commit a violation of any section of the rules on scholastic dishonesty. d. “Falsifying academic records” includes, but is not limited to, altering or assisting in the altering of any official record of the university and/or submitting false information or omitting requested information that is required for or related to any academic record of the university. Academic records include, but are not limited to, applications for admission, the awarding of a degree, grade reports, test papers, registration materials, grade change forms, and reporting forms used by the Office of the Registrar. A former student who engages in such conduct is subject to a bar against readmission, revocation of a degree, and withdrawal of a diploma. e. “Misrepresenting facts” to the university or an agent of the university includes, but is not limited to, providing false grades or resumes; providing false or misleading information in an effort to receive a postponement or an extension on a test, quiz, or other 4 assignment for the purpose of obtaining an academic or financial benefit for oneself or another individual; or providing false or misleading information in an effort to injure another student academically or financially. Student Absence for Observance of Religious Holy Day http://www.depts.ttu.edu/opmanual/OP34.19.pdf "Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. Absence due to officially approved trips – The Texas Tech University Catalog states that the person responsible for a student missing class due to a trip should notify the instructors of the departure and return schedule in advance of the trip. The student may not be penalized and is responsible for the material missed. Civility in the Classroom http://www.depts.ttu.edu/studentaffairs/CampusCrime/documents/CivilityInTheClassroom.pdf Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from engaging in any other form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class. Student Handbook and Code of Conduct http://www.depts.ttu.edu/studentaffairs/publications/2008_2009_Handbook_and_Code.pdf Incompletes The grade of incomplete is granted only in cases of serious, documentedemergencies, and then only when permission has been obtained from the instructor, no later than one week before the final class meeting. Required Texts Matthew Santa, Hearing Form. Lubbock: 24 Keys, 2008. [Availableat Barnes and Noble.] Course Packet for MUTH 3303 [Available at CopyTech] One emusic subscription for one month: $9.99 for 30 downloads (buta free trial is available if you are a first-time user!). To sign up, go to www.emusic.com. Preparedness Be sure to have a supply of manuscript paper and pencils (witherasers!) for use in class and for written assignments. 5 ________________________________________________________________________ Class Topic Assignment Due ________________________________________________________________________ 1. Introduction; Cadences and Phrases;Bach, Orchestral Suite No. 2, Air 2. Cadences and Phrases; Bach, Orchestral Suite No. 2, Badinerie Homework Assignment 1.1: Bach, “Goldberg” Variations, “Aria” ; read Chapters 1 & 2 3. Binary and Ternary Forms; Bach,Orchestral Suite No. 3, Gavotte I Homework Assignment 3.4: Mozart, Eine kleineNachtmusik, III; read Chapter 3 4. Binary and Ternary Forms; Handel, Giulio Cesare, I/6, “L’empio” (BA, NOE) Homework Assignment 3.2: Handel, Giulio Cesare, I/5, “Non disperar” 5. Sonata Form; Mozart, Symphony No. 40 in G Minor, I Homework Assignment 3.3: Bach, Orchestral Suite No. 3, Gavotte II; read Chapter 4 6. Sonata Form; Beethoven, Piano Sonata No. 1 in F Minor, I Homework Assignment 4.4: Mozart, Eine kleineNachtmusik, I 7. Sonata Form; Beethoven, Symphony No. 5 in C Minor, I Homework Assignment 4.2: Beethoven, Symphony No. 3, I, Development 8. Variation Forms; Bach, Mass in B Minor,“Crucifixus” Homework Assignment 4.3: Haydn, Symphony No. 103, I; read Chapter 5 9. Variation Forms; Brahms, Variations on a Theme by Haydn Homework Assignment 5.1: Brahms, Symphony No. 4, IV 10. Review; Purcell, Dido and Anaeas, “WhenI Am Laid in Earth” Homework Assignment 5.2: Mozart, Piano Sonata, K. 331, I 11. MIDTERM EXAM 12. Imitative Forms; Bach, Two-PartInventions, No. 1 in C Major Homework: read Chapter 6 13. Imitative Forms; Bach, WTC, Book I, Fugue in F Major Homework Assignment 6.1: Bach Two-Part Inventions, No. 13 in A Minor 14. Imitative Forms; Haydn, Symphony No. 101, IV, mm. 189-232 Homework Assignment 6.2: Bach, WTC, Book II, Fugue in E Minor 15. Imitative Forms; Beethoven, String Quartet, Op. 131, I Homework Assignment 6.3: Bach, WTC, Book I, Fugue in B Major 16. Concerto Forms; Vivaldi, The FourSeasons, Concerto No. 2 (“Summer”), I Homework Assignment 6.4: Handel, Messiah, Part I, Overture; read Chapter 7 17. Concerto Forms; Bach, Brandenburg Concerto No. 1, I Homework Assignment 7.1: Vivaldi, The FourSeasons, Concerto No. 4 (“Winter”) , I 18. Concerto Forms; Brahms, Concerto for Violin in D Major, Op. 77, I Homework Assignment 7.2: Mozart, Piano Concerto in D, K. 107, I (not on emusic) 19. Rondo; Haydn, Sonata No. 50 in D Major,Hob. XVI/37, III Homework Assignment 7.3: Mozart, Piano Concerto in Eb, K. 271, I; read Chapter 8 20. Sonata-Rondo; Beethoven, Piano Sonata,Op. 13, III (“Pathétique”) Homework Assignment 8.1: Mozart, Symphony No. 35, IV 21. Sonata-Rondo; Beethoven, Symphony No. 2, IV Homework Assignment 8.5: Mozart, Eine kleineNachtmusik, III 22. Review Homework Assignment 8.6: Mozart, Eine kleine Nachtmusik, IV Final Exam: June 27th, 8:00-10:30 am, M248 6 Assignment Schedule DATE ASSIGNMENT DUE ON THAT DATE Thursday, 5/28 Assignment 1.1: Bach, “Goldberg” Variations, “Aria” Friday, 5/29 Assignment 3.4: Mozart, Eine kleine Nachtmusik, IIIMonday, 6/1 Assignment 3.2: Handel, Giulio Cesare, I/5, “Non disperar” Tuesday, 6/2 Assignment 3.3: Bach, Orchestral Suite No. 3, Gavotte II Wednesday, 6/3 Assignment 4.4: Mozart, Eine kleine Nachtmusik, IThursday, 6/4 Assignment 4.2: Beethoven, Symphony No. 3, I, Development Friday, 6/5 Assignment 4.3: Haydn, Symphony No. 103, I Monday, 6/8 Assignment 5.1: Brahms, Symphony No. 4, IV Tuesday, 6/9 Assignment 5.2: Mozart, Piano Sonata, K. 331, I Wednesday, 6/10 MIDTERM Friday, 6/12 Assignment 6.1: Bach Two-Part Inventions, No. 13 in A Minor Monday, 6/15 Assignment 6.2: Bach, WTC, Book II, Fugue in E Minor Tuesday, 6/16 Assignment 6.3: Bach, WTC, Book I, Fugue in B Major Wednesday, 6/17 Assignment 6.4: Handel, Messiah, Part I, Overture Thursday, 6/18 Assignment 7.1: Vivaldi, The Four Seasons, Concerto No. 4(“Winter”) , I Friday, 6/19 Assignment 7.2: Mozart, Piano Concerto in D, K. 107, I (not on emusic) Monday, 6/22 Assignment 7.3: Mozart, Piano Concerto in Eb, K. 271, I Tuesday, 6/23 Assignment 8.1: Mozart, Symphony No. 35, IV Wednesday, 6/24 Assignment 8.5: Mozart, Eine kleine Nachtmusik, IIThursday, 6/25 Assignment 8.6: Mozart, Eine kleine Nachtmusik, IV Saturday, 6/27 FINAL EXAM, 8:00-10:30 am in M248 | | | 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) Course archive is at http://www.uh.edu/~adavis5/#courses | 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. course: MUSI 1300: Fundamentals of Music time: M T W Th 8:00–10:30am location: MSM 116 course web site: http://www.uh.edu/~adavis5/musi1300(this page). You are expected to monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note that I will use your official email address on file with the registrar's office to communicate with you by email. If you don't have the correct address on file, or you don't have that address set to forward to an account you read regularly, you won't receive any email communication from me. You're responsible for ensuring that your email address on file is correct so that you receive communication about the course. If you need instructions on how to do this, you may followthis link (which will require the same username and passwordused to access the "information for current students" page on the school of music's web site, www.music.uh.edu--email meif you need this information. PROFESSOR INFORMATION professor: Andrew Davis, Director of Graduate Studies and Assistant Professor of Music Theory office: MSM 152 office phone: 713 743 3294 email: adavis at uh.edu. **This is the best way to contactme. official web page: http://www.music.uh.edu/people/davis.html personal web page: http://www.uh.edu/~adavis5 (with linksto courses and other useful information) musi 1300 syllabus Page 1 of 5 http://www.uh.edu/~adavis5/musi1300/index.html 8/14/2008 office hours: by appointment unless I specify otherwise. note also: Dr. Corey Tu ( email) will teach the course in myplace on Monday, Tuesday, and Wednedsay, July 7–9. See the schedule for more information.COURSE DESCRIPTION AND LEARNING OUTCOMES The course is designed to provide a basic understanding of the technical language of music in order that students may gain enjoyment and appreciation of music encountered in everyday surroundings, and may gain the foundation necessary for further study of music and the theory of music at the college level. Students will become fluent in music notation, principles of rhythm and meter (and its associated notation), and principles of pitch organization in music (scale collections, intervals, chords and harmonies, etc.). No musical background is assumed. REQUIRED MATERIALS Robert Nelson and Carl Christensen, Foundations of Music, 7th ed. (Schirmer, 2006). With a CD. This is available at the University Bookstore, 126 University Center, 713 748 0923; additional purchase options are available online ( here). Notethat some of the latter options do not include the course CD, which is required (see item A here).You should also bring pencils, erasers, and music manuscript paper to class. Manuscript paper is useful for taking notes and is necessary for some of the homework assignments; this is available at any music shop or at the campus bookstore. You may want to consider a spiral-bound manuscript notebook. EVALUATION notes on grading: *your lowest assignment grade (only one) will be dropped assigments and quizzes:* 50% midterm exam: 20% final exam: 20% drill participation on the course CD:** 5% class participation (discussion, questions, etc.):*** 5% musi 1300 syllabus Page 2 of 5 http://www.uh.edu/~adavis5/musi1300/index.html 8/14/2008 when the final grade is computed. **at the end of the semester I will ask you to turn in your scores earned while using the course CD. I will award points if the scores you submit demonstrate that you spent a good deal of time outside class working on drill exercises not assigned for homework. See this page for more information.*** I will award points in your final grade if you exhibited a willingness to contribute to the class discussions by asking and answering questions and generally improving the class environment. Final grade distribution will be according to the standard scale of percentages, as follows: ASSIGNMENTS AND QUIZZES Expectations for the course include keeping up with the assigned daily work. In that sprit: Assignments are due at the beginning of class on the date indicated, and the due dates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. LATE ASSIGNMENTS WILL BE ACCEPTED FOR PARTIAL CREDIT ONLY THROUGH THE START OF THE NEXT CLASS MEETING, AND WITH A PENALTY OF ONE LETTER GRADE FOR EACH DAY THE ASSIGNMENT IS LATE. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule online to see what material was assigned,and you should obtain notes on the relevant material from a classmate. Remember that your lowest two assignment grades will be dropped. Exams and quizzes also provide a means for your instructor to test your mastery of the material. Dates for all exams and quizzes are posted on the course schedule. Make-up examswill only be given if you provide a written, valid excuse for why you missed the exam. If you cannot do this, yourgrade for the missed exam will be 0. Makeup quizzes are not A: 92.5–100 A-: 90–92.5 B+: 87.5– 90 B: 82.5–87.5 B-: 80–82.5 C+: 77.5– 80 C: 72.5–77.5 C-: 70–72.5 D+: 67.5– 70 D: 62.5–67.5 D-: 60–62.5 F: below 60 musi 1300 syllabus Page 3 of 5 http://www.uh.edu/~adavis5/musi1300/index.html 8/14/2008 given; if you have a legitimate reason for missing the quiz, I simply won't include it in your final grade computation (it neither helps nor hurts your grade, in other words—it only makes the other quizzes for which you do receive grades count for slightly more weight in your final grade). ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in theundergraduate student handbook and in the undergraduatecourse catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Studentswith Disabilities (CSD) : 100 CSD Building (click here to get amap ), 713 743 5400. The CSD will provide information onyour disability to the instructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includesdisruptions from cell phones: please turn them off. Last day to drop without the course counting toward "attempted credits" and last day to drop with no grade: Thursday 07/10. Last day to drop or withdraw with a W grade: Wednesday July 30. Last updated: 23 July, 2008 URL: http://www.uh.edu/~adavis5/musi1300© 2007, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the linkupdated). NOTES: -- some files are in .pdf format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--assignments are listed in the assignment column ON THEIR DUE DATE; assignments are due at the beginning of class. --VERY IMPORTANT: I will use your official email address on file with the registrar's office to communicate with you by email. If you don't have the correct address on file, or you don't have that address set to forward to an account you read regularly, you won't receive any email communication from me. You're responsible for ensuring that your email address on file is correct so that you receive communication about the course. If you need instructions on how to do this, you may follow this link (which will require the same username andpassword used to access the "information for current students" page on the school of music's web site, www.music.uh.edu--email me if you need this information. -- INSTRUCTIONS FOR USING THE COURSE CDWEEK DATE TOPICS AND HANDOUTS ASSIGNMENT (due in class on the day listed). Please write the assignment number on your paper when you submit the assignment. 1 Note regarding week 1: I will be attending a conference (in Italy, in honor of the 150th birthday of Italian opera composer Giacomo musi 1300 schedule Page 1 of 6 http://www.uh.edu/~adavis5/musi1300/schedule.html 8/14/2008 Puccini, b. 1858) and lecturing (in Berlin, at the Freie Universität) abroad this week and will miss the first few days of class. Dr. Corey Tu will teach these class meetings in my place. Dr. Tu has taught msuic theory at the University of Houston and holds the Doctor of Musical Arts in Piano Performance from the University of Houston. I will return in time for week 2 and will teach all subsequent class meetings. You're welcome to email me with any questions youmay have. 07/07 course introduction; chapter 1: pitch, timbre, texture, dynamics, and articulations 07/08 chapter 2: pitch notation: notes and rests; staff, letter names, registers and octaves using the course cd (this comes with your textbook) no assignment due 07/09 continue chapter 2 Assignment 1: CD tests: --chapter 2 #2, 20 repetitions, score at least 90% --chapter 2 #4, 10 repetitions, score at least 90% --chapter 2 #5, 10 repetitions, score at least 90% --chapter 2 #6, 20 repetitions, score at least 90% --chapter 2 #9, 10 repetitions, score at least 90% ( course cd instructions)07/10 Last day to drop without thecourse counting toward "attempted credits" and last day to drop with no grade NO CLASS TODAY no assigment due 2 07/14 chapter 3: simple meters: pulse, tempo, meter, metric notation, tempo markings, beats and subdivisions, conducting patterns Assignment 2: CD tests: --chapter 2 #s 11, 13, and 15, 10 repetitions, score at least 90% musi 1300 schedule Page 2 of 6 http://www.uh.edu/~adavis5/musi1300/schedule.html 8/14/2008 --chapter 2 #22, 20 repetitions, score at least 90% ( course cd instructions)07/15 quiz 1: material from week 1days 1–3 (this was moved from Monday 07/14) continue chapter 3 NOTE: when "written exercises" are assigned from the textbook, photocopy the page(s), do the assignment on the photocopy, and submit your work in class. Assignment 3: a) written exercises: p. 32, all b) CD test: chapter 12 #165; answer 20 questions, score at least 90% (select mastery level 1 if prompted) ( course cd instructions)07/16 chapter 4: scales: half steps, whole steps, sharps, flats, major scales, key signatures, circle of fifths, scale degrees and names Assignment 4: written exercises: p. 44–46, all 07/17 quiz 2: material from week 2days 1–3 continue chapter 4 Assignment 5: a) CD test: chapter 4 #52: 20 repetitions, score at least 90% ( course cd instructions)b) written exercises: pp. 56–57, all 3 07/21 continue chapter 4 Assignment 6: written exercises: pp. 61–64, all 07/22 chapter 5: compound meters: beats and subdivisions, summary of meters and meter types Assignment 7: written exercises: pp. 70–72, all 07/23 continue chapter 5 Assignment 8: written exercises: p. 85, all; pp. 92–94 written exercise no. 1; p. 97 written exercise no. 5 musi 1300 schedule Page 3 of 6 http://www.uh.edu/~adavis5/musi1300/schedule.html 8/14/2008 07/24 midterm exam: material fromweek 1 day 1—week 3 day 2 (material from chapters 1–4; no compound meter topics— we'll save this for the final exam) chapter 6: minor mode: mode, minor scales, relative minor, parallel minor, modulation (tonic establishment), chromatic scale no new assignment to hand in—you can hand in assignment 8 today if you want (we discussed this in class Wednesday and clarified many questions). Also prepare for the midterm exam: review the exercises from your homework and quizzes 4 07/28 continue chapter 6 Assignment 9: written exercises: pp. 122–23, only problem 1 07/29 chapter 7: alternative scales: diatonic modes (church modes), pentatonic scales Assignment 10: written exercises: pp. 123–24, problems 2 and 3; pp. 127–29, all 07/30 Last day to drop or withdrawwith a W grade chapter 8: more rhyhtm and meter topics: syncopation, jazz and pop rhythms. Assignment 11: written assignment (follow this link for the .pdf file) 07/31 quiz 3: material from week 3day 4—week 4 day 3 chapter 9: more on intervals: size, quality, perfect vs. imperfect, interval inversion, compound intervals, consonant vs. dissonant intervals no assignment due. 5 08/04 continue chapter 9 note (from p. 166): before doing the material in this chapter, you may want to review whole and half steps— assignments and CD drills—from chapter 4. Assignment 12: written exercises: p. 168, all; p. 170, all. (Do not change the given note when building intervals.) 08/05 CLASS CANCELLED:HURRICANE 08/06 chapter 10: chords: triads, triad qualities, consonant vs. dissonant triads, dominant Assignment 13: written exercises: pp. 173–74, all musi 1300 schedule Page 4 of 6 http://www.uh.edu/~adavis5/musi1300/schedule.html 8/14/2008 seventh chord (major-minor seventh chord), inverted triads, musical textures, primary vs. secondary triads, chord functions and progressions, nonchord tones 08/07 continue chapter 10 no assignment to turn in 08/11 continue chapter 10 Assignment 14: written exercises: pp. 188–90, all Wednesday 08/13: final exam. 8–11 am. Same room as regular class meeting. The exam probably will not take you three hours, but it may take you two, depending on how fast you work, of course. NOTE: for the final exam you may bring notes; your notes must fit on one side of an 8.5x11 (or smaller) sheet of blank paper or manuscript paper; no photocopied or pre-printed material of any kind will be permitted, but you may make your own notes on any subject, draw pictures; etc.; you will only be permitted to use the single sheet of paper, not the textbook or any other source of diagrams, drawings, etc. ----- Note I sent by email at 12:10pm Tuesday August 12: Hi all--I'm really sorry about this, but I'm going to have to have someone else proctor the final exam for you tomorrow because I'm unable to be there. Everything should be clear--everything on the exam duplicates questions or problems you've had on previous exams, quizzes, or homework assignments; if there are any serious questions that can't be answered, make a note on your exam, take a good guess at how to solve the problem, and I'll deal with it fairly when I grade it. I also have any graded work you turned in to me yesterday; I'll have the proctor return this at the exam. All other work you've submitted has been returned, so you should have everything. If you have work to turn in to me, including lists of computer scores for extra credit, bring all this to the exam and the proctor will deliver it to me. Remember the exam starts at 8, in the same room as usual. Remember also you may bring one 8.5x11 sheet of notes to the exam; musi 1300 schedule Page 5 of 6 http://www.uh.edu/~adavis5/musi1300/schedule.html 8/14/2008 all your notes must be handwritten and all the notes must fit on one side of the page. No preprinted or photocopied material will be allowed on the sheet. I'll also have blank staff paper for you, in case you want to use this as scrap paper as you work on the exam. Thus it's not necessary for you to bring anything to the exam other than a pencil and your sheet of notes. You can contact me by email tomorrow if you have questions about your exam grade, final course grade, or other homework grades--or any other questions, of course. I should be available by email tomorrow after about 4. Thanks for being a great class! I had a great time and hope you did too, and I hope it was interesting for you and that you learned something new. AD Last updated: August 12, 2008 URL: http://www.uh.edu/~adavis5/musi1300Comments: adavis at uh.edu© 2008, Andrew Davis musi 1300 schedule Page 6 of 6 http:// | | | | 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) Music Theory I (MUSI 1310), Fall 2006 Professor: Andrew Davis ( email)Home page and syllabus | Daily schedule CLASS ROSTERS: see what class you're in Home page and syllabus COURSE INFORMATION course: MUSI 1310: Theory I time: MWF 8:00–8:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi1310 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note on rooms and class logistics: unless instructed otherwise, class will meet with Professor Davis every Monday in room 108; class will meet Wednesdays and Fridays in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis. Domain name uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses and other usefulinformation) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 9am and 5pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS MUSI 1310 home Page 1 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 COURSE DESCRIPTION AND LEARNING OUTCOMES The course surveys the rudiments of music (notation, intervals, scales, key signatures, triads, rhythm and meter, etc.) before proceeding to a study of the basic harmonic materials of diatonic tonal music. The basis for the course is the music of the Western classical tradition, in particular that of the tonal (common-practice) era—music from approximately 1700 to 1900. Course objectives include fluency in: basic musical materials (intervals, scales, chords); diatonic tonal voice leading and harmonic progressions, as implemented in four-part SATB writing; basic figured and unfigured bass realization; basic melody harmonization; analytical and aural familiarity with basic tonal phrase designs; and harmonic analysis of excerpts from the tonal literature. PREREQUISITES You must have taken and passed the theory placement exam You must be enrolled concurrently in Aural Skills I (MUSI 1170) REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Techniques and Materials of Music: From the CommonPractice Period Through the Twentieth Century . 6th edition (2003).2. Benjamin, Horvit, and Nelson. Music for Analysis. 6th edition (2007). Also: pencils, erasers, and music manuscript paper. Sheets of manuscript paper will be needed for homework assignments. A packet of 8.5x11 manuscript paper in various formats is available at the University Copy Center (in the University Center). Use these as masters from which to make as many photocopies as needed. Ask at the Copy Center for packet no. 43, or ask for it under my name and the course number (MUSI 1310). If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. EVALUATION **your lowest two assignment grades will be dropped when the final grade is computed Grade distribution will be according to the standard scale of percentages, as follows: assigments and quizzes:** 40% exam 1: 20% exam 2: 20% exam 3: 20% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 F: below 60 MUSI 1310 home Page 2 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 NOTE WELL: School of Music policy is that a grade of at least C- is necessary to continue in the aural skills sequence. Any grade below C- will be considered noncontinuing, students who earn below a C- will not be permitted to enroll in Aural Skills II. ASSIGNMENTS AND QUIZZES Assignments are due at the beginning of class on the date indicated, and the due dates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. If you cannot provide such an excuse, your grade for the assignment will be penalized one letter grade for each day the assignment is late. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule online to see what material was assigned, and you should obtain notes onthe relevant material from a classmate. Remember that your lowest two assignment grades will be dropped. Quizzes provide a means for your instructor to test your comprehension of the material covered in class and are scheduled regularly. Quiz dates are posted on the courseschedule . Quizzes are normally short and do not occupy the entire class meeting.Make-up quizzes will not be given: if you miss a quiz you must provide a written, valid excuse. If you cannot do so your quiz grade will be 0; if your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Exams also provide a means for your instructor to test your mastery of the material. Exam dates are posted on the course schedule. Make-up exams will only be givenif you provide a written, valid excuse for why you missed the exam. If youcannot do this, your grade for the missed exam will be 0. The final exam (i.e., the non-comprehensive exam 3) will be given on the scheduled final exam date for this course (Monday 11 December, 8:00–11:00am). Please plan in advance—the exam cannot be given at alternate times for individual students, and make-up exams will not be given without a written, valid excuse for why you missed the exam. And please plan to be at the exam for all three scheduled hours. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable MUSI 1310 home Page 3 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last day to drop without the course counting toward "attempted credits": 09/05. Last day to drop or withdraw with no grade: 09/18. After this date grade options for drops/withdrawals are W, Q and F. Last day to drop or withdraw from the course: 11/01. A grade of W, Q, or F is possible. Course enrollment status cannot be changed after this date. Daily schedule Shortcut to the current week (assuming I remember to keep the link updated)NOTES: -- CLASS ROSTERS: see what class you're in (THIS FILE IS THE MOST CURRENTCOPY OF THE ROSTERS) --unless instructed otherwise or noted on the course schedule, class will meet with Professor Davis every Monday in room 108; class will meet Wednesdays and Fridays in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All chapter, page, "BHN," and "text" references are to the Benjamin, Horvit, and Nelson, Techniques and Materials of Music, 6th ed. "Anthology" references are to the Benjamin, Horvit, and Neslon, Music for Analysis, 6th ed. -- Files in .pdf format are marked with the PDF logo. To read the .pdf files, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. Music Theory I (MUSI 1310), Fall 2006 Professor: Andrew Davis ( email)Home page and syllabus | Daily schedule WEEK DATE TOPICS AND HANDOUTS ASSIGNMENT DUE Part I, weeks 1–4: rudiments (BHN part I). 1 08/21 course intro. Chapter 1: staff and clef notation. notes from today .08/23 MEET IN 108 chapter 2: accidentals and notation. Major scales. Begin chapter 3: intervals. notes from today .You should have a copy of the textbook by now—please notify me ( email me) if there areproblems with the stock at the bookstore. 08/25 MEET IN 108 More on chapter 3: intervals. Begin chapter 4: major and minor scales. notes from today 2 08/28 MEET IN SMALL SECTIONS more on chapters 3 and 4: intervals; major and minor scales. assignment 1: p. 9, no. 1a, line 1 p. 9, no. 1b, line 1 p. 10, no. 2, a and e p. 10, no. 3, b and c p. 11, no. 4, line 1 and line 3 p. 11, no. 5a MUSI 1310 schedule Page 1 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 p. 12, no. 5b **You may turn in your answers on a sheet of manuscript paper, or you may photocopy the pages from the book and do your work directly on these. When you turn in the assignments, please write the assignment number ("assignment 1", etc.) on top. 08/30 MEET IN SMALL SECTIONSquiz 1: intervals/accidentals/clefs/notation/major and minor scales. chapters 5 and 6: key signatures and triads. assignment 2: p. 14 no. 1 (scales on G and Db) no. 2 (scales on Ab and F#) no. 3 (scale on Bb) no. 4 (scale on F) no. 5 (natural on Eb, treble clef | natural on B, bass clef | harmonic on Bb, treble clef | harmonic on C#, bass clef | melodic on G#, treble clef | melodic on E, bass clef) no. 6 (Ab natural minor, alto clef | C melodic minor, tenor clef) When you turn in the assignments, please write the assignment number ("assignment 1", etc.) on top. Also: Prepare for quiz 1. 09/01 MEET IN 108 chapter 7: fundamentals of rhythm and meter; notating rhythm and meter. notes from today assignment 3: p. 16 no. 1 p. 16 no. 2 p. 16 no. 3: natural minor on C# | harmonic minor on Bb | melodic minor on Ab [all of these should be on both staves of the great staff] p. 18, no. 1a line 1 p. 18, no. 1b, line 2 p. 18, no. 1c, line 1 p. 18, no. 2, first 5 triads p. 18, no. 3, first 5 triads When you turn in the assignments, please write the assignment number ("assignment 1", etc.) on top. 3 09/04 LABOR DAY HOLIDAY: NO CLASS [no class—no assignment] 09/06 MEET IN SMALL SECTIONS assignment 4: MUSI 1310 schedule Page 2 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 chapter 7: more on rhythm and meter. Meter signatures, their meaning, types of meters, etc. notes from today (pictures of the "C" metersigns) pp. 26–27, all. PHOTOCOPY THESE PAGES FROM THE BOOK and complete the exercises by writing on your photocopy. NOTE: WHEN THE TEXT SAYS "BACKGROUND UNIT" (AS IN THE CHARTS ON P. 26), THIS IS WHAT I'M REFERRING TO AS THE FIRST-LEVEL "SUBDIVISION" OF THE BEAT. Example: in part 1a, the explanation of the meter signature "3/4" would be as follows: beats=3; unit of beat=quarter note; background unit (i.e., "first-level subdivision") =eighth note; terminology=simple triple. ALSO NOTE: YOU MAY NEED TO READ THIS CHAPTER IN THE TEXT IN ORDER TO COMPLETE THE ENTIRE ASSIGNMENT. THERE ARE SOME TOPICS WE DIDN'T DISCUSS DIRECTLY IN FRIDAY'S LECTURE. 09/08 MEET IN SMALL SECTIONSexam 1: rudiments (BHN part I). assignment 5: p. 28 no. 3, all p. 28 no. 4, lines 1–3 p. 28 no. 5, lines 1–2 p. 29 no. 6, first problem (rewrite in 2/8 and 2/2) p. 30 no. 6, last problem (rewrite in 6/16 and 6/4) Prepare for exam 1. Part II, weeks 5–8: diatonic harmony (BHN Part II chapters 1–6). 4 09/11 (follow-up from last week, on meter signs) MEET IN 108 TODAY AND EVERY MONDAY UNLESS NOTIFIED OTHERWISE chapter 1: root-position triads and basics of part-writing; ch. 2: root-position tonic triads. notes from today no assignment due. 09/13 chapter 2: root-position tonic triads and more on part-writing. See also part V chapter 4, p. 224, on types of motion in music. notes assignment 6: p. 36 no. 1, lines 1 and 2. (There are many possible answers for each response.) p. 36 no. 2. Provide one example MUSI 1310 schedule Page 3 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 of close spacing and one example of open spacing, on the grand staff, using accidentals, of these triads: D major | F major | B minor | C minor | F# minor. 09/15 chapter 3: root-position dominant triads. Introduction to non-harmonic tones (see BHN Part V chapter 3). assignment 7: p. 38 no. 1, both lines. p. 39 no. 2, line 3 only. Use choral voicing only (not keyboard voicing), and use appropriate spacing. 5 09/18 chapter 4: root-position dominant seventh chords. Melody harmonization. notes assignment 8: p. 43 no. 3, first 2 progressions (rewrite these neatly or photocopy the page) p. 43 no. 4, first 2 progressions (rewrite these neatly or photocopy the page) p. 43–44 no. 5, A, E Anthology p. 8, no. 11. Photocopy this page. Label tonic and dominant triads (one chord per measure) using Roman numerals beneath each measure. Circle and label any nonharmonic tones you find. 09/20 chapter 4: root-position dominant seventh chords. Melody harmonization. notes assignment 9: 1. p. 48, no. 1 (all). 2. p. 48, no. 3, only the STRICT resolutions in CHORAL VOICING. (Don't do the free resolutions, and don't do the ones in keyboard voicing.) 3. p. 49, no. 5, line 1. 09/22 quiz 2: root-position tonic, dominant, anddominant 7th chords. Chapter 4: root-position dominant seventh chords. Melody harmonization. Prepare for the quiz. No other assignment due. The quiz will have a few short examples similar to those on your homework assignments. 6 09/25 chapters 5 and 6: the subdominant chord. Tonic-subdominant connections; subdominantdominant connections. notes handout assignment 10: 1. Anthology p. 11, no. 17. Photocopy the page. Determine the key, determine the harmonic rhythm, and label the chords using correct Roman numerals and figured-bass symbols. Label all nonchord tones in the melodic voice. 2. assignment 10: this is areview worksheet on 7th chords— esp. major-minor seventh chords—and related topics. MUSI 1310 schedule Page 4 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 09/27 More on chapters 5 and 6 and the T–PD–D–T functional model. assignment 11: Text p. 52: all of the exercises. Use only choral voicing, with whatever spacing (open or close) you deem appropriate. My recommendation is to always start with close spacing and then go from there, doing whatever you need to do in order to get all voices moving as smoothly as possible. 09/29 chapters 6–7: more on basic tonal progressions and chord functions. Introduction to cadence types. Basic melody harmonization using I, IV, and V. assignment 12: 1. Voice-leading worksheet:voice-leading exercises using tonic, subdominant, dominant, and dominant sevenths. 2. Anthology p. 20, no. 31. Photocopy the page. Determine the key, determine the harmonic rhythm, and label the chords using correct Roman numerals and figured-bass symbols (All chords will be I, IV, V, or V7). Label any nonchord tones you find. (NOTE: how do you label the harmony in the last four measures plus one beat?) 7 10/02 chapters 6–7: basic tonal progressions and chord functions; types of cadences; more on basic harmonic progressions and melody harmonizations using I, IV, and V and the T– PD–D–T functional model. [See also Part V chapter 11 in the text.] notes assignment 13: 1. p. 54 no. 1, line 1. Use a V chord in the first three examples. Use a V7 chord in the next 3 examples. Use only choral voicing. 2. p. 54 no. 2, melodies a, b, and c. Harmonize these melodies using one chord per note (unless directed otherwise), using only I, IV, V, and V7 chords. Label the key, and label the chords using correct Roman numerals and figured bass. 10/04 chapter 7: types of cadences; basic melody harmonization and tonal functions. assignment 14: p. 58 no. 1, all. Write these cadences on a grand staff using a correct key signature and SATB choral voicing, following the examples shown on pp. 56– 57. Each cadence should contain 2 chords. For half cadences, the identity of the first chord in the cadence is optional: you can use tonic or subdominant. 10/06 chapter 7: types of cadences; basic melody harmonization and tonal functions. assignment 15: voice leading worksheet .MUSI 1310 schedule Page 5 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 8 10/09 chapter 7: types of cadences; intro to basic phrase design; see BHN Part V ch. 13. notes assignment 16: Anthology nos. 10, 17 and 23. Photocopy the page. For each excerpt, label the key, indicate what the harmonic rhythm is ("two chords per measure, for example"), label the harmonies, label the harmonic functions, and label the cadences. Label harmonies below the score; label cadences and harmonic functions above the score. Each example will have at least one complete functional sequence. Pay attention to no. 17: what is the opening function here? (Is it really as obvious as it may seem?) 10/11 Review for exam 2. assignment 17: basic composition of a model phrase. This is NOT a "composition" assignment per se; the idea is for you to imitiate some music in order to show that you understand that music, rather than create something entirely new and novel. p. 55, no. 3. Complete the excerpt in the style given in the first measure. Use the given bass line—do not add notes to the bass line. Write the excerpt so that the entire 8 measures form a period, with a HC in the middle and a PAC at the end. When you're finished, label the chords below the staff, the harmonic functions above the staff, label any nonchord tones you have written, and label the antecedent and consequent phrases with brackets. You must be neat and accurate with all aspects of the musical notation. 10/13 exam 2: BHN Part II chapters 1–7. Thisexam will cover the material through the end of week 7. Prepare for exam 2. Part III, weeks 9–15: diatonic harmony, cont. (BHN Part II chapters 7–13) 9 10/16 NOTICE: CLASS IS CANCELLED TODAY ASOF 6:30AM. chapter 8: the cadential 6-4. 10/18 MEET IN 108 TODAY. chapter 8: the cadential 6-4. no assignment due. assignment 18: skip this. MUSI 1310 schedule Page 6 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 10/20 chapter 8: the cadential 6-4. assignment 19: 1. BHN p. 60 no. 1, first 4 examples. Use only choral voicing, and label all chords correctly. In the first two examples, use a dominant triad before the final tonic; in the next examples, use a dominant seventh chord. 2. BHN p. 61 no. 2, melody B. Use a V8—7 progression to expand the final dominant in the excerpt (the one following the cadential 6/4). Use choral voicing; label chords, label harmonic functions above the staff, and label cadences above the staff. 10 10/23 chapter 9: inversions of I, IV, and V; more on basic progressions and chord functions. Realizing figured basses. Deceptive resolutions to IV6 and Phrygian cadences. Handouts for reference: figured bass: inversions of dominant seventh chords figured bass: inversions of triads notes assignment 20: 1. Harmonize this melody.Either print this page or write it out on your own piece of manuscript paper. Label the key, chords, harmonic functions, and the cadence. Use one chord per note, and use one of each of the following items: --a dominant chord used to expand the tonic --a subdominant functioning as PD --a V8—7 progression --a cadential 6/4 chord 2. Anthology no. 38. Do the following: a) label the key and indicate the prevailing harmonic rhythm; b) label chords correctly using Roman numerals and figured bass (pay attention: where are the 6/4 chords?), then label functions above the staff; c) Answer this question: why is it so hard to determine what kind of cadence is at the end of this excerpt? 10/25 chapter 9: inversions of I, IV, and V; deceptive resolutions to IV6 and Phrygian cadences; more on voice-leading concerns. assignment 21: 1. p. 68 no. 1, line 1. "Realize" this figured bass by adding Roman numerals and soprano, alto, and tenor voices on a grand staff. 2. p. 70 no. 6, b and c. "Realize" this figured bass by adding Roman numerals and soprano, MUSI 1310 schedule Page 7 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 alto, and tenor voices on a grand staff. Use smoothest possible voice leading in all voices; you do not need to use any nonchord tones. Label functions above the staff. 10/27 chapter 9: inversions of I, IV, and V; figured bass notation; reading basic figured basses (BHN Part V ch. 9). assignment 22: 1. p. 68 no. 1, line 2. 2. p. 70 no. 6, d. Follow the directions from the previous assignment. 3. p. 71 no. 9, a. Add figures, Roman numerals, and upper voices using smoothest possible voice leading. Label functions above the staff. 11 10/30 chapter 10: the supertonic triad. handout: reference for non-chord tones (passing tones, neighbor tones, and suspensions) handout: Mozart, "La ci darem la mano" from Don Giovanni (example of supertonic harmony) handout: the supertonic triad assignment 23: 1. p. 70 no. 5, b. Add the three lower voices using smoothest possible voice leading. Label the chords using Roman numerals and figured bass. Label functions above the staff. 11/01 chapter 10: progressions with the supertonic triad. handout (practice examples: figured basses,unfigured basses, and melodies in which you can practice using the chord vocabulary we've been developing in class) SAMPLE SOLUTIONS to the problems on thehandout assignment 24: 1. p. 74 no. 1a, first two progressions. For the F-major progression: use a subdominant under the first note. 2. p. 75 no. 1b, last two progressions. For the G-major progression: the first chord should be tonic. 3. p. 75 no. 2, a and b. Realize this figured bass by adding Roman numerals and upper three voices on a grand staff. Expand the closing dominant by adding an an 8–7 progression before the final cadence in each progression. Use smoothest possible voice leading in all voices (and you do not need to use any nonchord tones). Label functions above the staff. 11/03 quiz 3: cadential 6-4s; progressions andfigured basses with inversions of I, IV, and V. Chapter 10: progressions with the supertonic triad. No assignment due—prepare for quiz. 12 11/06 chapter 11: inversions of the dominant seventh chord. assignment 25: 1. p. 75 no. 2c. Follow the MUSI 1310 schedule Page 8 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 instructions from the previous assignment. 2. p. 75 no. 3a. Harmonize this melody using tonic, subdominant, or dominant chords in root position or first inversion. Provide Roman numerals, figured bass, and the lower three voices. Label the cadences and phrases using the correct terminology. Label the functions in each phrase. 11/08 chapter 11: inversions of the dominant seventh chord. assignment 26: 1. p. 81 no 4a. Realize this figured bass using smoothest possible voice leading in all upper voices. You do not need to add nonchord tones. Label functions above the score. 2. p. 82 no. 5b. Harmonize this melody. Follow the procedure outlines in class. Label functions above the score; you do not need to add nonchord tones. Labelcadences and phrases using appropriate terminology. 11/10 chapter 11: inversions of the dominant seventh chord assignment 27: 1. p. 82 no 4b. Realize this figured bass using smoothest possible voice leading in all upper voices. You do not need to add nonchord tones. Label functions above the score. Label cadencesand phrases using appropriate terminology. 2. p. 83 no. 5d. Harmonize this melody. Follow the procedure outlines in class. Label functions above the score; you do not need to add nonchord tones. Labelcadences and phrases using appropriate terminology. 13 11/13 chapter 12: Uses of other 6/4 chords. notes (including my harmony and voice-leadinganalysis of the Schubert D. 779 [anthology no. 70]). no assignment due. 11/15 More on uses of 6/4 chords. assignment 28. p. 87 no. 1a. Realize this figured bass. Add roman numeral and figured-bass labels, add upper voices using good voice leading, and label the functions above the staff. Do not change the given MUSI 1310 schedule Page 9 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 figures. Label all 6/4 chords correctly. 11/17 More on uses of 6/4 chords and reductive analysis techniques. assignment 29. p. 87 no. 2a. Harmonize this melody. Add Roman numeral and figured-bass labels, add lower voices using good voice leading, and label functions above the staff. Use 6/4 chords where indicated in the book. Label the 6/4 chords correctly. 14 11/20 chapter 13: Submediant and mediant triads. Handouts from class today: Schubert, Impromptu in Gb major D. 899. Example of the submediant chord) Uses of the submediant chord (voice-leading models) Uses of the mediant chord (voice-leading models) assignment 30 11/22 Thanksgiving holiday, no class. 11/24 15 11/27 More on chapter 13: submediant and mediant triads. Understanding the deceptive cadence. notes no assignment due. 11/29 More on submediant chords: understanding the deceptive cadence. assignment 31. p. 92 no. 2c. Harmonize this melody, following these requirements: 1. In mm. 1–4, use one iii chord and one passing 6/4 chord. 2. In mm. 6–8, use one vi chord and one cadential 6/4 chord. Add roman numeral and figuredbass labels, add lower voices using good voice leading, and label the functions above the staff. (Be sure to label the 6/4 chords correctly.) 12/01 Review for exam 3. Come to class with questions. No assignment due. Come to class prepared with questions on the exam material. Exam 3: BHN part II chapters 7–13: Monday December 11, at 8:00am (NOTE THE TIME— SAME AS THE REGULAR CLASS MEETING TIME). The exam will be non-comprehensive, and the exam will last until 9:30. Last updated: 4 December, 2006 URL: http://www.uh.edu/~adavis5/musi1310© 2006, Andrew Davis | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 1170: Aural Skills I time: TTh 8:00–8:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi1170 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note on rooms and class logistics: unless instructed otherwise, class will meet with Professor Davis every other Tuesday in room 108; class will meet every other day in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis. Domain name uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses and other usefulinformation) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 9am and 5pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS MUSI 1170 home Page 1 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 COURSE DESCRIPTION AND LEARNING OUTCOMES This is a course in developing your skills in listening to and understanding music. Your acquisition of these skills is measured in two ways: (1) your ability to reproduce musical patterns and melodies with your voice, and (2) your ability to accurately transcribe music into notation upon hearing it. The former is sometimes known as "sight singing" (although it does not necessarily involve singing music on sight); the latter is known as "dictation." You will be tested in each of these areas in class (by singing in class, both for practice and for a grade; and by taking dictation in class, both for practice and for a grade), on dictation homework assignments (by taking dictation from the CD that came with the textbook), and on exams (a midterm and a final, both of which will entail singing for your instructor and taking dictation). Everyone will be heard singing in class on a regular basis. Course objectives include your fluency with basic diatonic singing and dictation, including use of tonic, subdominant, dominant, and dominant seventh chords; and use of treble, bass, and alto clefs. Keep in mind: this is not a course in singing; we will not discuss vocal technique in any meaningful detail, and you will not be evaluated on your vocal quality. PREREQUISITES You must have taken and passed the theory placement exam You must be enrolled concurrently in Music Theory I (MUSI 1310) REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Music for Sight Singing. 3rd edition (2000). 2. Horvit, Koozin, and Nelson. Music for Ear Training (2001). Also: pencils, erasers, and music manuscript paper. Sheets of manuscript paper will be needed for activities in class and for homework assignments. A packet of 8.5x11 manuscript paper in various formats is available at the University Copy Center (in the University Center). Use these as masters from which to make as many photocopies as needed. Ask at the Copy Center for packet no. 43, or ask for it under my name and course MUSI 1310 (this is the Theory I course number). If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. ATTENDANCE This is a course in skill development and one requiring class participation. Your attendance is crucial. Your final course grade will be lowered one + or - level for every absence you accumulate beyond four (4) (that is: A becomes A-; A- becomes B+; etc.; if your final grade is an A and you have six absences, the grade will be recorded as a B+). EVALUATION You will receive grades for singing (hearings in class, a midterm, and a final) and dictation (homework assignments, quizzes, a midterm, and a final). Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We MUSI 1170 home Page 2 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. On days hearings are scheduled, you are responsible for learning and coming to class prepared to sing all assigned material. When called upon in class to sing, you must sing. If you do not sing, you will receive an F for that hearing. Otherwise, after you sing your instructor will assign you a grade of either A (you were prepared and sang the assignment well), B (you were prepared and sang most of the assignment well, with some minor problems), or F (you were unprepared or unable to sing the assignment at an acceptable level). If you receive an F for this reason, you have the option to make up that hearing within one week for a better grade. Make an appointment to see your instructor; when you appear for the appointment, you may be asked to sing any material assigned for the day on which you received an F. NOTE WELL: you will NOT necessarily be asked to sing exactly the same material that you sang the first time. Any assignment made up in this manner will receive a grade one full letter lower than what it otherwise would have been (e.g., A becomes B, B- becomes C-, etc.). You MUST make up the hearing within one week; you may NOT, for example, make up all your Fs at the end of the semester. Regarding reporting of grades: Dictation homework assignments and quizzes will be returned to you with grades. Your singing grades will not be announced in class; you may ask your instructor to see a record of your singing grades at any time. The final grade will be computed as follows: Grade distribution will be according to the standard scale of percentages, as follows: NOTE WELL: School of Music policy is that a grade of at least C- is necessary to Singing grade 50% divided as follows: in-class singing grades 25% midterm exam singing grade 12.5% final exam singing grade 12.5% Dictation grade 50% divided as follows: assignments 10% exams and quizzes 40% (one exam equals two quizzes) A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 F: below 60 MUSI 1170 home Page 3 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 continue in the aural skills sequence. Any grade below C- will be considered noncontinuing, students who earn below a C- will not be permitted to enroll in Aural Skills II. ASSIGNMENTS AND QUIZZES Dictation homework assignments provide a means for you to practice taking dictation and a means for your instructor to evaluate your progress and proficiency with the skill. Assignments are due at the beginning of class on the date indicated on the schedule. Late assignments will not be accepted without a written, valid excuse. If you cannot provide such an excuse, your grade for the assignment will be penalized one letter grade for each day the assignment is late. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule online to see whatmaterial was assigned, and you should obtain notes on the relevant material from a classmate. No dictation assignment grades will be dropped. Dictation quizzes provide a means for your instructor to test your mastery of the skill and are given in class on a regular basis. Quiz dates are posted on the course schedule.Make-up quizzes will not be given: if you miss a quiz you must provide a written, valid excuse. If you cannot do so your quiz grade will be 0; if your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Dictation and singing exams also provide a means for your instructor to test your mastery of the skills. Exam dates are posted on the course schedule. Make-up examswill only be given if you provide a written, valid excuse for why you missed the exam. If you cannot do so your grade for a missed exam will be 0. The midterm dictation exam will be given in class on the date indicated on the schedule; midterm singing exams will be given in individual appointments with your instructor. The final dictation exam will be given in class at the designated final exam time for the course (Thursday December 14 2006, but the exam will start at 9:00am—not at 8:00am as listed on the final exam schedule). Plan to be at the dictation exam for one hour. Final singing exams will be given in individual appointments with your instructor. Please plan in advance for the exams—they cannot be given at alternate times for individual students. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. MUSI 1170 home Page 4 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last day to drop without the course counting toward "attempted credits": 09/05. Last day to drop or withdraw with no grade: 09/18. After this date grade options for drops/withdrawals are W, Q and F. Last day to drop or withdraw from the course: 11/01. A grade of W, Q, or F is possible. Course enrollment status cannot be changed after this date. Last updated: 11 December, 2006 URL: http://www.uh.edu/~adavis5/musi1170© 2006, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the link updated).NOTES: -- CLASS ROSTERS: see what class you're in (THIS FILE IS THE MOST CURRENTCOPY OF THE ROSTERS) --unless instructed otherwise or noted on the course schedule, class will meet with Professor Davis every other Tuesday in room 108 (these dates are in bold on the schedule below); class will meet every other day in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All "MSS" references are to the Benjamin, Horvit, and Nelson Music for Sight Singing. All "MET" references are to the Horvit, Koozin, and Nelson Music for Ear Training. -- Files in .pdf format are marked with the PDF logo. To read the PDF files, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--on in-class singing hearings: You must be prepared to sing the assigned material in class on the days hearings are scheduled. Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. See the syllabus for more details on in-class singing grades. --assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. WEEK DATE TOPICS, HANDOUTS, AND HEARINGS HOMEWORK ASSIGNMENTS DUE AND SUGGESTED PRACTICE MATERIAL 1 08/22 course introduction. MSS ch. 1, pp. 4–6, and class handout on scale patterns. Fundamentals of pitch and solfegge; major scales on syllables. Material for today: material from today 08/24 MSS ch. 1, pp. 5–7. Singing steps and whole steps: be able to sing, given any starting pitch, whole and half steps above and below that pitch. Practice this. Practice: singing whole and half steps; major scales ascending and descending from any note; exercises, MSS ch. 1 pp. 5–7; major-scale pitch patterns on the class handout. MUSI 1170 schedule Page 1 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 Class handout on scale patterns; major scales on syllables; singing pitch patterns from major scales; establising keys aurally. Introduction to basic elements of dictation. Scale patterns for practice notes from today: steps for establishing keys essential elements of dictation 2 08/29 practice: establishing keys aurally, given different tonics; singing half and whole steps; major-scale pitch patterns (from the class handout; on syllables but with no rhythms); basic dictation. Hearings: major scales, ascending or descending from any starting pitch (we will give you the starting DO); major-scale pitch patterns (class handout): we will give you the starting pitch. Practice: MET ch. 1, pp. 23–24 (recognizing scales: be able to say if the scale is major or not; click here for answers )08/31 More on establishing keys aurally, given different tonics; major-scale pitch patterns (syllables, no rhythms). Hearings: major scales; major-scale pitch patterns (class handout); now add MSS, pp. 5– 7, nos. 1–15. Practice: MET p. 32–34, nos. 1– 18. Practice notating rhythms using proto-notation. 3 09/05 MSS ch. 2, pp. 10–13. more on fundamentals of rhythm and meter; introduction to protonotation; simple duple and triple meters; conducting duple and triple meters; basic dictation with syllables and proto-notation. notes from today Practice: MET ch. 2, pp. 25–28 (rhythmic dictation); use protonotation on a separate piece of paper, or in the workbook 09/07 Practicing dictation with proto-notation; singing simple duple and triple meters. Hearings: continue MSS pp. 8–9, nos. 10–22; p. 9, nos. 1–3 (be prepared to sing both lines). Practice: continue with MET ch. 2, pp. 25–28 (rhythmic dictation); use proto-notation on a separate piece of paper, or in the workbook 4 09/12 Hearings: MSS p. 14–16, nos. 1–9. Singing must be on syllables. Dictation practice. Practice: MET ch. 2, p. 32 nos. 1–6 (scale patterns); notate with syllables and proto-notation, then translate to standard pitch and rhythm notation 09/14 Dictation quiz 1. (You'll be required to useproto-notation—no real notation accepted.) Hearings: MSS p. 14–16, nos. 1–9. Singing Practice: continue MET p. 32, nos. 1–6. MUSI 1170 schedule Page 2 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 must be on syllables. Dictation practice. 5 09/19 Translating protonotation to standard notation; dictation practice using syllables and notation. Singing with conducting. MSS ch. 2, pp. 16–17 nos. 1–6: patterns with more skips. notes Practice: MET pp. 33–34 (scale patterns with more skips); notate pitch and rhythm using proto- and standard notation. 09/21 Dictation quiz 2. (We'll continue to requireprotonotation ONLY on this quiz—no real notation.) MSS ch. 2, pp. 18–19 nos. 1–10: melodies. Hearings: Hearings: MSS p. 16–17, nos. 1–6. Practice: MET ch. 2, pp. 35–37 (melodic dictation). 6 09/26 Hearings: MSS pp. 18–19, nos. 1–10: singing must be on syllables with conducting. Dictation practice: dictations with real notation. Practice: MET ch. 3, pp. 41–43 (scale patterns with more skips) 09/28 Hearings: MSS pp. 18–21, nos. 1–23. Singing must be on syllables with conducting. Dictation practice: dictations with real notation. Practice: MET ch. 3, pp. 44–46 (melodic dictation) 7 10/03 Today: sign up for midterm singingappointments. These will be first come, firstserve. Come to class early to get your choice of times. Appointments will begin with the next class. Hearings: MSS pp. 24–25, nos. 1–10. 10/05 Midterm exam, part 1. Midterm dictation exam in class, followed by individual singing appointments. Midterm dictation exam: these will be given in class today, Thursday of week 7 (10/05). There will be two dictations, at exactly the same length and level of difficulty as those we've been practicing in class and those we've had on quizzes. Class will be dismissed when the dictation exam is finished. Midterm singing exam: these will be given in individual appointments on Thursday of week 7 (10/05) and Tuesday of week 8 (10/10). You may sign up for an appointment on Tuesday week 7 (10/03). If you do not sign up for an appointment, or do not come to your scheduled appointment, you will receive a 0 for that Prepare for the midterm. MUSI 1170 schedule Page 3 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 portion of the exam. When you arrive for your appointment you will be asked to sing two examples from the assigned material listed below. A clean copy of the material will be provided for you—there is no need to bring your own (and you won't be allowed to use your own copy if you do bring it). Grading will be according to the same criteria used in class, but all grades will be used (i.e., you will receive A, B, C, D, or F—with no opportunity to make up the grades below A or B). You will not necessarily be informed of your grade at the end of your appointment, but you're welcome to ask about it after all appointments have been completed. Prepare the following material: MSS pp. 25–26 nos. 11–15, 17, 19, and 20. 8 10/10 Midterm exam, part 2 (more individualsinging appointments). Class will not meet today. 10/12 Introducing tonic-dominant harmony:inversions and figured bass symbols. Arpeggiation exercises in root position and arpeggiations in close voice leading with all inversions. notes Handout: reference table, figured bass sybols for triadic inversions .Also: singing alto clef, on letter names with conducting. MSS p. 47 nos. 1–3. 9 10/17 Reviewing chordal inversions. Arpeggiation exercises: I V I (V above and below) in close voice leading with all inversions. Dictation practice. Hearings: MSS p. 47, nos. 1–3 (on letter names while conducting); arpeggiations: I V I (both above and below to reach V) 10/19 Arpeggiation exercises: I V I (V above and below) in close voice leading with all inversions. Also new arpeggiations: I V7 I (V7 above and below). Dictation practice. Hearings: MUSI 1170 schedule Page 4 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 MSS p. 48, nos. 4–6 (on letter names while conducting); arpeggiations: I V I I V6 I I V6/4 I I6 V6/4 I6 I6/4 V I6/4 Dictation quiz 4. 10 10/24 Arpeggiations using tonic and dominant seventh in close voice leading with all inversions. Longer melodic dictations. Reference table for inversions of seventh chords .notes 10/26 More arpeggiation practice: I and V7 in close voice leading with inversions. Hearings: MSS p. 35 nos. 6–12; MSS p. 48 nos. 7–10; arpeggiations: I V I I V6 I I V6/4 I6 I6 V6/4 I6 I6/4 V I6/4 11 10/31 Practice: arpeggiations, tonic and dominant with close voice leading in all inversions. Hearings: MSS p. 35 nos. 6–12 and p. 48 nos. 7–10 (same as last class); arpeggiations: arpeggiating I and V7 in root position: I V7 I (both above and below to reach V) and arpeggiating I and V7 using smooth voice leading: I V6/5 I I V4/3 I6 I6 V4/3 I6 I6 V4/2 I6 I6/4 V7 I6/4 Dictation quiz 5. 11/02 CLASS WILL NOT MEET TODAY—TAKE THE DAY OFF. MUSI 1170 schedule Page 5 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 12 11/07 Anacruses (upbeats) and quadruple subdivision of the beat. Introducing the subdominant: arpeggiating I IV I (IV above and below); I, IV, and V in close voice leading with inversions (only the assigned progressions). Bass line dictations. Practice: MSS: pp. 49–50, nos. 1–5; p. 49 nos. 11–14 (alto clef); arpeggiations: I V6/5 I I V4/3 I I6 V4/3 I6 I6 V4/2 I6 I6/4 V7 I6/4 Practice: harmonic dictation using the MET CD and workbook: unit 4, pp. 74–85. 11/09 Dictation quiz 6 (melodic dictation). Hearings: MSS: pp. 49–50, nos. 1–5; p. 49 nos. 11–14 (alto clef); arpeggiations: I V6/5 I I V4/3 I I6 V4/3 I6 I6 V4/2 I6 I6/4 V7 I6/4 Practice: harmonic dictation using the MET CD and workbook: unit 4, pp. 74–85. 13 11/14 Note on the arpeggiation exercises: these will now include I, IV, and V in root position and with inversions. You should be able to reach the subdominant above OR below the tonic. Warning: reaching IV below the tonic is difficult—practice this. Hearings: MSS: pp. 49–50, nos. 1–5; p. 49 nos. 11–14 (alto clef); arpeggiations: I IV I I IV V I I IV V7 I (both above and below to reach IV in all progressions) Practice: harmonic dictation using the MET CD and workbook: unit 4, pp. 74–85. 11/16 More arpeggiation practice: I, IV ,and V using inversions. Melodies from MSS with I, IV, and V (MSS pp. 48–49, nos. 6–10). Note on the arpeggiation exercises: these will now include I, IV, and V in root position and with inversions. You should be able to reach the subdominant above OR below the tonic. Warning: reaching IV below the tonic is difficult—practice this. Hearings: MSS: pp. 50–51, nos. 6–10 (on letter names for those in alto clef); arpeggiations: I IV I I IV V I I IV V7 I Practice: harmonic dictation using the MET CD and workbook: unit 4, pp. 74–85. MUSI 1170 schedule Page 6 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 (both above and below to reach IV in all progressions) 14 11/21 more arpeggiation practice; melodies with I, IV, and V: MSS ch. 5, pp. 46 (starting with no. 4)– 54; dictation with I, IV, and V. Bass line dictations, now with chordal accompaniment. Hearings: MSS: pp. 50–51, nos. 6–10 (on letter names for those in alto clef); arpeggiations: I I6 IV V I I I6 IV V V7 I I IV6 V7 I I IV6 I6/4 V7 I 11/23 Thanksgiving holiday, no class No new assignment over the break (but we will hear the arpeggiations in class on Tuesday). 15 11/28 Dictation practice. Singing practice with melodies, MSS pp. 49–50. Hearings: MSS: pp. 50–51, nos. 6–10 (on letter names for those in alto clef); arpeggiations using I, IV, and V with inversions: I I6 IV V I I I6 IV V V7 I I IV6 V7 I I IV6 cad6/4 V7 I 11/30 Review, catch up, and practice. Sign up for final exam singing appointments today. Final exam information: Dictation: The final dictation exam will be given Thursday December 14 at 9:00am (NOTE THE TIME!) in your regular classrooms. It should take about 30 minutes. The exam will comprise two melodic dictations and two bass-line dictations, each at about the length and level of difficulty we've been hearing in class. Singing: Final singing exams will be given in private appointments. You should have signed up for a time with your instructor. You will be required to sing three items in your appointment: 1) a melody in treble or bass clef, on solffege syllables with conducting; 2) a melody in alto clef, on letter names with conducting; and 3) one arpeggiation exercise, on syllables with conducting. You should prepare the following material: Melodies: material will be drawn from the singing anthology, nos. 11–22 on pp. 51–53. Arpeggiations: you will be asked to sing one of these: I I6 IV cad6/4 V7 I or MUSI 1170 schedule Page 7 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/22/2007 Final dictation exam: Thursday December 14 2006, 9:00–10:00am. This time is the designated final exam time for the course, but note the time: the exam will start at 9:00am—not at 8:00am as listed on the final exam schedule. The exam will last one hour and will consist of melodic, 2-part, and harmonic dictations, all at the length and level of difficulty we've been hearing in class. Final singing exams: Individual appointments for these will be scheduled during final exam week (the week of Mon 12/11) in time slots TBA. The exam will comprise singing two melodies from an assigned set and one arpeggiation exercise from an assigned set. One of the melodies will be in the alto clef, on letter names with conducting; the other will be in treble or bass clef, on syllables with conducting. I IV6 IV cad6/4 V7 I Last updated: 4 December, 2006 URL: http://www.uh.edu/~adavis5/musi1170© 2006, Andrew Davis | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 1311: Theory II time: MWF 8:00–8:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi1311 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note on rooms and class logistics: unless instructed otherwise, class will meet with Professor Davis every Monday in room 108; class will meet Wednesdays and Fridays in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis at uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses and other usefulinformation) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 9am and 5pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS Tim Duhr ( timothy_duhr at yahoo.com)Kara Menger ( mdmurphy at uh.edu)Page 1 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 Miranda Murphy ( peregrine223 at yahoo.com)COURSE DESCRIPTION AND LEARNING OUTCOMES This course continues the material begun in Music Theory I (MUSI 1310). Topics include harmony and voice-leading procedures with modal mixture, applied dominant chords, and modulations; and analysis of basic tonal phrase rhythm, including standard periodic phrase structures. The basis for the course is the music of the Western classical tradition, in particular that of the tonal (common-practice) era—music from approximately 1700 to 1900. Students will become fluent in: basic musical materials (intervals, scales, chords); diatonic tonal voice leading and harmonic progressions, as implemented in four-part SATB writing; figured and unfigured bass realization; melody harmonization; and harmonic analysis of excerpts from the tonal literature. Students also will achieve analytical and aural fluency with basic tonal phrase designs. PREREQUISITES You must have received a grade of C- or better in Music Theory I (MUSI 1310). You must be enrolled concurrently in Aural Skills II (MUSI 1171). REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Techniques and Materials of Music: From the CommonPractice Period Through the Twentieth Century . 6th edition (2003).2. Benjamin, Horvit, and Nelson. Music for Analysis. 6th edition (2007). Also: pencils, erasers, and music manuscript paper. Sheets of manuscript paper will be needed for homework assignments. A packet of 8.5x11 manuscript paper in various formats is available at the University Copy Center (in the University Center, 713 741 5200). Use these as masters from which to make as many photocopies as needed. Ask at the Copy Center for packet no. 72, or ask for it under my name and the course number (MUSI 1311). If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. EVALUATION **your lowest two assignment grades will be dropped when the final grade is computed Grade distribution will be according to the standard scale of percentages, as follows: assigments and quizzes:** 40% exam 1: 20% exam 2: 20% exam 3: 20% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 Page 2 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 NOTE WELL: School of Music policy is that a grade of at least C- is necessary to continue in the theory sequence. Any grade below C- will be considered noncontinuing; students who earn below a C- will not be permitted to enroll in Music Theory III. ALSO: A PASSING GRADE ON THE THEORY II FINAL EXAM (WHICH WILL BE COMPREHENSIVE) IS A PREREQUISISTE FOR MUSIC THEORY III. (That is: it is possible to pass the course, fail the final, and not be permitted to enroll in Theory III.) ASSIGNMENTS AND QUIZZES Expectations for the course include keeping up with the assigned daily work. In that sprit: Assignments are due at the beginning of class on the date indicated, and the due dates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. LATE ASSIGNMENTS WILL BE ACCEPTED FOR PARTIAL CREDIT ONLY THROUGH THE START OF THE NEXT CLASS MEETING, AND WITH A PENALTY OF ONE LETTER GRADE FOR EACH DAY THE ASSIGNMENT IS LATE. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule onlineto see what material was assigned, and you should obtain notes on the relevant material from a classmate. Remember that your lowest two assignment grades will be dropped. Quizzes provide a means for your instructor to test your comprehension of the material covered in class and are scheduled regularly. Quiz dates are posted on the courseschedule . Quizzes are normally short and do not occupy the entire class meeting.Make-up quizzes will not be given: if you miss a quiz you must provide a written, valid excuse; if you cannot do so your quiz grade will be 0. If your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Exams also provide a means for your instructor to test your mastery of the material. Exam dates are posted on the course schedule. Make-up exams will only be givenif you provide a written, valid excuse for why you missed the exam. If youcannot do this, your grade for the missed exam will be 0. The final exam (the comprehensive exam 3) will be given on the scheduled final exam date for this course (Wednesday 09 May, 8:00–11:00am). Please plan in advance—the exam cannot be given at alternate times for individual students, and make-up exams will not be given without a written, valid excuse for why you missed the exam. And please plan to be at the exam for all three scheduled hours. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. F: below 60 Page 3 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last day to drop without the course counting toward "attempted credits" (12th class day) : Monday 01/29. Last day to drop or withdraw with no grade: Tuesday 02/13. After this date grade options for drops/withdrawals are W, Q and F. Last day to drop or withdraw from the course: Monday 04/03. A grade of W, Q, or F is possible. Course enrollment status cannot be changed after this date. Last updated: 15 January, 2007 URL: http://www.uh.edu/~adavis5/musi1311© 2007, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the link updated)NOTES: -- CLASS ROSTERS: see what class you're in. (This file is the most currentversion of the rosters.) --unless instructed otherwise or noted on the course schedule, class will meet with Professor Davis every Monday in room 108; class will meet Wednesdays and Fridays in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All chapter, page, "BHN," and "text" references are to the Benjamin, Horvit, and Nelson, Techniques and Materials of Music, 6th ed. "Anthology" references are to the Benjamin, Horvit, and Neslon, Music for Analysis, 6th ed. --many files are in PDF format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here .--assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. WEEK DATE TOPICS AND HANDOUTS ASSIGNMENT DUE 1 01/15 No class: Martin Luther King, Jr. Day. 01/17 Large class today in room 108.[CLASS WAS CANCELLED TODAY BECAUSE OF WINTER WEATHER] Course introduction. Review of consonance and dissonance. The harmonic series (the "overtone series"). Part V ch. 2. --Examples of consonance and dissonance I used in class. No assignment. 01/19 Large class today in room 108. More on the overtone series. Then review: --voice-leading principles --models of tonal progression (T–PD–D–T) --figured and unfigured basses -- Observations on the overtone series and its relationship totonal music. No assignment. 2 01/22 More review: understanding consonance and dissonance; Assignment 1. MUSI 1311 schedule Page 1 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 harmonic functions. -- my guide to harmonic functions-- sample models of functional harmonic progressions-- uses of the leading-tone triad (we'll talk about thisWednesday and Friday). 1. write the first 12 partials (fundamental plus the first 11 overtones) on Eb, F, and A. Use thispage as a template .NOTE: we'll just keep this and turn it in Wednesday. 01/24 Ch. 14: the leading-tone triad -- uses of the leading-tone triadAnother useful reference for you: -- basic principles for working with unfigured bass lines orunharmonized melody lines Turn in assignment 1 today. 01/26 Assignment 2. p. 96 no. 1a and 1b. Realize these figured basses. Label the chords completely, add upper voices, and label the harmonic functions. Keep in mind the following: --How many phrases are in these lines? and how does this affect your labeling of the functions? --One of the lines has a deceptive move (which one?). How does this effect your interpretation of the functions? 3 01/29 Working with unfigured basses and unharmonized melodies. More on reductive analysis techniques. Ch. 15. Variant qualities of triads (variants in the minor mode; modal mixture). handout from today on modal mixture .Assignment 3. P. 97 no. 2c. Harmonize this melody, keeping in mind the correct organization of phrases and cadences. Youshould use the viio6 chord at least three times. Label all chords and functions. 01/31 Assignment 4.MUSI 1311 schedule Page 2 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 02/02 Assignment 5. a) p. 103 no. 1a. Label these chords correctly. The key is given for you. b) p. 105 no. 4c. Realize this figured bass. Keep in mind the meaning of each figured bass symbol. YOU DO NOT HAVE TO LABEL FUNCTIONS (but how might you interpret them if you had to in this melody??). Remember that the "2" at the end of m. 2 is the same as our "4/2" (this textbook uses a different abbreviation for the 6/4/2 position of the chord). 4 02/05 More on ch. 15, modal mixture (and variant chord qualities in the minor mode). Handout from today: uses of the minor dominant and the subtonic chords .Assignment 6 .02/07 Assignment 7.02/09 QUIZ 1. Topics covered through the last class meeting are possible: consonance vs. dissonance (identifying or explaining), the overtone series (writing it), tonal functions (correctly labeling them in a progression), leading tone triads (setting figured and unfigured basses, and unharmonized melodies, that may use this chord), mode mixture (labeling modally mized chords; and setting figured and unfigured basses, and unharmonized melodies, that may use modal mixture), use of idiomatic patterns in melodies and basses (and using correct harmonies suggested by these patterns), use of the minor dominant and subtonic chords (in basses, figured or unfigured, and in the context of the standard bass/melody patterns associated with these chords). Keep in mind that quizzes last about 20 minutes. No assignment. Prepare for quiz 1. 5 02/12 Ch. 16, sequences. Handout from today on sequences .Assignment 8. P. 101, no. 4d. Realize this figured bass, and label harmonic functions MUSI 1311 schedule Page 3 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 and cadences. Be careful: what is the chord in m. 4, and what is the best way to label it? (See the textbook, p. 99, example IB for a hint.) 02/14 Handout from today on sequences. (We'll talk about thistoday... we didn't use it on Monday.) No assignment. 02/16 No assignment. 6 02/19 More on sequences. Assignment 9.PLEASE NOTE: If you have a conflict with this week's exam because of the wind ensemble/women's chorus trip, you must contact me ( adavis at uh.edu)for details on arranging an alternate time to take the exam. 02/21 Review for the exam. Come to class with questions on exam material. No assignment. 02/23 Exam 1. (on material covered in weeks 1–6.) Study guide for exam 1 .STUDY FOR THE EXAM: Study guide for exam 1. Study guide for exam 1 .7 02/26 Ch. 17. The supertonic seventh chord. Handout from today on the supertonic seventh chord .Score: Bach, C major Prelude (Prelude 1) from The Well-Tempered Clavier Book I.No assignment. 02/28 Assignment 11.03/02 Assignment 13. p. 114 nos. 2a and 2b. Realize these figured basses, labeling the chords and harmonic MUSI 1311 schedule Page 4 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 functions. Every time you find a ii7 chord (or some inversion), prepare the 7th correctly and mark this with a slur. Then resolve the seventh correctly, and mark this with a straight line ( see a sampleof what I mean ).8 03/05 Ch. 18–19. The leading-tone seventh chord and other diatonic sevenths. Handout on the leading-tone seventh chord .Assignment 14. Page 114, no. 1. These are fragments of melody lines for you to harmonize. Each will contain one example of a ii7 chord. In each case, if possible, prepare the 7th of the ii7 correctly and mark this with a slur (see a sample of what I mean). Then resolve the 7th correctly and mark this with a line. DO ONLY THE FOLLOWING EXERCISES: --part a, first two progressions (A major and Bb major). Use the ii chord indicated; support the other notes with an appropriate harmony to make an idiomatic chord progression. NOTE: in the A-major progression, how can you avoid parallel fifths between the first two chords? --part b, second progression (E minor). Use a ii6/5 MUSI 1311 schedule Page 5 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 chord at the "*". What chord will support the first note? If you do this one correctly, the seventh in the ii6/5 chord will be "unprepared." --part d, first progression. Use a ii4/2 chord at the "*". What harmony should support the other two notes? What chord would we ordinarily see in place of the ii4/2 in this progression? 03/07 Assignment 15.03/09 Assignment 16. 1. On a sheet of manuscript paper, write these chords using a treble clef and accidentals as necessary (do not use key signatures): --vii fullydiminished- seventh chords in D minor, F minor, and C minor --vii halfdiminished seventh chords in G major, Eb major, and A major --vii fullydiminished seventh chords in Ab major, E major, and F# major 2. P. 120 no. 4c. Realize this figured bass; label the chords and harmonic functions. 03/12 No class: spring break week. 03/14 03/16 9 03/19 Applied chords and tonicizations. No assignment. MUSI 1311 schedule Page 6 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 handout 1 on applied chords (music examples) handout 2 on applied chords (sample progressions) 03/21 Applied dominants: spelling; determining function. Applied diminished seventh chords. Assignment 17. This is a review of leading-tone sevenths, other diatonic seventh chords, and preparation and resolution of 7ths in the voice leading. P. 119 no. 3a. Harmonize this melody, using these instructions to help you: --where appropriate, expand the tonic using standard formulas and patterns we've discussed in class. --every time you are told to use a leading-tone seventh chord, the note in the melody is tied over from the previous measure. In every case, make the chord just before the leading-tone seventh a supertonic triad in some inversion. (Why does this work so well for the voice leading?) --In the next-tolast measure, if you write the leadingtone seventh chord on beat 1 correctly, the cadential 6/4 will need to have an irregular resolution (why??). This is OK!! (We talked about this in class before spring break.) 03/23 Harmonic analysis with applied dominant chords. Unfigured Assignment 18. MUSI 1311 schedule Page 7 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 basses with applied dominant chords. Make a reductive analysis of excerpt no. 154 in the anthology. This time you're not being provided with a sample beginning of the analysis. Remember: you're NOT rewriting the piece. You're showing what the chords are, what notes they contain, and how long they last. After you make the analysis, label the cadences, then label the functions. Be careful with the functions: where are they located? Is there more than one way to interpret the progression? 10 03/26 Expressive function of chromaticism and applied chords in harmonic progressions: Monteverdi, "Pur ti miro" from L'Incoronazione di Poppea (1643) and Purcell, "Dido's Lament" from Dido and Aeneas (1689). Copies of the Dido's Lament score .Copies of the Monteverdi "Pur ti miro" score .Assignment 19 . Youmust be able to write major-minor seventh chords to complete this assignment (it's easy if you can do this). 03/28 Reviewing applied dominants, applied diminished sevenths, figured and unfigured basses, and other related topics. Assignment 20: --p. 132 nos. 1 and 2 (NOT the viio7 chords) --last three chords in no. 5 (also p. 132). Be sure to add the correct accidentals to the figured bass symbols. Use a clean sheet of manuscript paper, be clear about what question you're answering, and make your work neat and legible. MUSI 1311 schedule Page 8 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 03/30 Assignment 21: --p. 133 no. 7b. Again, be sure to add the correct accidentals to the figured bass symbols. 11 04/02 (exam review). Study guide for exam 2.Note: the last day to drop or withdraw from the course is Tuesday Apil 03 (grade options are W, Q and F). Study for the exam. Study guide for exam 2 .04/04 Exam 2. (on material covered in weeks 6–10.) Study for the exam. Study guide for exam 2 .04/06 Class will meet today. Topics TBA. 12 04/09 Modulations: direct modulations, common-chord modulations, pivot chords, recognizing and labeling modulations in given harmonic progressions. handout on modulations No assignment. 04/11 Harmonic analysis with modulations: Schubert, "Heidenroslein." Assignment 22 .04/13 Assignment 23.13 04/16 More on modulations. No assignment. 04/18 Harmonic analysis with modulations: Schubert, "Heidenroslein" and others. handout: "Heidenroslein" score .Assignment 24 .04/20 More on harmonic analysis and recognizing modulations. Assignment 25: provide a harmonic analysis of examples 207 and 215 in the anthology. For each: --photocopy the example (BEFORE writing on it!). --provide complete Roman numeral and figured bass labels (the does NOT m ean label every beat of the example!!—use your judgment on where harmonic labels are needed and provide only those that are necessary). MUSI 1311 schedule Page 9 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 --label the modulation correctly. --note that example 215 contains TWO modulations: one to a new key, and one back to the original key. Be sure to label both. 14 04/23 More on harmonic analysis and recognizing modulations. Defining "closely-related" keys. No assignmnent. 04/25 Assignment 26: provide a harmonic analysis of examples 214 and 220 in the anthology. Follow the directions for assignment 7. Also: --in example 214, what kind of 6/4 chord is that in the first measure of the excerpt? (Review the types of 6/4 chords if you've forgotten.) Label this chord correctly. 04/27 Assignment 27. --Part 1: p. 140 no. 6 a and b. These are figured basses that modulate to new keys. You must find the modulation in order to realize the figured bass. Complete the realization in SATB format, and be sure to provide Roman numeral and figured bass analysis. --Part 2 (turn in answers to these questions with your figured bass realizations—on the back, or on a separate sheet of MUSI 1311 schedule Page 10 of 11 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 paper): For each of the following tonic keys, identify the 5 "closely-related" keys: Eb major, F minor, and B major. 15 04/30 Come to class prepared with questions on the exam material. Study guide for the final exam .Final exam for this course: Wednesday 09 May, 8:00–11:00am. Exams will be given in the room in which your small section meets. The final exam is comprehensive (any material from the semester might appear). NOTE WELL: A PASSING GRADE ON THIS FINAL EXAM IS APREREQUISISTE FOR MUSIC THEORY III. (That is: it is possible to pass the course, fail the final, and not be permitted to enroll in Theory III.) Study guide for the final exam .Last updated: 27 April, 2007 URL: http://www.uh.edu/~adavis5/musi1311© 2007, Andrew Davis | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 1171: Aural Skills II time: TTh 8:00–8:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi1171 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note on rooms and class logistics: unless instructed otherwise, class will meet with Professor Davis every other Tuesday in room 108; class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis. Domain name uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses and other usefulinformation) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 9am and 5pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS Tim Duhr ( timothy_duhr at yahoo.com)Kara Menger ( mdmurphy at uh.edu)Music 1171 syllabus Page 1 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 Miranda Murphy ( peregrine223 at yahoo.com)COURSE DESCRIPTION AND LEARNING OUTCOMES Like the previous course(s) in the aural-skills sequence, this is a course in developing your skills in listening to and understanding music. Your acquisition of these skills is measured in two ways: (1) your ability to reproduce musical patterns and melodies with your voice, and (2) your ability to accurately transcribe music into notation upon hearing it. The former is sometimes known as "sight singing" (although it does not necessarily involve singing music on sight); the latter is known as "dictation." You will be tested in each of these areas in class (by singing in class, both for practice and for a grade; and by taking dictation in class, both for practice and for a grade), on dictation homework assignments (by taking dictation from the CD that came with the textbook), and on exams (a midterm and a final, both of which will entail singing for your instructor and taking dictation). Everyone will be heard singing in class on a regular basis. Students will become fluent in: singing (solo, and in two- or three-part ensembles) and melodic dictation in major and minor modes; first- and second-species 2-part dictation; basic harmonic dictation in major and minor modes; and basic interval and chord-quality identification. Keep in mind: this is not a course in singing; we will not discuss vocal technique in any meaningful detail, and you will not be evaluated on your vocal quality. PREREQUISITES You must have received a grade of C- or better in Aural Skills I (MUSI 1170). You must be enrolled concurrently in Music Theory II (MUSI 1311). REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Music for Sight Singing. 3rd edition (2000). 2. Horvit, Koozin, and Nelson. Music for Ear Training (2001). Also: pencils, erasers, and music manuscript paper. Sheets of manuscript paper will be needed for activities in class and for homework assignments. A packet of 8.5x11 manuscript paper in various formats is available at the University Copy Center (in the University Center, 713 741 5200). Use these as masters from which to make as many photocopies as needed. Ask at the Copy Center for packet no. 72, or ask for it under my name and course MUSI 1311 (this is the Theory II course number). If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. ATTENDANCE This is a course in skill development and one requiring regular class participation. Your attendance is crucial. Your final course grade will be lowered one + or - level for every absence you accumulate beyond four (4) (that is: A becomes A-; A- becomes B+; etc.; if your final grade is an A and you have six absences, the grade will be recorded as a B+). EVALUATION You will receive grades for singing (hearings in class, a midterm, and a final) and Music 1171 syllabus Page 2 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 dictation (homework assignments, quizzes, a midterm, and a final). Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. On days hearings are scheduled, you are responsible for learning and coming to class prepared to sing all assigned material. When called upon in class to sing, you must sing. If you do not sing, you will receive an F for that hearing. Otherwise, after you sing your instructor will assign you a grade of either A (you were prepared and sang the assignment well), B (you were prepared and sang most of the assignment well, with some minor problems), or F (you were unprepared or unable to sing the assignment at an acceptable level). If you receive an F for this reason, you have the option to make up that hearing within one week for a better grade. Make an appointment to see your instructor; when you appear for the appointment, you may be asked to sing any material assigned for the day on which you received an F. NOTE WELL: you will NOT necessarily be asked to sing exactly the same material that you sang the first time. Any assignment made up in this manner will receive a grade one full letter lower than what it otherwise would have been (e.g., A becomes B, B- becomes C-, etc.). You MUST make up the hearing within one week; you may NOT, for example, make up all your Fs at the end of the semester. Regarding reporting of grades: Dictation homework assignments and quizzes will be returned to you with grades. Your singing grades will not be announced in class; you may ask your instructor to see a record of your singing grades at any time. The final grade will be computed as follows: Grade distribution will be according to the standard scale of percentages, as follows: Singing grade 50% divided as follows: in-class singing grades 25% midterm exam singing grade 12.5% final exam singing grade 12.5% Dictation grade 50% divided as follows: assignments 10% exams and quizzes (one dictation exam equals two dictation quizzes) 40% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 Music 1171 syllabus Page 3 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 NOTE WELL: School of Music policy is that a grade of at least C- is necessary to continue in the aural skills sequence. Any grade below C- will be considered noncontinuing; students who earn below a C- will not be permitted to enroll in Aural Skills III. ALSO: A PASSING GRADE ON THE AURAL SKILLS II FINAL EXAM (WHICH WILL BE COMPREHENSIVE) IS A PREREQUISISTE FOR AURAL SKILLS III. (That is: it is possible to pass the course, fail the final, and not be permitted to enroll in Aural Skills III.) ASSIGNMENTS AND QUIZZES Dictation homework assignments may be assigned, at the professor's discretion. These provide a means for you to practice taking dictation and a means for your instructor to evaluate your progress and proficiency with the skill. Assignments aredue at the beginning of class on the date indicated on the schedule. Late assignments will not be accepted without a written, valid excuse. If you cannotprovide such an excuse, your grade for the assignment will be penalized one letter grade for each day the assignment is late. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule online to see what material wasassigned, and you should obtain notes on the relevant material from a classmate. No dictation assignment grades will be dropped. Dictation quizzes provide a means for your instructor to test your mastery of the skill and are given in class on a regular basis. Quiz dates are posted on the course schedule.Make-up quizzes will not be given: if you miss a quiz you must provide a written, valid excuse. If you cannot do so your quiz grade will be 0; if your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Dictation and singing exams also provide a means for your instructor to test your mastery of the skills. Exam dates are posted on the course schedule. Make-up examswill only be given if you provide a written, valid excuse for why you missed the exam. If you cannot do so your grade for a missed exam will be 0. The midterm dictation exam will be given in class on the date indicated on the schedule; midterm singing exams will be given in individual appointments with your instructor. The final dictation exam will be given in class at the designated final exam time for the course (Tuesday 08 May, but the exam will start at 9:00am—not at 8:00am as listed on the final exam schedule). Plan to be at the dictation exam for one hour. Final singing exams will be given in individual appointments with your instructor during final exams week. Please plan in advance for the exams—they cannot be given at alternate times for individual students. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES F: below 60 Music 1171 syllabus Page 4 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last day to drop without the course counting toward "attempted credits" (12th class day) : Monday 01/29. Last day to drop or withdraw with no grade: Tuesday 02/13. After this date grade options for drops/withdrawals are W, Q and F. Last day to drop or withdraw from the course: Monday 04/03. A grade of W, Q, or F is possible. Course enrollment status cannot be changed after this date. Last updated: 16 January, 2007 URL: http://www.uh.edu/~adavis5/musi1311© 2007, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the link updated). NOTES: --CLASS ROSTERS: see what class you're in. (This file is the most current version of the rosters.) --unless instructed otherwise or noted on the course schedule, class will meet with Professor Davis every other Tuesday in room 108 (these dates are in bold on the schedule below); class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All "MSS" references are to the Benjamin, Horvit, and Nelson Music for Sight Singing.All "MET" references are to the Horvit, Koozin, and Nelson Music for Ear Training.--many files are in PDF format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here .--on in-class singing hearings: You must be prepared to sing the assigned material in class on the days hearings are scheduled. Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. See the syllabus for more details on in-class singing grades. --assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. WEEK DATE TOPICS AND HANDOUTS ASSIGNMENTS 1 01/16 Review: MSS ch. 5. Arpeggiationswith I, IV, V, and V7. Introducing the minor mode. melodies from class today 01/18 MSS ch. 6. Minor mode. Minor-mode melodic dictation (MET Unit 6). four steps to succesful melodic dictation Flowchart for melodic dictation Practice: 1. Minor scales: natural, harmonic, melodic, on syllables, ascending and descending. 2. i V i; i iv i; i iv V i (for each of these be able to go above and below to reach iv and V). 2 01/23 hearings: arpeggiations, minor scales, and melodies. Due today: Prepare: Music 1171 schedule Page 1 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 Minor-mode melodic dictation (MET Unit 6). 1. Minor scales: natural, harmonic, melodic, on syllables, ascending and descending. 2. i V i; i iv i; i iv V i (for each of these be able to go above and below to reach iv and V). 3. MSS pp. 67–69 nos. 6, 8, 9, 10, 15. Treble/bass clef melodies on syllables with conducting; alto clef melodies on letter names with conducting. Dictation practice: MET unit 6, pp. 125–129. 01/25 hearings: arpeggiations, minor scales, and melodies. Minor-mode melodic dictation (MET Unit 6). Due today: Prepare: 1. Minor scales: natural, harmonic, melodic, on syllables, ascending and descending. 2. MSS pp. 67–69 nos. 6, 8, 9, 10, 15. 3. i V i; i iv i; i iv V i (for each of these be able to go above and below to reach iv and V). Dictation practice: MET unit 6, pp. 125–129. 3 01/30 Continue MSS ch. 6. Duetsinging. Melodic dictation with rests. Introducing 2-part dictation. Preview dictation homework assignments. Dictation practice: MET unit 6, pp. 125–129. 02/01 Continue MSS ch. 6. Dictation quiz 1: minor-mode melodic dictation. Due today: Dictation assignment 1: MET p. 130 nos. 1, 3. Please do these on the page in the workbook, then tear out the page on the perforation and turn it in. Please do not use a separate sheet of paper—we will not accept these if they are not on the workbook page. Prepare: 1. i V i; i iv i; i iv V i (for each of these be able to go above and below to reach iv and V). 2. MSS pp. 67–69 nos. 6, 8, 9, 10, 15. Dictation practice: MET unit 6, pp. 125–129. 4 02/06 hearings: melodies and duets. 2-part dictation. Due today: Prepare: 1. MSS pp. 67–69 nos. 6, 8, 9, 10, 15. 2. Duets. MSS pp. 70–72 nos. 1, 2, 4. On duet preparation (here and throughout the semester): You may either prepare these with a partner or allow your instructor to assign you a partner in class. In either case, Music 1171 schedule Page 2 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 you must be prepared to sing both parts—the instructor will decide what part you sing at the hearing in class. 02/08 hearings: duets. 2-part dictation. Due today: Prepare: 1. Duets. MSS pp. 70–72 nos. 1, 2, 4. You may either prepare these with a partner or allow your instructor to assign you a partner in class. In either case, you must be prepared to sing both parts—the instructor will decide what part you sing at the hearing in class. 5 02/13 MSS ch. 7 (music from the literature for singing). (Continuing with ch. 6 material also.) 2-part dictation. Intervals (P8, u, P5, P4) Chords (root-pos triads: maj, min) Due today: nothing. (don't bother with the dictation assignment that used to be listed here...) 02/15 hearings: arpeggiations. 2-part dictation. Intervals (P8, u, P5, P4) Chords (root-pos triads: maj, min) Due today: Prepare: Arpeggiations: i i6 iio6 V8/6/4--7/5/3 i i iv6(below) iio6 V8/6/4--7/5/3 i i VII III iio6 V8/6/4--7/5/3 i i VII iv6 iio6 V8/6/4--7/5/3 i Dictation practice: --You can practice hearing 5ths and 4ths using MET unit 1, pp. 5–8. Be warned: some of these 4ths and 5ths will be augmented or diminished. Use these exercises to pick out the perfect intervals. --You can practice hearing triads (maj, min, dim, aug) using MET unit 1, pp. 17–22. 6 02/20 Sign up for midterm singing appointments today. hearings: arpeggiations and 3- part singing. 2-part dictation. Intervals (P8, u, P5, P4) Chords (root-pos triads: maj, min, dim, aug) Dictation quiz 2: 2-part Due today: Prepare: 1. Arpeggiations: i i6 iio6 V8/6/4--7/5/3 i i iv6(below) iio6 V8/6/4--7/5/3 i i VII III iio6 V8/6/4--7/5/3 i i VII iv6 iio6 V8/6/4--7/5/3 i 2. 3-part singing, MSS pp. 76–78, nos. 6, 8 ON SYLLABLES (not text! And use the correct mode!). Treat these like the duets: Music 1171 schedule Page 3 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 dictation. You may either prepare them in groups of 3 or allow your instructor to assign you to a group in class. In either case, you must be prepared to sing any of the 3 parts—your instructor will decide what part you sing at the hearing in class. NOTE ON NO. 6: this is a canon ("round"): singer 1 starts at the beginning; singer 2 enters (starting at the beginning) at the "2." in the 7th full measure; singer 3 likewise enters (still starting at the beginning) at the "3." in th 14th full measure. Let me know if you have any questions on this. For no. 8, you only need to sing the while thing (2 lines of music) once. Dictation practice: --You can practice hearing 5ths and 4ths using MET unit 1, pp. 5–8. Be warned: some of these 4ths and 5ths will be augmented or diminished. Use these exercises to pick out the perfect intervals. --You can practice hearing triads (maj, min, dim, aug) using MET unit 1, pp. 17–22. 02/22 Dictation quiz 3: intervals, chords. hearings: 3-part singing. Intervals (P8, u, P5, P4) Chords (root-pos triads: maj, min, dim, aug) Due today: Prepare: 1. 3-part singing, MSS pp. 76–78, nos. 6, 8 ON SYLLABLES (not text! And use the correct mode!). Treat these like the duets: You may either prepare them in groups of 3 or allow your instructor to assign you to a group in class. In either case, you must be prepared to sing any of the 3 parts—your instructor will decide what part you sing at the hearing in class. NOTE ON NO. 6: this is a canon ("round"): singer 1 starts at the beginning; singer 2 enters (starting at the beginning) at the "2." in the 7th full measure; singer 3 likewise enters (still starting at the beginning) at the "3." in th 14th full measure. Let me know if you have any questions on this. For no. 8, you only need to sing the while thing (2 lines of music) once. Dictation practice: --You can practice hearing 5ths and 4ths using MET unit 1, pp. 5–8. Be warned: some of these 4ths and 5ths will be augmented or diminished. Use these exercises to pick out the perfect intervals. --You can practice hearing triads (maj, min, dim, aug) using MET unit 1, pp. 17–22. Music 1171 schedule Page 4 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 7 02/27 MSS ch. 8. supertonic, mediant, submediant triads and the tenor clef. Sight reading: methods and strategies. My handout on strategies for sight reading. Harmonic dictation (tonic, dominant, and dominant seventh). Melodic dictation with II and V7 (and inversions). (MET Unit 7.) Intervals (add 3rds and 6ths) Chords (root-pos triads: maj, min, dim, aug) 03/01 Midterm exams. All material covered through Thursday 02/22 is eligible for inclusion on the exams. This includes melodic and 2-part dictation, as well as interval identification (u, P4, P5, and P8) and chord-quality identification (maj., min., dim., and aug. root-position triads). The midterm dictation exam will be given in class today. Class will be dismissed after the dictation exam and instructors will hear midterm singing exams in private appointments (sign-up sheets have been provided, and everyone should have signed up for a time). Midterm singing exam material: 1. arpeggiations: you will be asked to sing one of the following: a) i i6 iio6 V8/6/4-- 7/5/3 i b) i iv6(below) iio6 V8/6/4--7/5/3 i c) i VII III iio6 V8/6/4--7/5/3 i d) i VII iv6 iio6 V8/6/4--7/5/3 i 2. Melodies: you will be asked to Due today: Prepare for the midterm exams. Music 1171 schedule Page 5 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 sing one of the following: p. 68– 70 nos. 11, 14, 16, 17, and 19. --as in class, you will be given the starting pitch before you sing. --you may establish a key, aloud, before starting to sing. --pick a comfortable tempo—don't make it more difficult than it is by choosing to sing too fast. --remember that you are evaluated on all aspects of the skill: correct pitches, correct and consistent conducting with the appropriate pattern, and accurate rhythm. --you will NOT be allowed to use your own copies of the material on any part of the exam. We will supply clean copies of everything. 8 03/06 hearings: sight reading. Harmonic dictation (tonic, dominant, and dominant seventh). Melodic dictation with II and V7 (and inversions). (MET Unit 7.) Intervals (add 3rds and 6ths) Chords (root-pos triads: maj, min, dim, aug) Due today: 1. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Dictation practice: --MET unit 7, pp. 149–153 (melodic). --MET unit 4, pp. 74–85 (harmonic). 03/08 hearings: melodies and duets. Harmonic dictation (tonic, dominant, and dominant seventh). Melodic dictation with II and V7 (and inversions). (MET Unit 7.) Intervals (add 3rds and 6ths) Chords (root-pos triads: maj, min, dim, aug) Prepare: 1. MSS pp. 93–95, nos. 3, 10, 11, 12, 14. 2. Duets. MSS pp. 98–99 nos. 6, 8. You may either prepare these with a partner or allow your instructor to assign you a partner in class. In either case, you must be prepared to sing both parts—the instructor will decide what part you sing at the hearing in class. Dictation practice: --MET unit 7, pp. 149–153 (melodic). --MET unit 4, pp. 74–85 (harmonic). 03/13 No class: spring break week. 03/15 Music 1171 schedule Page 6 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 9 03/20 continue MSS ch. 8.More on sight reading: methods and strategies. Dictation: Melodic dictation with compound meters. Harmonic dictation (add predominants). Intervals (add 3rds and 6ths) Chords (add root-pos dominant seventh) Class handout on compound meters. Due today: Practice for next time: 1. MSS pp. 93–95, nos. 3, 10, 11, 12, 14. Dictation practice: --MET unit 8, pp. 178–182 (melodic). --MET unit 4, pp. 74–85 (harmonic). 03/22 hearings: melodies. Dictation: Melodic dictation with compound meters. Harmonic dictation (add predominant). Intervals (add 3rds and 6ths) Chords (add root-pos Mm7) dictation quiz 4: harmonic dictation (only I, V, and V7 in r.p.); intervals (u, 4, 5, 8) Due today: Prepare: 1. MSS pp. 93–95, nos. 3, 10, 11, 12, 14. Practice for next time: 2. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Dictation practice: --MET unit 8, pp. 178–182 (melodic). --MET unit 4, pp. 74–85 (harmonic). 10 03/27 hearings: melodies and sight reading. Dictation: Melodic dictation with compound meters. Harmonic dictation (add cadential 6/4). Intervals (add 3rds and 6ths) Chords (add root-pos Mm7) Due today: Prepare: 1. MSS pp. 93–95, nos. 3, 10, 11, 12, 14. 2. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Dictation practice: --MET unit 8, pp. 178–182 (melodic). --MET unit 5, pp. 107–113 (harmonic). 03/29 hearings: melodies and sight reading. Dictation: Melodic dictation with compound meters. Harmonic dictation (add cadential 6/4). Intervals (add 3rds and 6ths) Due today: Prepare: 1. MSS pp. 93–95, nos. 3, 10, 11, 12, 14. 2. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Music 1171 schedule Page 7 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 Chords (add root-pos Mm7) dictation quiz 5: melodic dictation (with the possibility of compound meter), chords (major and minor triads, root-pos Mm7). Dictation practice: --MET unit 8, pp. 178–182 (melodic). --MET unit 5, pp. 107–113 (harmonic). 11 04/03 MSS ch. 9–10. Dictation: Melodic dictation with compound meters and regroupings. Harmonic dictation (add cadential 6/4). Intervals (add 3rds and 6ths) Chords (add root-pos Mm7) (Material from MET Unit 9.) Note: today is the last day to drop or withdraw from the course (grade options are W, Q and F). 04/05 hearings: arpeggiations and sight reading. Dictation: Melodic dictation with compound meters and regroupings. Harmonic dictation (add cadential 6/4). Intervals (add 3rds and 6ths) Chords (add root-pos Mm7) (Material from MET Unit 9.) dictation quiz 6: harmonic dictation. Due today: Prepare: 1. I V4/3 I6 ii6/5 V I; I IV6(below) ii6/5 V4/2 I6 2. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Practice for next time: 2. MSS pp. 107–08 nos. 1, 4, 5. 3. MSS p. 111 no. 2; p. 116 no. 11 (follow my instructions on this one!). You may either prepare these in groups of 3 or allow your instructor to assign you to a group in class. In either case, you must be prepared to sing any of the 3 parts—your instructor will decide what part you sing at the hearing in class. Dictation practice: --MET unit 9, pp. 208–213 (melodic). --MET unit 5, pp. 107–113 (harmonic). 12 04/10 hearings: melodies and 3-part singing. Dictation: Melodic dictation with compound meters and regroupings. Harmonic dictation. Intervals (add 3rds and 6ths) Chords (add root-pos Mm7) Due today: Prepare: 1. MSS pp. 107–08 nos. 1, 4, 5. 2. MSS p. 111 no. 2; p. 116 no. 11. You may either prepare in groups of 3 or allow your instructor to assign you to a group in class. In either case, you must be prepared to sing any of the 3 parts—your instructor will decide Music 1171 schedule Page 8 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 (Material from MET Unit 9.) what part you sing at the hearing in class. Dictation practice: --MET unit 9, pp. 208–213 (melodic). --MET unit 6, pp. 136–143 (harmonic). 04/12 hearings: melodies and 3-part singing. Dictation: Melodic dictation with compound meters and regroupings. Harmonic dictation. Intervals (add 3rds and 6ths) Chords (add root-pos Mm7) (Material from MET Unit 9.) dictation quiz 7: melodic dictation, intervals, chords. Due today: 1. MSS pp. 107–08 nos. 1, 4, 5. 2. MSS p. 111 no. 2; p. 116 no. 11. You may either prepare these in groups of 3 or allow your instructor to assign you to a group in class. In either case, you must be prepared to sing any of the 3 parts—your instructor will decide what part you sing at the hearing in class. Dictation practice: MET unit 9, pp. 208–213 (melodic). --MET unit 6, pp. 136–143 (harmonic). 13 04/17 MSS ch. 11. Sight reading. Dictation: Melodic dictation with compound meters and regroupings. Harmonic dictation. Intervals Chords (Material from MET Unit 9.) 04/19 hearings: melodies and sight reading. Dictation: Melodic dictation with compound meters and regroupings. Harmonic dictation. Intervals Chords (Material from MET Unit 9.) Due today: Prepare: 1. MSS p. 129 nos. 8, 10 (these are hard!). 2. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Dictation practice: --MET unit 9, pp. 208–213 (melodic). --MET unit 6, pp. 136–143 (harmonic). 14 04/24 Sign up for final singing exam appointments today. hearings: melodies. dictation practice. Due today: Prepare: 1. MSS p. 129 nos. 8, 10 (these are hard!). 2. Sight reading. To prepare, practice melodies from MSS that have not been assigned. Your instructor will provide melodies for sight reading in class. Music 1171 schedule Page 9 of 10 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 8/10/2007 Dictation practice: --MET unit 9, pp. 208–213 (melodic). --MET unit 6, pp. 136–143 (harmonic). 04/26 Review and practice. Sign up for final singing exam appointments today. Course evaluations. Final dictation exam: Tuesday 08 May, 9:00–10:00am. This time is the designated final exam time for the course, but note the time: the exam will start at 9:00am—not at 8:00am as listed on the final exam schedule. The final dictation exam will be in six parts, as follows: 1. Melodic dictation 2. Melodic dictation 3. Harmonic dictation 4. Harmonic dictation 5. 5 intervals for identification 6. 5 chords for identification Final singing exams: These will be given in private appointments, according to when you signed up with your instructor. The exam will consist of these tasks: 1. Sing, from the sightsinging text, one of these three melodies: p. 128 no. 5; p. 129 no. 9; p.130 no. 13. 2. Sing one of these arpeggiations:a) I IV(below) I6 ii6/5 V6/4 V7 I b) i iv6(below) ii6 ii6/5 V6/4 V7 i 3. Sight read one melody (this will be provided for you). On the singing exams: --for the melodies you will be given the TONIC, and be expected to find your starting pitch from there. For the arpeggiations you will also be given a tonic pitch. --you are encouraged to establish a key, aloud, before starting to sing. --remember that you are evaluated on all aspects of the skill: correct pitches, correct and consistent conducting with the appropriate pattern, and accurate rhythm. --on the sight reading: you'll be graded on your ability to sing through the exercise completely and with only a reasonable number of errors. You won't be permitted to stop and start multiple times and corrrect yourself. The level of difficulty will be consistent with what we've been sight reading in class. You'll be given one minute to look at the excerpt before you sing. NOTE WELL: A PASSING GRADE ON THIS FINAL EXAM IS A PREREQUISISTE FOR AURAL SKILLS III. (That is: it is possible to pass the course, fail the final, and not be permitted to enroll in Aural Skills III.) Last updated: 3 May, 2007 URL: http://www.uh.edu/~adavis5/musi1311© 2007, Andrew Davis | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 2210: Theory III time: MW 9:00–9:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi2210 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note on rooms and class logistics: class will meet with Professor Davis on days marked with boldface type in the "DATE" column on the course schedule ( here); class will meetall other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis at uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses, syllabus archive,and other useful information) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 10am and 4pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS Tim Duhr ( timothy_duhr at yahoo.com)Miranda Murphy ( mdmurphy at uh.edu)Michael Bryson ( michaelsbryson at comcast.com)Page 1 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 COURSE DESCRIPTION AND LEARNING OUTCOMES This course is in two parts: the first part covers (1) basic concepts in musical form, including theme types (sentences, periods, compound periods) and binary forms— students will be able to apply theoretical concepts to the analysis of tonal music from the common-practice era, with an emphasis on the Classical literature; and (2) chromatic harmony as found in 19th-century tonal music, including Neapolitan chords, augmented sixth chords, and chromatic modulations—students will a good deal of time is spent on analysis of nineteenth-century literature, with a particular emphasis on the vocal repertoire from this era (especially the German Lied). The second part covers eighteenth-century imitative counterpoint, as exemplified mainly in the music of Johann Sebastian Bach; students will be able to analyze form and organization in the imitative keyboard music of Bach—the inventions and (mainly) the fugues. PREREQUISITES You must have received a grade of C- or better in Music Theory II (MUSI 1311). You must be enrolled concurrently in Aural Skills III (MUSI 2170). REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Techniques and Materials of Music: From the CommonPractice Period Through the Twentieth Century . 6th edition (2003).2. Benjamin, Horvit, and Nelson. Music for Analysis. 6th edition (2007). Also: pencils, erasers, and music manuscript paper. Manuscript paper will be needed for homework assignments. If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. EVALUATION **I will drop one homework grade from your final grade computation. Grade distribution will be according to the standard scale of percentages, as follows: NOTE WELL: School of Music policy is that a grade of at least C- is necessary to continue in the theory sequence. Any grade below C- will be considered non-continuing; students who earn below a C- will not be permitted to enroll in Music Theory IV. assigments: 30% quizzes: 20% Midterm exam: 25% Final exam: 25% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 F: below 60 Page 2 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 ASSIGNMENTS AND QUIZZES Expectations for the course include keeping up with the assigned daily work. In that sprit: Assignments are due at the beginning of class on the date indicated, and the due dates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. LATE ASSIGNMENTS WILL BE ACCEPTED FOR PARTIAL CREDIT ONLY THROUGH THE START OF THE NEXT CLASS MEETING, AND WITH A PENALTY OF ONE LETTER GRADE FOR EACH DAY THE ASSIGNMENT IS LATE. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule onlineto see what material was assigned, and you should obtain notes on the relevant material from a classmate. Remember that your lowest assignment grade will be dropped. Quizzes provide a means for your instructor to test your comprehension of the material covered in class and are scheduled regularly. Quiz dates are posted on the courseschedule. Quizzes are normally short and occupy only part of the class meeting. Makeupquizzes will not be given: if you miss a quiz you must provide a written, validexcuse; if you cannot do so your quiz grade will be 0. If your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Exams also provide a means for your instructor to test your mastery of the material. Exam dates are posted on the course schedule. Make-up exams will only be givenif you provide a written, valid excuse for why you missed the exam. If youcannot do this, your grade for the missed exam will be 0. The comprehensive final exam will be given on the scheduled final exam date for this course (Friday December 07, 8:00–11:00am). Please plan in advance—the exam cannot be given at alternate times for individual students, and make-up exams will not be given without a written, valid excuse for why you missed the exam. And please plan to be at the exam for all three scheduled hours. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to Page 3 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last day to drop or withdraw without a grade: Tuesday 09/04. Last day to drop or withdraw: Wednesday 10/31. Course enrollment status cannot be changed after this date. Last updated: December 20, 2007 URL: http://www.uh.edu/~adavis5/musi2210Comments: adavis at uh.edu© 2007, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the link updated).NOTES: -- CLASS ROSTERS: see what class you're in. These will be posted by the end of thefirst week of class. --class will meet with Professor Davis on days marked with boldface type in the "DATE" column below; class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All chapter, page, "BHN," and "text" references are to the Benjamin, Horvit, and Nelson, Techniques and Materials of Music, 6th ed. "Anthology" references are to the Benjamin, Horvit, and Neslon, Music for Analysis, 6th ed. -- many files are in PDF format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. -- list of recordings for the course, with links to audio files. Audio files are passwordprotected;use the same username and password you use to access the "musicstudents" area on the school of music web site ( http://www.uh.edu/musicstudents/). All tracks are also available on CD--ask me or aTA for a copy. WEEK DATE TOPICS AND HANDOUTS ASSIGNMENT DUE (due at class time on the day indicated) 1 08/20 Course introduction. Begin theme types: periods (parallel vs. contrasting) and sentences. Modulating, expanded, and contracted themes. Handouts from today: -- handout version of thesyllabus -- period diagram-- sentence diagram08/22 Theme types: More on sentences, periods, and compound periods. Modulating, expanded, and contracted MUSI 2210 schedule Page 1 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 themes. Handouts from today (I passed these out in class on day 1): -- period diagram-- sentence diagram2 08/27 More on sentences and periods. The compound period. Modulating, expanded, and contracted themes. Score copies for assignments 1 and 2 .Assignment 1: Make a diagram of the themes listed below, following the specific instructions given below. (Some of the themes are in score only, some are in recording only.) Specific instructions: --for each, indicate whether the theme is a sentence or a period. --indicate whether the theme is modulating or non-modulating. If the theme modulates, and you have a score, indicate what key it modulates to. --if the theme is expanded or contracted, indicate this as well. --show the basic measure structure of the theme, as we've been doing in class, with basic ideas, contrasting ideas, cadences, and presentation/continuation/antecedent/consequent phrases, as appropriate. ( see a sample).--do NOT need to turn in photocopies of the scores. Make your diagrams on a clean sheet of paper, and turn this in. Make it clear which piece you're diagramming! Themes: 1. [recording only] Mozart, theme from the 3rd movement of Eine Kleine Nachtmusik, K. 525. Course CD track 36. (The theme is heard twice on the recorded excerpt.) ( mp3)2. [recording only] Mozart, theme from the 4th movement of Eine Kleine Nachtmusik, K. 525. Course CD track 37. (The theme is heard twice on the recorded excerpt.) ( mp3)3. [score only] J. C. Bach, Minuet in C major (first 8 measures). 4. [score only] Mozart, Minuet in G major, K. 1 (first 8 measures). [my notes on assignment 1 and assignment 2, soyou can review the material by comparing my solutions to your own.] 08/29 Binary forms. Open vs. closed sections; simple binary vs. Score copies for assignments 1 and 2 .MUSI 2210 schedule Page 2 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 rounded binary forms. Binary form examples: --Bach, Minuet in G from the Anna Magdalena Notebook ( score | mp3)--Haydn, Sonata H. XVI:37, mvt III ( score | mp3) NOTE:you may have a handout that refers to this piece as being by Handel; it's not by Handel, it's by Haydn—sorry for my confusion!! --Bach, Gavotte I in G minor from the English Suite no. 3 in G minor. ( score | mp3)--Haydn, Symphony 104 mvt. III ( score | mp3)Assignment 2: Follow the specific instructions given for assignment 1. Themes: 1. no. 239 from your anthology (theme is mm. 1–8). 2. no. 240 in your anthology (theme ends at the double bar—m. 18). 3. J. S. Bach, Minuet in G from the Anna Magdalena Notebook. ( mp3)4. J. C. Bach, Minuet in G. [my notes on assignment 1 and assignment 2, soyou can review the material by comparing my solutions to your own.] 3 09/03 No class: Labor Day holiday. 09/05 Note: last day to drop orwithdraw without a grade is tomorrow: Tuesday September 04. More on binary forms and the compound ternary form. Binary form examples: --Bach, Minuet in G from the Anna Magdalena Notebook ( score | mp3 | diagram)--Haydn, Sonata H. XVI:37, mvt III ( score | mp3 | diagram)NOTE: you may have a handout that refers to this piece as being by Handel; it's not by Handel, it's by Haydn—sorry for my confusion!! --Bach, Gavotte I in G minor from the English Suite no. 3 in G minor. ( score | mp3 |diagram )--Haydn, Symphony 104 mvt. III ( score | mp3 | no diagram—you'll have to diagram part of this yourself, in assignment 3) Also: my notes on assignment 1and assignment 2, so you canreview the material by comparing my solutions to your own. 4 09/10 Quiz 1: on sentences and NOTE: I made assignment 3 due MUSI 2210 schedule Page 3 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 periods (and their mutations), and binary forms (and their mutations). Be prepared to look at a score or listen to a recording, perhaps of a piece we've discussed in class or one available online (see the examples above), and answer questions pertaining to material we've discussed in class. On theme types, for example: What type of theme is present (sentence, period, compound period)? How do you know? How is it altered? Be prepared to draw an accurate and complete diagram. On binary forms, for example: Is part 1 open or closed, and why? Is the form an example of simple or rounded binary form? How do you know? Where are some important cadences in parts 1 and 2? NOTE: the quiz will be at the end of class, and will last 20 minutes. We'll devote the rest of the time to more discussion of these same topics. Wednesday, not today. Just prepare for the quiz. (Note that doing assignment 3 may help you prepare...) 09/12 Wrap-up on tonal form and phrase organization: more on the Haydn symph. 104 mvt. III. Assignment 3: Make a form diagram of the trio (mm. 53–94) from Haydn's 104th symphony, mvt. III ( mp3).The score for this was handed out in class, or it's available here.This movement is in two parts: a "minuet," and a "trio." You should diagram only the trio, which is, on its own, a rounded binary form (and thus your diagram should look something like the diagram for the Haydn Minuet H. XVI:37 mvt. III that we discussed and handed out in class—see the handouts for Wednesday week 3, above). Note also that the theme in part 1 properly begins at m. 55—mm. 53–54 are pickups (you should hear this when you listen to it). Show on your diagram: --the large parts of the form --theme types and their locations, if they're identifiable MUSI 2210 schedule Page 4 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 --cadences (the type, and the key they're in) --measure numbers for important events such as cadences and the return to the main thematic material in part 2 Follow the general diagramming procedures we've seen in class (see the samples I've posted). Remember that your task is not to duplicate the diagrams I've made or the procedures I've used, but rather to explain what's happening in the music in a way that's clear and captures the important events. 5 09/17 Neapolitan chords. Function and voice-leading. Assignment 4: composition assignment. 1. Write one 8-bar period and one 8-bar sentence in the style of Haydn and Mozart. In the anthology, see examples 208, 211, 213, 214, and 217 (mp3s for all but 208 are available here)as examples on which to model your themes. You can use the same basic idea for both themes, if you want. 2. Each theme should modulate either to the dominant (if the original mode is major) or to the relative major (if the original mode is minor). You may also alter the themes so that they contain an expansion, if you want (this is not a requirement); otherwise make both theme s 8 bars long. Use any major or minor key that has at least 2 sharps or flats. 2. Make a photocopy of your original manuscript. On the photocopy, mark the parts of each theme: basic ideas, phrases, cadences, etc. 3. Turn in the photocopy with your analytical markings (keep the original). 09/19 More on the Neapolitan chords. Examples of music using Neapolitans: --Schubert, "Der Muller und der Bach," from Die SchöneMüllerin D. 795. (mp3 | scoreand text ). Note that the firstpart of this song (mm. 1–27) is given as no. 259 in your Musicfor Analysis anthology.6 09/24 More on function and voice leading in the Neapolitans: practice voice leading. 09/26 Augmented sixth chords. BHN part III chapter 5. Handout from today .Assignment 5 . (Be sure to see part 2, on thecomposition project from assignment 4.) 7 10/01 More on augmented sixth MUSI 2210 schedule Page 5 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 chords: function and voice leading. 10/03 More on augmented sixth chords: Schumann, "Am leuchtenden sommermorgen," from Dichterliebe op. 48 ( mp3 |score, text, and notes ). Notethat mm. 1–11 of this song are guven as no. 291 in your Musicfor Analysis anthology.Note (diagram) on the enharmonic equivalence of the German augmented sixth chord and the dominant seventh (major-minor seventh) chord Assignment 6 . NOTE ON THE ASSIGNMENT: thefigured bass is from the chapter on augmented sixth chords–I think it's either page 159 or 169, depending on what edition of the book you have. 8 10/08 Exam review: come with questions on the exam. Study guide for the midterm exam .10/10 Midterm exam. Study guidefor the midterm exam .Study guide for the midterm exam .9 10/15 Chromatic modulations. BHN part III ch. 6: enharmonic diminished seventh chords and enharmonic German augmented sixth chords; common-tone modulations). --Schumann, "Am leuchtenden sommermorgen," from Dichterliebe op. 48 ( mp3 |score, text, and notes )—enharmonic treatment of augmented sixth (we talked about this before the midterm, in week 7) --Beethoven op. 13 mvt I ( mp3| score excerpts)—enharmonictreatment of diminished sevenths --Schubert, "Nacht und Traume" ( score and text |mp3 )—common-tonemodulations Handouts: -- diminished seventhmodulations .-- augmented sixth modulations.MUSI 2210 schedule Page 6 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 10/17 More on chromatic modulations. 10 10/22 Schubert, "Der Erlkönig," D. 328, 1815. ( score | text | mp3)Assignment 7 .10/24 More on chromatic modulations and Schubert, "Der Erlkönig." Bring the score and text to class today (we handed it out on Monday, and it's available for download here: score | text| mp3).Handout: selected modulationsin Schubert, "Der Erlkönig" 11 10/29 Introduction to late-Baroque contrapuntal style. --Bach, Invention no. 11 in G minor. ( score | mp3)-- notes: terminology related toBaroque contrapuntal music Assignment 8 .10/31 Last day to drop orwithdraw. More on inventions: --Bach, Invention no. 11 in G minor. ( score | mp3)--Bach, Invention no. 4 in D minor (score is no. 372 in BHN anthology | mp3)-- notes: terminology related toBaroque contrapuntal music Assignment 9 . (mp3 for Bach, Invention no. 4 inD minor; score is no. 372 in the BHN anthology.) 12 11/05 Bach fugues. --Bach, C minor Fugue from the Well-Tempered Clavier Book I. Score is in the BHN anthology, no 375. ( mp3 | graph)--Bach, G major Fugue from the Well-Tempered Clavier Book I. ( score | mp3 | graph)Handout: elements of fugues(compare Kennan's discussion, in the reading assignment). See also, for reference, Kent Kennan's analysis of Bach's Gminor fugue from the WTC I: the score is in Kennan's chapter 16 (in your readingassignment ); an mp3 is here;Assignment 10 (this is due in class today): First: --read Kent Kennan, two chapters (15 and 16) on fugue from his book Counterpoint: Based onEighteenth-Century Practice (Prentice-Hall,1987). --the book is available in the music library, on personal reserve for this course. Ask for it at the desk, make a copy of it, and return it when you're finished. --OR: open and print your own copy of this PDFfile (the file is 2.6 MB).--Kennan gives (in chapter 16) a complete analysis of Bach's G minor fugue from the Well- Tempered Clavier Book I—here's a recording: mp3 Then: do assignment 10.MUSI 2210 schedule Page 7 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 my own diagram is here.11/07 More Bach fugues. --Bach, C minor Fugue from the Well-Tempered Clavier Book I. Score is in the BHN anthology, no 375. ( mp3 | graph)--Bach, G major Fugue from the Well-Tempered Clavier Book I. ( score | mp3 | graph)See also, for reference, Kent Kennan's analysis of Bach's Gminor fugue from the WTC I: the score is in Kennan's chapter 16 (in your readingassignment ); an mp3 is here;my own diagram is here.13 11/12 More on Bach, G major Fugue from the Well-Tempered Clavier Book I. ( score | mp3 | graph)11/14 Invertible counterpoint. Handout for today .Quiz 2: this will be a short quiz (15 minutes) that asks you to identify, given a score for a fugue by Bach that we haven't studied in class, the elements of the fugue exposition: all statements of subject, answer, and countersubject; and any bridges, if present. You'll be asked to so something similar on the final exam, so this will be good practice. Assignment 11 . Score for assignment 11. (mp3for Bach, D minor fugue from the Well-TemperedClavier Book I.) NOTE: If you turn this in to meat the front desk in the main office by Thursday (11/15) at 11:00am, I'll award full credit. Anything submitted after that time will be late. My graph of the D minor fugue (I'll post this some time after the assignment is due) 14 11/19 Invertible counterpoint. Handout for today .11/21 No class: Thanksgivingholiday. 15 11/26 More Bach fugues: G minor Fugue from the Well-TemperedClavier Book II. (score; mp3:Glenn Gould, piano | WandaLandowska, harpsichord |handout). 11/28 Exam review. Come to class with questions about the exam (format, content, etc.). Study guide for the final exam .Final exam: 8:00–11:00am, Friday December 07, in your regular classrooms. The exam will be comprehensive, and you should plan on the exam lasting all three scheduled hours. Study guideMUSI 2210 schedule Page 8 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 for the final exam .Last updated: 19 August 2004 URL: http://www.uh.edu/~adavis5/musi2210Comments: adavis@uh.edu© 2004, Andrew Davis | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 2170: Aural Skills III time: TTh 9:00–9:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi2170 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Class will meet with Professor Davis on days marked with boldface type in the "DATE" column below; class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis at uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses and other usefulinformation) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 10am and 4pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS Tim Duhr ( timothy_duhr at yahoo.com)Miranda Murphy ( mdmurphy at uh.edu)Music 2170 syllabus Page 1 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 Michael Bryson ( michaelsbryson at comcast.com)COURSE DESCRIPTION AND LEARNING OUTCOMES Like the previous course(s) in the aural-skills sequence, this is a course in developing your skills in listening to and understanding music. Your acquisition of these skills is measured in two ways: (1) your ability to reproduce musical patterns and melodies with your voice, and (2) your ability to accurately transcribe music into notation upon hearing it. The former is sometimes known as "sight singing" (although it does not necessarily involve singing music on sight); the latter is known as "dictation." You will be tested in each of these areas in class (by singing in class, both for practice and for a grade; and by taking dictation in class, both for practice and for a grade), on dictation homework assignments (by taking dictation from the CD that came with the textbook), and on exams (a midterm and a final, both of which will entail singing for your instructor and taking dictation). Everyone will be heard singing in class on a regular basis. Students will become fluent in: singing (solo, and in two- or three-part ensembles, with advanced diatonic harmony, chromaticism, and modualations) and melodic dictation in major and minor modes with advanced diatonic harmony, chromaticism, and modulations; harmonic dictation in four voices in major and minor modes, with advanced diatonic harmony, chromaticism, and modulations; and intervaland chord-quality identification. Keep in mind: this is not a course in singing; we willnot discuss vocal technique in any meaningful detail, and you will not be evaluated on your vocal quality. PREREQUISITES You must have received a grade of C- or better in Aural Skills II (MUSI 1171). You must be enrolled concurrently in Music Theory III (MUSI 2210). REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Music for Sight Singing. 3rd edition (2000).2. Horvit, Koozin, and Nelson. Music for Ear Training (2001).Also: pencils, erasers, and music manuscript paper. Manuscript paper will be needed for activities in class and for occasional homework assignments. If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. ATTENDANCE This is a course in skill development and one requiring regular class participation. Your attendance is crucial. Your final course grade will be lowered one + or - level for every absence you accumulate beyond four (4) (that is: A becomes A-; A- becomes B+; etc.; if your final grade is an A and you have six absences, the grade will be recorded as a B+). EVALUATION You will receive grades for singing (hearings in class, a midterm, and a final) and dictation (homework assignments, quizzes, a midterm, and a final). Everyone will be heard singing in class on a regular basis—about once per week, Music 2170 syllabus Page 2 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. On days hearings are scheduled, you are responsible for learning and coming to class prepared to sing all assigned material. When called upon in class to sing, you must sing. If you do not sing, you will receive an F for that hearing. Otherwise, after you sing your instructor will assign you a grade of either A (you were prepared and sang the assignment well), B (you were prepared and sang most of the assignment well, with some minor problems), or F (you were unprepared or unable to sing the assignment at an acceptable level). If you receive an F for this reason, you have the option to make up that hearing within one week for a better grade. Make an appointment to see your instructor; when you appear for the appointment, you may be asked to sing any material assigned for the day on which you received an F. NOTE WELL: you will NOT necessarily be asked to sing exactly the same material that you sang the first time. Any assignment made up in this manner will receive a grade one full letter lower than what it otherwise would have been (e.g., A becomes B, B- becomes C-, etc.). You MUST make up the hearing within one week; you may NOT, for example, make up all your Fs at the end of the semester. And you will NOT have the opportunity to make up the hearing if you make no attempt to sing when called upon in class. Regarding reporting of grades: Dictation homework assignments and quizzes will be returned to you with grades. Your singing grades will not be announced in class; you may ask your instructor to see a record of your singing grades at any time. The final grade will be computed as follows: Grade distribution will be according to the standard scale of percentages, as follows: NOTE WELL: School of Music policy is that a grade of at least C- is necessary to Singing grade 50% divided as follows: in-class singing grades 25% midterm exam singing grade 12.5% final exam singing grade 12.5% Dictation grade (exams and quizzes—one dictation exam equals two dictation quizzes) 50% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 F: below 60 Music 2170 syllabus Page 3 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 continue in the aural skills sequence. Any grade below C- will be considered noncontinuing; students who earn below a C- will not be permitted to enroll in Aural Skills IV. ASSIGNMENTS, QUIZZES, AND EXAMS Dictation homework assignments may occasionally be assigned, at the professor's discretion. These provide a means for you to practice taking dictation and a means for your instructor to evaluate your progress and proficiency with the skill. Assignmentsare due at the beginning of class on the date indicated on the schedule. Late assignments will not be accepted without a written, valid excuse. If you cannotprovide such an excuse, your grade for the assignment will be penalized one letter grade for each day the assignment is late. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule online to see what material wasassigned, and you should obtain notes on the relevant material from a classmate. No dictation assignment grades will be dropped. Dictation quizzes provide a means for your instructor to test your mastery of the skill and are given in class on a regular basis. Quiz dates are posted on the course schedule.Make-up quizzes will not be given: if you miss a quiz you must provide a written, valid excuse. If you cannot do so your quiz grade will be 0; if your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Dictation and singing exams also provide a means for your instructor to test your mastery of the skills. Exam dates are posted on the course schedule. Make-up examswill only be given if you provide a written, valid excuse for why you missed the exam. If you cannot do so your grade for a missed exam will be 0. The midterm dictation exam will be given in class on the date indicated on the schedule; midterm singing exams will be given in individual appointments with your instructor on the date indicated on the schedule. The final dictation exam will be given in class at the designated final exam time for the course (Tuesday December 11, but the exam willstart at 9:00am—not at 8:00am as listed on the final exam schedule). Plan to be at the dictation exam for one hour. Final singing exams will be given in individual appointments with your instructor around the time of the final dictation exam; specific times will be announced, and you will have the opportunity to sign up for private appointments. Please plan in advance for the exams—they cannot be given at alternate times for individual students. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theMusic 2170 syllabus Page 4 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 instructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last day to drop or withdraw without a grade: Tuesday 09/04. Last day to drop or withdraw: Wednesday 10/31. Course enrollment status cannot be changed after this date. Last updated: 20 December, 2007 URL: http://www.uh.edu/~adavis5/musi2170© 2007, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the link updated).NOTES: -- CLASS ROSTERS: see what class you're in. These will be posted by the end of thefirst week of class. --class will meet with Professor Davis on days marked with boldface type in the "DATE" column below; class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All "MSS" references are to the Benjamin, Horvit, and Nelson Music for Sight Singing. All "MET" references are to the Horvit, Koozin, and Nelson Music for Ear Training. -- many files are in PDF format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--on in-class singing hearings: You must be prepared to sing the assigned material in class on the days hearings are scheduled. Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. See the syllabus for more details on in-class singing grades. --assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. WEEK DATE TOPICS AND HANDOUTS ASSIGNMENT DUE or HEARING SCHEDULED (all due at class time on the day indicated) 1 08/21 Course introduction.Singing: -- reviewing basic diatonic materials. Melodies with 7th chords (MSS ch. 11). Practice, p. 130 nos. 14, 18, 19, 20, and 22. --DO-based minor solfegge --review: singing in C clefs -- handout version of the syllabus08/23 Singing: continue to review diatonic materials. Practice, MSS ch. 11, p. 121 nos. 13, 17, 18, 2170 schedule Page 1 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 19, 21. Dictation: MET ch. 11. Reviewing the procedure for melodic dictation. Practice melodic dictation, diatonic with 7th chords. 2 08/28 Singing: MSS ch. 11, melodies with 7th chords. Dictation: MET ch. 11. Melodic dictation, diatonic with 7th chords. Hearings: p. 131 nos. 18, 19, and 22. 08/30 Singing: practice, ensemble singing, p. 133 duet 1; and the 4-part setting p. 135 no. 1. Dictation: MET ch. 11. Reviewing the procedure for harmonic dictation. Practice harmonic dictation, diatonic with 7th chords. 3 09/04 Singing: MSS ch. 12, introducing decorative chromaticism. Chromatic syllables, MSS p. ix. Practice, p. 138 nos. 1, 2, 4, 6. Dictation: MET ch. 12. Melodic dictation with decorative chromaticism. Hearings: p. 131 nos. 18, 19, and 22. 09/06 Dictation quiz 1. One melodic and oneharmonic dictation, each diatonic with seventh chords. Singing: MSS ch. 12, decorative chromaticism. Practice, p. 141 nos. 1, 2. Dictation: MET ch. 12. Melodic dictation with decorative chromaticism. Hearings: p. 138 nos. 1, 2, 4, 6. 4 09/11 Singing: MSS ch. 12, decorative chromaticism. Dictation: hearing triad qualities and inversions. Hearings: p. 143 nos. 11, 19. NOTE: These are in C clefs, which we discussed in class in week 2. Sing them on correct syllables (not on letter names, unless you really want to). Both are also very difficult! Be sure to prepare. Note also: no. 11 is in the minor mode: you should use either LAbased minor, which we learned in aural skills I and II, or the DObased minor we discussed in class during weeks 1 and 2 of this semester. 09/13 class cancelled: hurricane. 5 09/18 Singing practice: p. 155 nos. 3, 5, 11; p. 159 nos. 2, 3, 4, 7. These are assigned for hearings next week. Dictation practice: melodic dictation with Hearings: p. 143 nos. 11, 19. NOTE: These are in C clefs, which we discussed in class in week 2. Sing them on correct syllables (not on letter names, 2170 schedule Page 2 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 chromaticism; harmonic dictation with full functional progressions (3-4 chord tonic expansion, 1-2 predominant chords, cadential 6/4 chord, cadence); identifying triad qualities and inversions. unless you really want to). Both are also very difficult! Be sure to prepare. Note also: no. 11 is in the minor mode: you should use either LAbased minor, which we learned in aural skills I and II, or the DObased minor we discussed in class during weeks 1 and 2 of this semester. 09/20 Dictation quiz 2 (this may include any of theactivities we've been emphasizing in class). Singing practice: p. 155 nos. 3, 5, 11; p. 159 nos. 2, 3, 4, 7. These are assigned for hearings next week. Dictation practice: melodic dictation with chromaticism; harmonic dictation with full functional progressions (3-4 chord tonic expansion, 1-2 predominant chords, cadential 6/4 chord, cadence); identifying triad qualities and inversions. Hearings: p. 143 nos. 11, 19. NOTE: These are in C clefs, which we discussed in class in week 2. Sing them on correct syllables (not on letter names, unless you really want to). Both are also very difficult! Be sure to prepare. Note also: no. 11 is in the minor mode: you should use either LAbased minor, which we learned in aural skills I and II, or the DObased minor we discussed in class during weeks 1 and 2 of this semester. 6 09/25 Singing: melodies with mode mixture Practice:p. 155ff. Dictation: harmonic dictation in the minor mode; melodic dictation with chormaticism from applied dominants (MET ch. 13). No hearings today. 09/27 Dictation quiz 3. One melodic dictation withchromaticism from minor-mode scale alterations; one harmonic dictation. Singing: MSS ch. 14, applied dominants. Hearings: p. 155 nos. 3, 5, 11 (melodies with mode mixture). Duets: p. 159 nos. 2 and 3. Prepare the duets with a partner and be prepared to sing together in class, or let us assign you a partner at random in class. 7 10/02 Singing: MSS ch. 14, applied dominants.Practice: p. 170–71 nos. 17, 18, 19. Reviewing the procedure for sight reading; practice sight reading melodies with applied dominants. Sight reading examples I handed out today in class .Dictation: melodic dictation with chromaticism from applied dominants and mode mixture; triad identification with major and minor triads. 10/04 [Midterm singing exam material assigned today.] Hearings: singing with chormaticism implying appled 2170 schedule Page 3 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 Dictation quiz 4: triad identification; melodic dictation with chromaticism. Dictation: melodic dictation with chormaticism from applied dominants and mode mixture; triad identification with major and minor triads. dominant chords: p. 172 nos. 1, 3, 5. 8 10/09 Class will not meet today—we'll hear midterm singing exams in private appointments instead. Midterm singing exam appointment locations: Dr. Davis: my office Tim Duhr: room 145 Michael Bryson: room 306 Miranda Murphy: room 110 (some of these will be scheduled on different days) **you may email any of us if you have questions—email addresses are on the syllabus, as always** Midterm singing exams: the format of these will be as follows: Material to prepare is assigned in three groups: group 1: p. 140 no. 9; p. 140 no. 11 group 2: p. 157 no. 10 (sing from m. 9 to the end); p. 158 duet 1 (sing the top line only) group 3: p. 174 no. 16; p. 176 no. 22 (if you want, use this handout of allthe examples listed above) You will be asked to sing one selection fromeach group, for a total of three selections. Youwill be allowed to choose one selection to sing; we will choose the other two. Chooseone you think you can perform well! The examples we choose for you will be from the groups you did not choose. 2170 schedule Page 4 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 Example: you choose to sing p. 147, duet 1, top line. This is from group 2 above, so we will then ask you sing one selection from group 1 and one selection from group 3. 10/11 Midterm dictation exam. This will take about35 minutes. Class will be dismissed when the exam is finished. 1. two melodic dictations: A) melodic dictation with decorative chromaticism and/or minor-scale alterations; B) melodic dictation with one or two applied dominant chords 2. one harmonic dictation, consistent with those we've practiced in class (diatonic, major and minor modes) 3. six triad identifications (identify quality [major or minor only], position [5/3, 6/3, or 6/4], and top note [root, third, or fifth]) 9 10/16 Singing: sight reading. Dictation: chromatic harmonic dictation: applied dominant chords. sight reading—we'll hand out material in class. Rememer that we'll grade this on (1) your ability to get through the melody with some reasonable degree of accuracy; (2) your strategy for preparation; and (3) your ability to follow the performance indications in the music (including the road map) with some reasonable degree of accuracy. 10/18 Singing: more sight reading. Dictation: chromatic harmonic dictation: applied dominant chords. hearings: more sight reading. See above. 10 10/23 Singing: MSS ch. 15, modulation to closelyrelated keys. Practice, p. 184ff nos. 1, 2, 4, 14, 16, 19 (these are melodies with multiple modulations). -- today's handout on modulation and relatedskills .10/25 Dictation quiz 5. Singing: MSS ch. 15, modulation to closelyrelated keys. Dictation. Hearings: p. 186 nos. 13 and 14 (both are in the alto clef—sing them on syllables). --for no. 13: the location of the modulation isn’t obvious. Why not? In any case, you should change syllables once in this melody: to make the modulation clear, you have to adopt the do- 2170 schedule Page 5 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 based minor (NOT the la-based minor) somewhere toward the end. --for no. 14: how many modulations are there, where are they, and what key are they to? 11 10/30 Singing: MSS ch. 15, modulation to closelyrelated keys (melodies with multiple modulations). Dictation: chromatic harmonic dictations; triad identification. Hearings: p. 186 nos. 13 and 14. See my notes above on these modulating melodies. 11/01 Dictation quiz 6. Singing: MSS ch. 15, modulation to closelyrelated keys (melodies with multiple modulations). Dictation: chromatic harmonic dictations; triad identification. Hearings: p. 187 nos. 17 and 18. Each of these has more than one modulation and should require more than one change of syllables. When and where (and even, in some cases, whether) you change syllables is open to interpretation: there is no single right way of doing this. What you sing should represent the music reasonably and accurately. 12 11/06 Singing: chromaitc melodies (Neapolitans and augmented 6ths; modulation to distantlyrelated keys). Practice: p. 206 nos. 2, 3, 5 (chromaticism); nos. 9, 11 (modulations). Sight reading review. Dictation: Interval identification; more on chromatic harmonic dictation. hearings: p. 187 nos. 17, 18. Same assignment as last Thursday: you must prepare these and decide where to modulate and change syllables. Come to class prepared to sing some reasonable interpretation of each of these. (If you're confused on modulating melodies and how to sing them, please ask.) 11/08 Dictaiton quiz 7. Singing: sight reading chromatic melodies. Dictation: chromatic melodic dictation; chromatic harmonic dictation; triad identification. hearings: sight reading. 13 11/13 Singing: sight reading chromatic melodies. Dictation: chromatic melodic dictation; chromatic harmonic dictation; triad identification. Hearings: sight reading. 11/15 Hearings: p. 208–09 nos. 10, 14 (these are hard!). Neither of these actually requires amodulation—it's possible, if you want, to sing them with all the solfegge syllables in the home key. But if it helps you to 2170 schedule Page 6 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 modulate, you can do that too. 14 11/20 Dictation quiz 8. Dictation practice: triad identification, melodic dictation (with chromaticism), and harmonic dictation (with chromaticism: applied dominants, Neapolitans, and augmented sixths). Hearings: p. 208–09 nos. 10, 14 (these are hard!). Neither of these actually requires amodulation—it's possible, if you want, to sing them with all the solfegge syllables in the home key. But if it helps you to modulate, you can do that too. 11/22 No class: Thanksgiving. 15 11/27 Hearings (these are very hard!!): p. 210 nos. 17, 18. For each of these you must decide how many modulations to make and where to make them. (There is no "right" or "wrong" answer, of course.) 11/29 Sign up for final singing exam appointments today. [same as last time] Hearings (these are very hard!!): p. 210 nos. 17, 18. For each of these you must decide how many modulations to make and where to make them. (There is no "right" or "wrong" answer, of course.) Final singing exams: these will be given in private appointments on Monday December 10 and Tuesday December 11. All sign-up sheets are now posted on my office door (MSM 152)—as of Tuesday morning, 6:30am. Please sign up for a time before Monday December 10. Prepare the following material. NOTE: all page numbers below refer to the Music For SightSinging 4th edition—be sure you're looking at the correct edition, or open this file, which has the correct material to prepare (except the sight reading material, of course). Group 1: p. 207 no. 6 and p. 209 no. 13. Neither of these requires a modulation. Group 2: p. 189 nos. 22 and 25. You should make at least one modulation in each of these. Group 3: p. 266 no. 27, top vocal line. Sing the entire melody—it ends on p. 269. You must sing it on correct solfegge syllables, not text; it requires at least one modulation. Sight reading: each of these will have two or three instances of decorative chromatisism and will not modulate. You will be given about half a minute to scan the melody and prepare to sing; your grade will depend in part on your demonstrating that you can effectively prepare to read the excerpt, then perform all of it, without stopping, with some reasonable degree of accuracy (perfection is not required). So: you will sing a total of three (3) selections, including the sight reading. This means you will sing two selections from the material listed in groups 1–3 above; we'll allow you to choose one of these, and we'll choose the other (our choice will be from one of the groups you did not choose). 2170 schedule Page 7 of 8 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\20... 1/17/2008 Example: if you choose to sing p. 207 no. 6, we might then ask you to sing either p. 189 no. 22 or p. 266 no. 27. Final dictation exam: this will be given at the designated final exam time for the course: Tuesday December 11. Note the time: the exam will start at 9:00am—not at 8:00am as listedon the final exam schedule. The final dictation exam will be consistent with the material from the last few weeks of class and will include: a) two harmonic dictations (each including some combination of applied dominants, Neapolitans, and augmented sixths) b) two melodic dictations (each with two or three instances of chromaticism in some form: decorative, derived from applied chords, derived from mode mixture of minormode scale alterations, etc.) c) six triad identifications (in which you're asked to identify the quality of the chord, the position of the chord, and the identify of the highest sounding note) Last updated: January 17, 2008 URL: http://www.uh.edu/~adavis5/musi2170Comments: adavis at uh.edu© 2007, Andrew Davis | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 2214: Techniques of Music since 1900 time: MW 9:00–9:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi2214 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Note on rooms and class logistics: class will meet with Professor Davis on days marked with boldface type in the "DATE" column on the course schedule ( here); class will meetall other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis at uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses, syllabus archive, and other useful information) office hours: As I also serve as Director of Graduate Studies for the Moores School ofMusic, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 10am and 4pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS Tim Duhr ( timothy_duhr at yahoo.com)Miranda Murphy (mdmurphy at uh.edu) Michael Bryson (msbryson at uh.edu) 2214 syllabus Page 1 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 COURSE DESCRIPTION AND LEARNING OUTCOMES This is a course in the music theory and literature of the post-common-practice era. Topics include: music normally considered on the margins of tonality; alternative scale formations, alternative chord formations, non-traditiuonal voice leading, non-traditional means of establishing tonality (i.e., various forms of pitch centricity), non-traditional approaches to rhythm and meter, non-serial atonality (and an introduction to classic pitch-class set theory), and classical serialism. Students will be fluent in the analysis of post-common-practice procedures and fluent (and able to identify, in score or recording) with representative examples of such procedures from the standard repertoire. PREREQUISITES You must have received a grade of C- or better in Music Theory III (MUSI 2210). You must be enrolled concurrently in Aural Skills IV (MUSI 2171). REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Stefan Kostka. Materials and Techniques of Twentieth-Century Music, 2d edition. 2. Benjamin, Horvit, and Nelson. Techniques and Materials of Music: From the CommonPractice Period Through the Twentieth Century. 6th edition (2003). 3. Benjamin, Horvit, and Nelson. Music for Analysis. 6th edition (2007). NOTE: if you don't already have items 2 and 3, see me before you buy these. Bring item 1 (Kostka) to class every day. Also: pencils, erasers, and music manuscript paper. Manuscript paper will be needed for homework assignments. If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. EVALUATION **I will drop one homework grade from your final grade computation. Grade distribution will be according to the standard scale of percentages, as follows: assigments: 30% quizzes: 20% Midterm exam: 25% Final exam: 25% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 F: below 60 2214 syllabus Page 2 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 NOTE WELL: School of Music policy is that a grade of at least C- is necessary tocontinue in the theory sequence. Any grade below C- will be considered noncontinuing; students who earn below a C- will not be permitted to enroll in Music Theory IV. ASSIGNMENTS AND QUIZZES Expectations for the course include keeping up with the assigned daily work. In that spirit: Assignments are due at the beginning of class on the date indicated, and the due dates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. LATE ASSIGNMENTS WILL BE ACCEPTED FOR PARTIAL CREDIT ONLY THROUGH THE START OF THE NEXT CLASS MEETING, AND WITH A PENALTY OF ONE LETTER GRADE FOR EACH DAY THE ASSIGNMENT IS LATE. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule onlineto see what material was assigned, and you should obtain notes on the relevant material from a classmate. Remember that your lowest assignment grade will be dropped. Quizzes provide a means for your instructor to test your comprehension of the material covered in class and are scheduled regularly. Quiz dates are posted on the courseschedule. Quizzes are normally short and occupy only part of the class meeting. Makeupquizzes will not be given: if you miss a quiz you must provide a written, valid excuse; if you cannot do so your quiz grade will be 0. If your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Exams also provide a means for your instructor to test your mastery of the material. Exam dates are posted on the course schedule. Make-up exams will only be givenif you provide a written, valid excuse for why you missed the exam. If you cannot do this, your grade for the missed exam will be 0. The comprehensive final exam will be given on the scheduled final exam date for this course (Friday December 07, 8:00–11:00am). Please plan in advance—the exam cannot be given at alternate times for individual students, and make-up exams will not be given without a written, valid excuse for why you missed the exam. And please plan to be at the exam for all three scheduled hours. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or exams in a timely manner, please inform me at the beginning of the semester so that 2214 syllabus Page 3 of 4 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last updated: April 29, 2008 URL: http://www.uh.edu/~adavis5/musi2214Comments: adavis at uh.edu© 2008, Andrew Davis 2214 syllabus Page 4 of 4 file:// Daily schedule Shortcut to the current week (assuming I remember to keep the link updated).NOTES: -- CLASS ROSTERS: see what class you're in.--class will meet with Professor Davis on days marked with boldface type in the "DATE" column below; class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --"Kostka" refers to Stefan Kostka, Materials and Techniques of Twentieth-CenturyMusic, 2d ed. (Prentice Hall 1999). --"BHN" refers to the Benjamin, Horvit, and Nelson, Techniques and Materials of Music, 7th ed. "BHN Anthology" refers to the Benjamin, Horvit, and Nelson Music for Analysis anthology , 6th ed.-- many files are in PDF format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--assignments are listed in the assignment column ON THEIR DUE DATE; assignments are due at the beginning of class. --list of recordings for the course, with links to audio files. Audio files are passwordprotected; use the same username and password you use to access the "musicstudents" area on the school of music web site ( http://www.uh.edu/musicstudents/). All tracks are also available on CD--ask me for acopy. WEEK DATE TOPICS AND HANDOUTS ASSIGNMENT DUE (due at class time on the day indicated) 1 01/14 Course introduction.Kosktka ch. 1: "twilight of the tonal system" ( pdf—the book should be availablefrom the campus bookstore by the third week of class) Music: Wagner, Prelude to Tristan und Isolde (1859)( score | mp3)01/16 Kosktka ch. 1: "twilight of the tonal system" Music: 2214 schedule Page 1 of 7 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 Berg, Four Songs op. 2, no. 2 (1908–09) ( score | mp3)2 01/21 No class: Martin Luther King day 01/23 Kostka ch. 2: alternative scale formations ( pdf) (01/23: The book is apparently nowavailable at the bookstore on Elgin Street; it should also be available at the campus bookstore soon, if it's not already.) Music: Debussy, Preludes Book I no. 2, "Voiles" ("Sails") (1909) ( score | mp3)3 VERY IMPORTANT: I will use your official email address on file with the registrar's office to communicate with you by email. If you don't have the correct address on file, or you don't have that address set to forward to an account you read regularly, you won't receive any email communication from me. You're responsible for ensuring that your email address on file is correct so that you receive communication about the course. If you need instructions on how to do this, you may follow this link (which will require the sameusername and password used to access the "information for current students" page on the school of music's web site). 01/28 Last day to drop or withdraw without receiving a grade. Kostka ch. 2: alternative scale formations Music: Debussy, Preludes Book I no. 2, "Voiles" ("Sails") (1909) ( score | mp3)Ives, "The Cage," (1906) from 114 Songs ( score | mp3)01/30 Kostka ch. 2: alternative scale formations Bartok, Mikrokosmos vol. IV no. 101, "Diminished Fifth" (Mikrokosmos published serially from 1926–1937) ( score | mp3)Debussy, Preludes Book I no. 6, "Des pas sur la niege" ("Footprints in the snow") (1909) ( score | mp3)Assignment 1. --part 1: complete this worksheet,nos. a, b, c, e, f, and g --part 2: complete this worksheeton Ives's "The Cage" 4 02/04 Kostka ch. 3: alternative chord formations 2214 schedule Page 2 of 7 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 Music: Debussy, Preludes Book I no. 6, "Des pas sur la niege" ("Footprints in the snow") (1909) ( score | mp3)02/06 Quiz 1: this will ask you to write diatonicscales in various modes (as on assignment 1) write non-diatonic scales (as on assignment 2), and answer some short questions about the pieces we've studied so far (be prepared to identify them by giving title/composer/date, given a score or a recording). Kostka ch. 3: alternative chord formations Music: Ives, "The Cage," (1906) from 114 Songs ( score | mp3)Stravinsky, Petrushka (1911), end of theSecond Tableau; Third Tableau ( score | mp3)Stravinsky, Le Sacre du Printemps (The Riteof Spring) (1913), Introduction and "Dance of the Adolescents" from Part I ( score | mp3—Introduction | mp3—Dance)Assignment 2: on a clean sheet of manuscript paper, write these scales in any octave, using any clef (there may be more than one possible answer for some): a) whole tone starting on G b) octatonic starting Eb-F c) pentatonic starting on B d) Hungarian minor starting on E (see the Benjamin/Horvit/Nelson text for this one) e) octatonic starting on A-Bb f) pentatonic starting on G g) whole tone starting on G h) whole tone starting on F# 5 02/11 Kostka ch. 3: alternative chord formationsMusic: Stravinsky, Petrushka (1911), end of theSecond Tableau; Third Tableau ( score | mp3)Stravinsky, Le Sacre du Printemps (The Riteof Spring) (1913), Introduction and "Dance of the Adolescents" from Part I ( score | mp3—Introduction | mp3—Dance)Puccini, Turandot (1926, post.) (score | mp3)02/13 (tmea) Kostka ch. 3: alternative chord formations Assignment 3. Kostka p. 39 nos. 1, 2, 4, and 5. 6 02/18 Kostka ch. 4: non-traditional voice leading,esp. the section on "voice leading in twentieth-century music" (and esp. "harmonic parallelism," or "planing") Music: Debussy, Preludes Book I no. 6, "Des pas sur la niege" ("Footprints in the snow") (1909) ( score | mp3)Debussy, Preludes Book I no. 10, "La cathédral engloutie" (1910) ( score | mp3)examples of impressionism in the visual arts examples of cubism in the visual arts 2214 schedule Page 3 of 7 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 Edward T. Cone's analysis of Stravinsky (Serenade in A and Symphony of Psalms), from Cone, "Stravinsky: The Progress of a Method," in Perspectives on Schoenberg andStravinsky, ed. Benjamin Boretz and Edward T. Cone, 155–94 (New York: Norton, 1972). 02/20 Read for today: Kostka ch. 7, the section on "proportion: the golden mean," (on nontraditional approaches to form). Read for next time: Kostka ch. 5: nontraditional means of establishing tonality, esp. 101–02 (on pitch "centricity"—note Kostka does not use this term, but prefers the term "neotonality"), 104–06 (on polytonality), and 107–08 (on pandiatonicism). Music: Bartok, Music for Strings, Percussion and, Celeste (1936) ( score | mp3)Assignment 4. Kostka chapter 3, exercises, part A, nos. 1 and 4. You may need to refer to Kostka's chapter summary (and even ch. 3 in the text) for some of this. 7 02/25 Kostka ch. 5: non-traditional means ofestablishing tonality, esp. sections on "establishing a tonal center" (which is on pitch "centricity"—note Kostka does not use this term, but prefers the term "neotonality"), "polytonality," and "pandiatonicism." Handout : two analyses of the first ninemeasures of Stravinsky's Introduction to the Rite of Spring showing two different interpretations of pitch centricity. The one marked "Linear Graph (Travis)" is a copy of an analysis by Roy Travis; the one simply marked "Linear Graph" is by the author of the article from which I copied this, Allen Forte. Both examples are taken from Allen Forte, "New Approaches to the Linear Analysis of Music," Journal of the American MusicologicalSociety 41, no. 2 (1988): 315–48. The book on Stravinsky I mentioned in class is Richard Taruskin, Stravinsky and theRussian Traditions: A Biography of the Works Through Mavra (Berkeley: University ofCalifornia Press, 1996). Music: Stravinsky, Petrushka (1911), Third Tableau( score | mp3)Stravinsky, Le Sacre du Printemps (The Riteof Spring) (1913), Introduction and "Dance of the Adolescents" from Part I ( score | mp3—Introduction | mp3—Dance)2214 schedule Page 4 of 7 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 02/27 Kostka ch. 5: non-traditional means of establishing tonality, esp. sections on "establishing a tonal center" (which is on pitch "centricity"—note Kostka does not use this term, but prefers the term "neotonality"), "polytonality," and "pandiatonicism." Debussy, Images series I no. 1, "Reflets dansl'eau" (1905) ( score | mp3)(also Mussorgsky, Pictures at an Exhibition, "Great gate of Kiev"— score | mp3)Assignment 5 . (also for assigment5: score | mp3--this is a recordingof Messiaen himself on an organ in Paris) Due date: Friday 02/29 at noon, turned in to the main office. Write your instructor's name at the top of the page. 8 03/03 Kostka ch. 5: non-traditional means of establishing tonality, esp. sections on "establishing a tonal center" (which is on pitch "centricity"—note Kostka does not use this term, but prefers the term "neotonality"), "polytonality," and "pandiatonicism." Music: Debussy, Images series I no. 1, "Reflets dansl'eau" (1905) ( score | mp3)(also Mussorgsky, Pictures at an Exhibition, "Great gate of Kiev"— score | mp3)03/05 Midterm exam study guide for the midterm exam 9 03/10 Kostka ch. 6: non-traditional approaches torhythm and meter, esp. changing meters (117–18), non-traditional meters (118–19), polymeter (120–23), ametricism (124–25) , additive rhythms and "nonretrogradable" rhythms (Messiaen's term; 128–29), and isorhythms (133–134). Music: Stravinsky, Petrushka (1911), Third Tableau( score | mp3)Stravinsky, Le Sacre du Printemps (The Riteof Spring) (1913), Introduction and "Dance of the Adolescents" from Part I ( score | mp3—Introduction | mp3—Dance)Berg, Act III scene 3 from Wozzeck (1921)( score | mp3)03/12 Kostka ch. 6 (see above) Spring Break: week of March 17–21 10 03/24 Kostka ch. 9: non-serial (or "free") atonalityand pitch-class set theory Also read: Joseph Straus, Introduction toPost-Tonal Music, 2d ed. (Prentice Hall, 2000): 1–13 and 30–51, on basic pitch-class set theory. 2214 schedule Page 5 of 7 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 Music: Schoenberg , Three Pieces for Piano op 11, no.1 (1909) ( score | mp3)Schoenberg, Pierrot Lunaire no. 8,"Nacht" (1912) ( score | mp3)Webern, Three Songs op. 25, no. 1, "Wie binich froh" ("How happy I am") (1934) ( score |mp3 )03/26 Kostka ch. 9: non-serial (or "free") atonality and pitch-class set theory 11 03/31 Tuesday April 01: Last day to drop orwithdraw with a W. Kostka ch. 9: non-serial (or "free") atonality and pitch-class set theory Music: Schoenberg, Pierrot Lunaire no. 8,"Nacht" (1912) ( score | mp3)Webern, Three Songs op. 25, no. 1, "Wie binich froh" ("How happy I am") (1934) ( score |mp3 )Assignment 6. [Note that complete success on this and other assignments in this unit will require that you read the material in the Straus text and also use your notes from class.] Straus, Introduction to Post-TonalMusic p. 13, part I, nos. 1a and b; p. 14, part II, nos. 1–4; p. 15, part IV, nos. 2a and b; p. 16, part VI, nos. 1 and 2. ( pdf of theStraus pages )04/02 Kostka ch. 9: non-serial (or "free") atonality and pitch-class set theory 12 04/07 Kostka ch. 9: non-serial (or "free") atonality and pitch-class set theory Assignment 7. Straus, Introduction to Post-Tonal Music p. 54, part I, no. 2 (all); part II nos. 2 (all) and 3 (all); p. 55 part III no. 2 (all). ( pdf of the Strauspages )04/09 Quiz 2 Kostka ch. 10: classical serialism Also read: Straus, Introduction to Post-TonalMusic: 144–153. Music: Schoenberg, Suite for Piano op. 25, minuetand trio (1923–25) ( score | mp3)Webern, Three Songs op. 25, no. 1, "Wie binich froh" ("How happy I am") (1934) ( score |mp3 )13 04/14 Kostka ch. 10: classical serialism 04/16 Kostka ch. 10: classical serialism Assignment 8. Straus, Introduction to Post-Tonal Music p. 164, part I, nos. 1 (all) and 2 (all). ( pdf) You only need to giveyour answers in integer format— 2214 schedule Page 6 of 7 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\221... 6/4/2008 not on the staff. 14 04/21 Kostka ch. 10: classical serialism.Music: Babbitt, "Play on Notes" (1966) ( score) (norecording available for this piece) Assignment 9. Straus, Introduction to Post-Tonal Music p. 164, part I, no. 3 (construct a matrix for rows a and b at the top of the page). ( pdf)04/23 Kostka ch. 10: classical serialism 15 04/28 Review and catch up; evaluations Final Exam: Wednesday May 07, 8:00–11:00am. Final exam study guide .Last updated: January 13, 2008 URL: http://www.uh.edu/~adavis5/musi2214Comments: adavis at uh.edu© 2008, Andrew Davis 2214 schedule Page 7 of 7 file:// | | | | 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) Home page and syllabus COURSE INFORMATION course: MUSI 2171: Aural Skills IV time: TTh 9:00–9:50am location: MSM 108, 110, 112, 116 course web site: http://www.uh.edu/~adavis5/musi2171 (this page). You are expectedto monitor the web site regularly for assignments, updates to the course schedule, and announcements and other news items not communicated in class or through email. Details of assignments may or may not be posted in class—you are expected to obtain the assignment and any related instructions online. Class will meet with Professor Davis on days marked with boldface type in the "DATE" column on the course schedule ( here); class will meet all other days in small sectionswith the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). PROFESSOR INFORMATION professor: Andrew Davis, Assistant Professor of Music Theory and Director of Graduate Studies office: MSM 152 office phone: 713 743 3294 email: adavis at uh.edu. **This is the best way to contact me.personal web page: http://www.uh.edu/~adavis5 (links to courses and other usefulinformation) office hours: As I also serve as Director of Graduate Studies for the Moores School of Music, I am forced to limit the amount of time I am available for office hours. Unless notified otherwise, I will schedule office hours appointments on Tuesdays and Thursdays, between 10am and 4pm. Occasionally other meetings or obligations may interfere with these times, therefore you must make an appointment to see me. Most appointments will occupy a half-hour time slot. You may call me or (better) send me an email to make an appointment. TAs for the course are also available for office hours, if you need additional, or recurring, assistance with course material, or if I am unavailable. Please contact the TAs directly. TEACHING ASSISTANTS Tim Duhr ( timothy_duhr at yahoo.com)Miranda Murphy ( mdmurphy at uh.edu)2171 syllabus Page 1 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 Michael Bryson ( msbryson at uh.edu)COURSE DESCRIPTION AND LEARNING OUTCOMES Like the previous course(s) in the aural-skills sequence, this is a course in developing your skills in listening to and understanding music. Your acquisition of these skills is measured in two ways: (1) your ability to reproduce musical patterns and melodies with your voice, and (2) your ability to accurately transcribe music into notation upon hearing it. The former is sometimes known as "sight singing" (although it does not necessarily involve singing music on sight); the latter is known as "dictation." You will be tested in each of these areas in class (by singing in class, both for practice and for a grade; and by taking dictation in class, both for practice and for a grade), on dictation homework assignments (by taking dictation from the CD that came with the textbook), and on exams (a midterm and a final, both of which will entail singing for your instructor and taking dictation). Everyone will be heard singing in class on a regular basis. Students will become fluent in: singing melodies (solo, and in two- or three-part ensembles) with advanced chromaticism, closely-related modulations, distantly-related modulations, modality, and non-traditional scales; and dictation, including melodic and harmonic dictation in major and minor modes with chromatic harmony, closely-related modulations, distantly-related modulations, modality, and non-traditional scales; and advanced chord identification, including major, minor and diminished triads and majorminor seventh chords in all inversions. Keep in mind: this is not a course in singing; wewill not discuss vocal technique in any meaningful detail, and you will not be evaluated on your vocal quality. PREREQUISITES You must have received a grade of C- or better in Aural Skills III (MUSI 2170). You must be enrolled concurrently in Techniques of Music since 1900 (MUSI 2214). REQUIRED MATERIALS All are available at the University Bookstore, 126 University Center (713 748 0923) 1. Benjamin, Horvit, and Nelson. Music for Sight Singing, 4th edition.2. Horvit, Koozin, and Nelson. Music for Ear Training, 2d edition.Also: pencils, erasers, and music manuscript paper. Manuscript paper will be needed for activities in class and for occasional homework assignments. If you use a notebook for class notes, I usually suggest having a notebook of manuscript paper. ATTENDANCE This is a course in skill development and one requiring regular class participation. Your attendance is crucial. Your final course grade will be lowered one + or - level for every absence you accumulate beyond four (that is: A becomes A-; A- becomes B+; etc.; if your final grade is an A and you have six absences, the grade will be recorded as a B+). EVALUATION You will receive grades for singing (hearings in class, a midterm, and a final) and dictation (homework assignments, quizzes, a midterm, and a final). 2171 syllabus Page 2 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. On days hearings are scheduled, you are responsible for learning and coming to class prepared to sing all assigned material. When called upon in class to sing, you must sing. If you do not sing, you will receive an F for that hearing. Otherwise, after you sing your instructor will assign you a grade of either A (you were prepared and sang the assignment well), B (you were prepared and sang most of the assignment well, with some minor problems), or F (you were unprepared or unable to sing the assignment at an acceptable level). If you receive an F for this reason, you have the option to make up that hearing within one week for a better grade. Make an appointment to see your instructor; when you appear for the appointment, you may be asked to sing any material assigned for the day on which you received an F. NOTE WELL: you will NOT necessarily be asked to sing exactly the same material that you sang the first time. Any assignment made up in this manner will receive a grade one full letter lower than what it otherwise would have been (e.g., A becomes B, B- becomes C-, etc.). You MUST make up the hearing within one week; you may NOT, for example, make up all your Fs at the end of the semester. And you will NOT have the opportunity to make up the hearing if you make no attempt to sing when called upon in class. Regarding reporting of grades: Dictation homework assignments and quizzes will be returned to you with grades. Your singing grades will not be announced in class; you may ask your instructor to see a record of your singing grades at any time. The final grade will be computed as follows: Grade distribution will be according to the standard scale of percentages, as follows: Singing grade 50% divided as follows: in-class singing grades 25% midterm exam singing grade 12.5% final exam singing grade 12.5% Dictation grade 50% divided as follows: exams and quizzes (one dictation exam equals two dictation quizzes) 35% homework assignments 15% A: 95 A-: 92.5 B+: 87.5 B: 85 B-: 82.5 C+: 77.5 C: 75 C-: 72.5 D+: 67.5 D: 65 D-: 62.5 2171 syllabus Page 3 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 NOTE WELL: School of Music policy is that a grade of at least C- is necessary to continue in the aural skills sequence; students must earn a C- or better in all aural skills courses. ASSIGNMENTS, QUIZZES, AND EXAMS Dictation homework assignments may occasionally be assigned, at the professor's discretion. These provide a means for you to practice taking dictation and a means for your instructor to evaluate your progress and proficiency with the skill. Assignments are due at the beginning of class on the date indicated, and the due dates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. LATE ASSIGNMENTS WILL BE ACCEPTED FOR PARTIAL CREDIT ONLY THROUGH THE START OF THE NEXT CLASS MEETING, AND WITH A PENALTY OF ONE LETTER GRADE FOR EACH DAY THE ASSIGNMENT IS LATE. Note that you are responsible for the work assigned in class even if you are absent from class, and that the assignment is still due on the date indicated—you should check the schedule onlineto see what material was assigned, and you should obtain notes on the relevant material from a classmate. Remember that your lowest assignment grade will be dropped. Dictation quizzes provide a means for your instructor to test your mastery of the skill and are given in class on a regular basis. Quiz dates are posted on the course schedule.Make-up quizzes will not be given: if you miss a quiz you must provide a written, valid excuse. If you cannot do so your quiz grade will be 0; if your absence is excused, the points for the quiz you missed will not be included when your final course grade is computed. Dictation and singing exams also provide a means for your instructor to test your mastery of the skills. Exam dates are posted on the course schedule. Make-up examswill only be given if you provide a written, valid excuse for why you missed the exam. If you cannot do so your grade for a missed exam will be 0. The midterm dictation exam will be given in class on the date indicated on the schedule; midterm singing exams will be given in individual appointments with your instructor on the date indicated on the schedule. The final dictation exam will be given in class at the designated final exam time for the course. Plan to be at the dictation exam for one hour. Final singing exams will be given in individual appointments with your instructor around the time of the final dictation exam; specific times will be announced, and you will have the opportunity to sign up for private appointments. Please plan in advance for the exams—they cannot be given at alternate times for individual students. ACADEMIC DISHONESTY You are expected to do your own work on all assignments, quizzes, and exams unless instructed differently; any work you hand in at any time should be your own unless you are assigned to do otherwise. Problems with academic dishonesty will be handled according to the procedures outlined in the undergraduate student handbook and in theundergraduate course catalog. Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. DISABILITIES If you have a disability that affects your capacity to complete assignments, quizzes, or F: below 60 2171 syllabus Page 4 of 5 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (CSD): 100 CSD Building (click here to geta map ), 713 743 5400. The CSD will provide information on your disability to theinstructor, and the instructor and student will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. OTHER INFORMATION It should be clear that in order to maintain a productive environment in class students are expected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: turn them off. Last updated: January 13, 2008 URL: http://www.uh.edu/~adavis5/musi2171Comments: adavis at uh.edu© 2008, Andrew Davis 2171 syllabus Page 5 of 5 file:// Daily schedule Shortcut to the current week (assuming I remember to keep the link updated).NOTES: -- CLASS ROSTERS: see what class you're in.--class will meet with Professor Davis on days marked with boldface type in the "DATE" column below; class will meet all other days in small sections with the teaching assistants in the assigned rooms (see the class rosters for your TA and room assignments). --All "MSS" references are to the Benjamin, Horvit, and Nelson Music for Sight Singing. All "MET" references are to the Horvit, Koozin, and Nelson Music for Ear Training. -- many files are in PDF format. To read these, you'll need the Adobe Acrobat Reader, which you can obtain for free here.--on in-class singing hearings: You must be prepared to sing the assigned material in class on the days hearings are scheduled. Everyone will be heard singing in class on a regular basis—about once per week, during most weeks. There is, of course, no practical way that everyone will be heard singing every assigned hearing—some days you will sing, other days you will not. We will try to distribute the singing among the entire class over the course of the semester so that everyone sings roughly the same number of times. See the syllabus for more details on in-class singing grades. --assignments are listed in the assignment column ON THE DAY THEY ARE DUE; assignments are due at the beginning of class. WEEK DATE TOPICS AND HANDOUTS ASSIGNMENT DUE or HEARING SCHEDULED (all due at class time on the day indicated) 1 01/15 Course introduction.singing topics: modulation to closely-related keys; MSS ch. 15. melodic/harmonic dictation topics: review: applied dominants 01/17 singing topics: modulation to closely-related keys singing practice material: MSS ch. 15. melodic/harmonic dictation topics: review: applied dominants; add diminished sevenths dictation practice material: MET units 13 and 14 2171 schedule Page 1 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 2 01/22 singing topics: modulation to closely-related keys; singing practice material: MSS ch. 15. melodic/harmonic dictation topics: review: applied dominants; add diminished sevenths chord identification: major-minor sevenths in root position (with major/minor/diminished triads) dictation practice material: MET units 13 and 14 01/24 singing topics: modulation to closely-related keys singing practice material: MSS ch. 15. melodic/harmonic dictation topics: review: applied dominants; add diminished sevenths chord identification: major-minor sevenths in root position (with major/minor/diminished triads) dictation practice material: MET units 13 and 14 Hearings: modulating melodies, p. 192 no. 31 and p. 193 no. 33. You must make changes in the syllables when appropriate to account for the modulation(s); make more then one change if the melody modulates more then once. The objective is some kind of reasonable musical interpretation of the tonal motion; there isn't necessarily a right or wrong way to do this. 3 VERY IMPORTANT: I will use your official email address on file with the registrar's office to communicate with you by email. If you don't have the correct address on file, or you don't have that address set to forward to an account you read regularly, you won't receive any email communication from me. You're responsible for ensuring that your email address on file is correct so that you receive communication about the course. If you need instructions on how to do this, you may follow this link (which will require the sameusername and password used to access the "information for current students" page on the school of music's web site). 01/29 singing topics: sight reading. melodic/harmonic dictation topics: modulation to closely-related keys (dominant) chord identification: major-minor sevenths in root position (with major/minor/diminished triads) dictation practice material: MET unit 15 Hearings: modulating melodies, p. 192 no. 31 and p. 193 no. 33. You must make changes in the syllables when appropriate to account for the modulation(s); make more then one change if the melody modulates more then once. The objective is some kind of reasonable musical 2171 schedule Page 2 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 interpretation of the tonal motion; there isn't necessarily a right or wrong way to do this. 01/31 dictation quiz: one harmonic dictation with applied chromaticism (using applied dominants or applied diminished sevenths). singing topics: sight reading. melodic/harmonic dictation topics: modulation to closely-related keys (dominant) chord identification: major-minor sevenths in root position (with major/minor/diminished triads) dictation practice material: MET unit 15 Hearings: sight reading. These may simply have chromaticism, or they may modulate (possibly more than once—away from and back to the tonic, for example). You will have to decide whether or not the excerpt modulates, and treat the syllables accordingly. 4 02/05 melodic/harmonic dictation topics: modulation to closely-related keys (dominant) dictation practice material: MET unit 15 Hearings: sight reading. These may simply have chromaticism, or they may modulate (possibly more than once—away from and back to the tonic, for example). You will have to decide whether or not the excerpt modulates, and treat the syllables accordingly. 02/07 dictation quiz. melodic/harmonic dictation topics: modulation to closely-related keys (dominant) dictation practice material: MET unit 15 5 02/12 dictation quiz. singing practice material: MSS ch. 15. melodic/harmonic dictation topics: modulation to closely-related keys (dominant); dictation from the literature (diatonic melodies | mp3—ahere's a recording of the complete movement, in case you want to hear the context [our excerpt begins about 2 minutes in: mp3)chord identification: major-minor sevenths in all inversions dictation practice material: MET unit 15, unit 17 Hearings: modulating melody, p. 193 no. 32. You must make changes in the syllables when appropriate to account for the modulation(s); make more then one change if the melody modulates more then once. The objective is some kind of reasonable musical interpretation of the tonal motion; there isn't necessarily a right or wrong way to do this. 02/14 (tmea) singing practice material: MSS ch. 15. melodic/harmonic melodic/harmonic dictation topics: modulation to closely-related keys (dominant); dictation from the literature (diatonic melodies | mp3)chord identification: major-minor sevenths in all inversions Hearings: modulating melody, p. 193 no. 32. You must make changes in the syllables when appropriate to account for the modulation(s); make more then one change if the melody modulates more then once. The objective is some kind of reasonable musical interpretation of the tonal motion; there isn't 2171 schedule Page 3 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 dictation practice material: MET unit 15, unit 17 necessarily a right or wrong way to do this. 6 02/19 singing practice material: MSS ch. 15.melodic/harmonic dictation topics: modulation to closely-related keys (relative major); dictation from the literature (diatonic melodies | mp3)dictation practice material: MET unit 15, unit 17x dictation assignment 1: dictation from the literature (diatonic melody, major mode) | mp3 --(a) write the opening theme in the voice part, from 00:00– 00:21. Tonic is C; the beat unit is a quarter note; use a treble clef. --(b) identify this theme as a sentence or a period, and explain any alterations (expanded, contracted, modulating, etc.), if applicable 02/21 dictation quiz: one melodic dictation modulating to the dominant. singing practice material: MSS ch. 15. melodic/harmonic dictation topics: modulation to closely-related keys (relative major); dictation practice material: MET unit 15, unit 17 Hearings: pp. 194–95 nos. 1 and 5. You must make changes in the syllables when appropriate to account for the modulation(s); make more then one change if the melody modulates more then once. The objective is some kind of reasonable musical interpretation of the tonal motion; there isn't necessarily a right or wrong way to do this. Also: come to class prepared to sing these with a partner. (If you have no partner, we'll assign you one.) 7 02/26 singing practice material: MSS ch. 15. melodic/harmonic dictation topics: Neapolitans and augmented sixths; modulation to closelyrelated keys (relative major) dictation from the literature (diatonic melodies | mp3)dictation practice material: MET unit 16 Hearings: pp. 194–95 nos. 1 and 5. You must make changes in the syllables when appropriate to account for the modulation(s); make more then one change if the melody modulates more then once. The objective is some kind of reasonable musical interpretation of the tonal motion; there isn't necessarily a right or wrong way to do this. Also: come to class prepared to sing these with a partner. (If you have no partner, we'll assign you one.) 02/28 singing practice material: MSS ch. 15. melodic/harmonic dictation topics: Neapolitans and augmented sixths; modulation to closelyrelated keys (relative major) dictation assignment 2: dictation from the literature (diatonic melody, minor mode) | mp3 --(a) write the entire opening 2171 schedule Page 4 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 dictation practice material: MET unit 16 organ theme, from 00:00–00:22 (stop when the upper voices enter): use tonic C, the half note as the beat unit, and a bass clef. --(b) identify this piece (composer and title). (How might you do this?) 8 03/04 Midterm singing exams: class will not meettoday—we'll hear singing exams in private appointments instead. Signup sheets for appointment times will be distributed in class and posted on my office door. Midterm exam material 03/06 Midterm dictation exam: This will take about35 minutes. Class will be dismissed when the exam is finished. The midterm dictation exam will comprise two melodic dictations (modulating) and two harmonic dictations (also modulating), consistent with those we've been discussing in class. 9 03/11 singing topics: modulation to other closelyrelated and distantly-related keys; sight reading. singing practice material: MSS ch. 16. melodic/harmonic dictation topics: Neapolitans and augmented sixths; dictation practice material: MET unit 16 Hearings: sight reading. These may simply have chromaticism, or they may modulate (possibly more than once—away from and back to the tonic, for example). You will have to decide whether or not the excerpt modulates, and treat the syllables accordingly. 03/13 singing topics: modulation to distantly-related keys; sight reading. singing practice material: MSS ch. 16. melodic/harmonic dictation topics: Neapolitans and augmented sixths; dictation from the literature (diatonic melodies | mp3)dictation practice material: MET unit 16 Hearings: sight reading. These may simply have chromaticism, or they may modulate (possibly more than once—away from and back to the tonic, for example). You will have to decide whether or not the excerpt modulates, and treat the syllables accordingly. Spring Break: week of March 17–21 10 03/25 singing topics: modulation to distantly-related keys. singing practice material: MSS ch. 16. Dictation topics: Neapolitans and augmented sixths; modulation to other other closelyrelated and distantly-related keys dictation practice material: MET unit 16, unit 17 Hearings: p. 211–12 nos. 19 and 22 (conduct each measure as 3+3 in both of these). Theseare very hard! They will require more preparation than usual. dictation assigment 3: due: dictation from the literature (diatonic melody, major mode) | mp3 2171 schedule Page 5 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 --(a) write the opening theme in the voice part, from 00:00– 00:19. Use a 3-sharp collection and make the quarter note the beat unit. Use any clef you want. --(b) identify this theme as a sentence or a period, and explain any alterations (expanded, contracted, modulating, etc.), if applicable. 03/27 dictation quiz (one harmonic dictation with a Neapolitan or an augmented sixth [or both]). singing practice material: MSS ch. 16. melodic/harmonic dictation topics: Neapolitans and augmented sixths; modulation to other closely-related and distantly-related keys; dictation from the literature (melodies with embellishing chromaticism | mp3; our excerptbegins here: mp3)dictation practice material: MET unit 16, unit 17 Hearings: p. 211 no. 19 and 22 (conduct each measure as 3+3 in both of these). 11 04/01 Tuesday April 01: Last day to drop orwithdraw with a W. singing practice material: MSS ch. 16. melodic/harmonic dictation topics: diatonic modes; modulation to other (distantly-related) keys dictation practice material: MET unit 18, unit 17 dictation assignment 4: dictation from the literature (diatonic melody with embellishing chromaticism) | mp3 --(a) write the opening theme in the strings (melody is in the highest violin part), from 00:03– 00:24. Use a treble clef. Tonic is G, the beat unit is a quarter note. There are two notes that sound like grace notes; just leave these out if you want. --(b) identify this theme as a sentence or a period, and explain any alterations (expanded, contracted, modulating, etc.), if applicable. 04/03 dictation quiz: harmonic dictation, modulation to a closely-related, non-dominant key. singing practice material: MSS ch. 18 melodic/harmonic dictation topics: diatonic modes; modulation to other (distantly-related) keys dictation practice material: MET unit 18, unit 17 Hearings: ensemble singing (three or four parts): p. 226 no. 6 and 227 no. 7. Both are chromatic, but non-modulating. In each just sing one line, once, from beginning to end with no repeat. Come prepared to sing with a group of partners; if you have no group, we'll assign you to one. 12 04/08 singing topics: diatonic modes. Hearings: modal patterns, p. 2171 schedule Page 6 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 singing practice material: MSS ch. 18 melodic/harmonic dictation topics: diatonic modes; modulation to other (distantly-related) keys dictation practice material: MET unit 18, unit 17 279–80 nos. 10, 12, 14, 18, and 19. Identify the mode in each example and use appropriate solfegge syllables: use syllables so that DO would be the tonic is the mode were major (Ionian). (Example: in no. 10 the collection has no sharps and no flats; thus C is DO, D is RE, E is MI, etc., because these wouild be the syllables if the mode were major; here the actual "tonic" is E, or MI, whjich makes the mode Phrygian). dictation assignment 5: due: dictation from the literature (melodies with a closely-related modulation): MET unit 17 quiz 1 nos. 3 and 4 (p. 403): you should write bass and melody line, as if these were harmonic dictations in class. Do the assignment on the page in the textbook, then photocopy the page and turn it in. The recording should be easy to locate on the CD that came with the book. 04/10 dictation quiz. harmonic dictation, modulation to a closely-related, non-dominant key. singing topics: diatonic modes. singing practice material: MSS ch. 18 melodic/harmonic dictation topics: modulation to other (distantly-related) keys dictation practice material: MET unit 18, unit 17 Hearings: modal patterns, p. 280 nos. 10, 12, 14, 18, and 19. Identify the mode in each example and use appropriate solfegge syllables. 13 04/15 singing topics: non-traditional scales melodic/harmonic dictation topics: modulation to other (distantly-related) keys dictation practice material: MET unit 21, unit 17 Hearings: sight reading. These may simply have chromaticism, or they may modulate (possibly more than once—away from and back to the tonic, for example). You will have to decide whether or not the excerpt modulates, and treat the syllables accordingly. dictation assignment 6: dictation from the literature: MET unit 17 quiz 2 nos. 2 and 3 (p. 405): you should write bass and melody line, as if these were harmonic dictations in class. No. 2171 schedule Page 7 of 9 file://C:\Documents and Settings\Andrew Davis\Desktop\courses\217... 6/4/2008 2 has embellishing chromaticism and is heavily syncopated, but does not modulate; no. 3 modulates to a closely-related key and is more straightforward metrically. Do the assignment on the page in the textbook, then photocopy the page and turn it in. 04/17 dictation quiz. singing topics: non-traditional scales singing practice material: MSS ch. 21 melodic/harmonic dictation topics: modulation to other (distantly-related) keys dictation practice material: MET unit 21 Hearings: sight reading. These may simply have chromaticism, or they may modulate (possibly more than once—away from and back to the tonic, for example). You will have to decide whether or not the excerpt modulates, and treat the syllables accordingly. 14 04/22 singing topics: non-traditional scales singing practice material: MSS ch. 21 melodic/harmonic dictation topics: dictation from the literature (diatonic modal melodies | mp3 ; our excerpt is here: mp3); non-traditionalscales; modulation to other (distantly-related) keys dictation practice material: MET unit 21 Hearings: p. 323 no. 3 (identify a tonal center and use appropriate syllables), p. 324 no. 9 (on a neutral LA; use appropriate conducting patterns), and p. 327 no. 18 (on a neutral LA; use conducting patterns in some combination of 3 and 2—as appropriate—in each measure). 04/24 evaluations singing topics: non-traditional scales singing practice material: MSS ch. 21 melodic/harmonic dictation topics: nontraditional scales; modulation to other (distantly-related) keys dictation practice material: MET unit 21 Hearings: p. 323 no. 3 (identify a tonal center and use appropriate syllables), p. 324 no. 9 (on a neutral LA; use appropriate conducting patterns), and p. 327 no. 18 (on a neutral LA; use conducting patterns in some combination of 3 and 2—as appropriate—in each measure). Final exams: Final dictation exam: Tuesday May 06, 9:00am in your regular rooms. The exam will take no more than 45 minutes. Final singing exams: these will be given in private appointments around the time of the dictation exam on Tuesday May 06. Individual signup sheets will be availabe on my office door (152) on or around Monday April 28. Please sign up for a time. Final sight singing material is available here.Last updated: April 28, 2008 URL: http://www.uh.edu/~adavis5/musi2171Comments: adavis at uh.edu | | | | 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) Home page and syllabus Professor: Andrew Davis. Office: 152 MSM | email: adavis@uh.edu (this is the best way to reach me) | office phone: 713.743.3294 | office hours: by appointment Course information: MUSI 4210, Introduction to Large Forms | Mondays and Wednesdays 2:00–2:50pm | Room: MSM 116 | course web site: http://www.uh.edu/~adavis5/musi4210 | This is a course on form in music of the common-practice era, focusing on music of the 18th and 19th centuries. The course emphasizes analysis of scores through analytical work in class and in listening, reading, and analysis assignments outside of class. There will be six assignments, an analytical essay assignment, and a comprehensive final exam. Prerequisites: You must have taken the theory placement exam and received permission to enroll in the course, or have completed the first four courses in the theory sequence at the Moores School of Music. Materials: Required: Charles Burkhart, Anthology for Musical Analysis, 6th edition (New York: Schirmer,2004). Benjamin, Horvit, and Nelson. Music for Analysis, 5th ed. (New York: Oxford UniversityPress, 2001). We will have no textbook that refers specifically to form and formal analysis; we will have occasional reading assignments from various sources, and you will be held accountable for the information presented in class. If you would like texts to use as reference concepts in form, these might be useful for you: Douglass Green, Form in Tonal Music: An Introduction to Analysis, 2d ed(New York: Holt, Rinehart, and Winston, 1979). MT58.G75 1979. Peter Spencer and Peter Temko, A Practical Approach to the Study of Formin Music (Prospect Heights, IL: Waveland Press, 1994). MT58.S63 P7 1994. William Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998). MT58 .C37 1998. Reserves list Page 1 of 3 file://C:\Documents%20and%20Settings\Andrew%20Davis\Desktop... 7/17/2006 Grading: the final grade will be computed as follows: Assignments and quizzes 35% | Essay assignment 25% | Final exam 25% | Class participation 15% The final grade is assigned according to the standard scale of percentages: A: 92.5– 100 | A-: 90.0–92.5 | B+: 87.5–90.0 | B: 82.5–87.5 | B-: 80.0–82.5 | C+: 77.5–80.0 | C: 72.5–77.5 | C-: 70.0–72.5 | D+ 67.5–70.0 | D: 62.5–67.5 | D-: 60.0–62.5 | F: below 60.0 Other information: Assignments are due at the beginning of class on the date indicated, and the duedates are not negotiable. Late assignments will be accepted for full credit only with a written, valid excuse. If you cannot provide such an excuse, your grade for the assignment will be penalized one letter grade for each day the assignment is late. Note that you are responsible for the work assigned in class even if you are absent—you should check the schedule online to see what material was assigned, and you should obtain notes on therelevant material from a classmate. Note that assignments will be given less often than you might be used to, which means theywill be longer and will weigh more heavily on your final grade. You are responsible for learning the material presented in class, whether we have an assignment on it or not. The final exam will be given on the scheduled final exam date for this course (Monday 12December, 2:00pm). Please plan in advance—the exam cannot be given at alternate times for individual students, and make-up exams will not be given without a written, valid excuse for why you missed the exam. It should be clear that in order to maintain a productive environment in class students areexpected to behave with courtesy and respect toward their instructor and their classmates. Students will be dismissed from class if they are found to be creating excessive disruptions. This includes disruptions from cell phones: please turn them off. Last day to drop or withdraw with no grade: 09/19. After this date grade options fordrops/withdrawals are W, Q and F. Last day to drop or withdraw from the course: 11/02. A grade of W, Q, or F is possible.Course enrollment status cannot be changed after this date. If you have a disability that affects your ability to complete assignments, quizzes, or examsin a timely manner, please inform your instructor at the beginning of the semester so that appropriate arrangements can be made. Academic dishonesty: You are expected to do your own work on all assignments and exams unless instructed differently; any work you hand in at any time should be your own. Problems with academic dishonesty will be handled according to the procedures outlined in the student handbook (see http://www.uh.edu/dos/hdbk/acad/achonpol.html). Please note that the mere suspicion of academic dishonesty is enough to initiate official action; please do not put yourself in the position of having to deal with this kind of situation. Disabilities: Reserves list Page 2 of 3 file://C:\Documents%20and%20Settings\Andrew%20Davis\Desktop... 7/17/2006 If you have a disability that affects your capacity to complete assignments and exams in a timely manner, please inform me at the beginning of the semester so that appropriate arrangements can be made. You will need to document your disability with the UH Center for Students with Disabilities (see http://www.uh.edu/csd/). The CSD will provide me with information on your disability, and you and I will work out a mutually agreeable arrangement (based on recommendations provided by the CSD) for how to accommodate the disability. Last updated: 9 August, 2005 URL: http://www.uh.edu/~adavis5/musi4210Comments to Andrew Davis ( email)© 2005, Andrew Davis Daily schedule Shortcut to the current week (assuming I remember to keep the link updated). Files in PDF format are marked with the PDF logo. To read the PDF files, you'll need the Adobe Acrobat Reader, which you can obtain for free here.Week Date Topics and handouts Assignments due 1 08/22 Course introduction. Theme types. Sentences, periods (parallel and contrasting), expansions, modulations, compound periods. See the list of exampleswe'll use in class. Handout: diagrams of theme types (periodsand sentences) . Compare these diagrams withthe recorded examples we used in class. 08/24 2 08/29 08/31 NOTES:--No class Monday 09/05. Labor Day. --Since I neglected to say anything about in class on Monday 08/29, assignment 1 will be due Wednesday 09/07 (week 3) instead of on the originally scheduled day of Wednesday 08/31 (week 2). Topics: Binary forms. Bach: Minuet in G from the Anna Magdalena Notebook, BWV 114. Class handout. CD1027. Gavotte 1 from the English Suite no. 3 in G minor. Burkhart p. 92. CD 1383. Schumann op. 68 no. 1. Burkhart p. 311. CD 5422. Mozart, Theme from the Sonata K. 284, mvt. I. Burkhart p. 165. CD 822. 3 09/05 09/07 Assignment 1: dueWednesday 09/07 .4 09/12 Topics: sonata forms. Assignment 2: due Monday09/12 MUSI 4210: Schedule Page 1 of 3 file://C:\Documents%20and%20Settings\Andrew%20Davis\Desktop... 7/17/2006 09/14 Beethoven Sonata op. 2 no. 1 mvt. I. Burkhart 219. Mozart Sonata K. 333 mvt. I. Burkhart 175. Handout: Elements of classical sonataforms .Read: Douglass M. Green, Form in Tonal Music (on reserve at MT58.G75 1979), 178–182 (a historical overview of the word "sonata" and the sonata form). 5 09/19 09/21 hurricane: no class 6 09/26 09/28 7 10/03 Topics: sonata forms, continued. Haydn H. XVI:36 mvt. I. Burkhart 137. Beethoven, op. 49 no. 2. Class handout .10/05 Topics: sonata forms in operas. Mozart, "La ci darem la mano," from DonGiovanni, Act I. Class handout. 8 10/10 Assignment 3: due Monday 10/10. Score for assignment 3 (Beethoven op. 49 no. 1) .10/12 Topics: rondo form, sonata-rondo form. Haydn H. XVI:37 mvt. III. Burkhart 140. Beethoven op. 13 mvt. III. Burkhart 243. Handouts: Form diagram: 5-part rondo form Form diagram: sonata-rondo form 9 10/17 10/19 Assignment 4: dueWednesday 10/19 10 10/24 Topics: ternary form, compound ternary form. Then: Schumann op. 68 no. 3. Burkhart 311. Handel, “Where'er you walk” from Semele. Burkhart 89. Haydn Symphony 101 mvt. III. Burkhart 146. Handout: Form diagram: the compound ternary form 10/26 I'll take questions on the essay assignment (due in one week) in class today. Look at the assignment, listen to the pieces you have to write about, and come to class prepared to discuss them. 11 10/31 Continue ternary forms. Essay assignment: dueWednesday 11/02 11/02 12 11/07 Topics: ritornello forms. Vivaldi, violin concerto op. 3 no. 6. Class 11/09 MUSI 4210: Schedule Page 2 of 3 file://C:\Documents%20and%20Settings\Andrew%20Davis\Desktop... 7/17/2006 Final exam date: Monday 12 December, 2:00pm. Study guide for the final exam .handout .13 11/14 Mozart, Clarinet concerto K. 622 mvt. I. Burkhart 201. Concerto 1st movements (the “double exposition” sonata form). Handout: Form diagram: classical concertos 11/16 14 11/21 Forms with a ground bass: Purcell, Dido's Lament ("When I am Laid in Earth"), from Didoand Aeneas. Burkhart p. 55. 11/23 No class: Thanksgiving holiday. 15 11/28 Topics: the prelude. Bach, Prelude in C Major from The Well-Tempered Clavier Book I. Burkhart p. 104. Chopin, Prelude in C Major. Burkhart, p. 325. 11/30 Assignment 5: dueWednesday 11/30 Score for assignment 5 (Vivaldi op. 3 no. 6) .16 12/05 (Hurricane make-up class meeting) Assignment 6: due Monday12/05 .Last updated: 21 November, 2005 URL: http://www.uh.edu/~adavis5/musi4210Comments to Andrew Davis ( email)© 2005, Andrew Davis | | | | | | | 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. SYLLABUS Spring 2009 Theory I – MUSI 1331 01 Instructor Matthew Crosby Presser 313; 295-4503 (office); 771-1915 (home) mcrosby@umhb.edu Office Hours—posted on office door Materials Text: Music: In Theory and Practice, Bruce Benward and Marilyn Shaker; McGraw Hill Higher Education. Staff paper and pencils Objectives This course is designed for the progressing theory student and builds on fundamental skills and knowledge to explore the composition and relationship of intervals, triads, and seventh chords in the Common Practice Period (Baroque to early Romantic). Attendance Students are expected to attend classes and be on time for classes. If a student attends less than 75% of classes, it will result in a failing grade. It is the responsibility of the student to document each absence with the professor before the next class meeting. Grading Homework assignments are due at the beginning of class. There will be no late work accepted unless it is an excused absence. It is the duty of each student to contact the professor if absent and to collect materials and complete homework before the next class period. Final grades will be determined as follows: 55% Daily Grades (this includes homework and quizzes) 20% Mid-term 25% Final exam Schedule January 19—No Class, MLK, Jr. January 26—No Class, OV tour February 13—No Class (TMEA) February 25—Midterm March 16-20—Spring Break (Baby Crosby #2-Due March 19) April 30—May 6 Final (see FINAL SCHEDULE) | | | | 1 | SYLLABUS Fall 2008 Theory II – MUSI 1332 01 Instructor Mr. Matthew Crosby Presser 313 295-4503 mcrosby@umhb.edu Office Hours--TBA University Mission Statement The University of Mary Hardin-Baylor prepares students for leadership, service, and faith-informed discernment in a global society. Academic excellence, personal attention, broad-based scholarship and a commitment to a Baptist vision for education distinguish our Christ-centered learning community. Materials Bach/Riemenschneider 371 Harmonized Chorales, G. Schirmer Staff paper and pencils Course Description This course is designed for the intermediate theory student and focuses on voice leading and part writing, analysis of diatonic triads and seventh chords and modulations. This course will introduce secondary dominants to segue into more chromatic harmonies. Concepts will be explored through analysis and composition. Attendance Students are expected to attend classes and be on time for classes. If a student attends less than 75% of classes, it will result in a failing grade. It is the responsibility of the student to document each absence with the professor before the next class meeting. Grading Homework assignments are due at the beginning of class. There will be no late work accepted unless it is an excused absence. It is the duty of each student to contact the professor if absent and to collect materials and complete homework before the next class period. Final grades will be determined as follows: 45% Weekly Average (this includes homework and quizzes) 20% Mid-term 25% Final exam 10% Composition(s) (see page 3) Schedule September 1—No Class--Labor Day October 8—Midterm Exam October 13,14—Fall Break November 17—Composition Due November 26&28—No class—Thanksgiving December 7, 8:30am—Final Exam (01) December 10, 8:30am—Final Exam (02) THEORY II COMPOSITION PROJECT *This project is worth 10% of your final grade and is due on Nov 17. REQUIREMENTS for Final Draft 1. The composition (hymn) must be set to an existing hymn text which is approved by the instructor. (10 pts) 2. It must be an original composition written in four part harmony and at least sixteen measures in lenght. (60 pts) These 60 points will be awarded based on your creativity and mastery of pat-writing. 3. It must be turned in with a cover sheet stating (10 pts) a. Your name. b. The date. c. The title and author of the text as well as birth and death dates. 4. It must be written on Sibelius or a similar music-writing program. (10 pts) 5. It must be in a clear portfolio or report cover. (10 pts) CHECKPOINTS 1. Your melody and key and time signatures are due on Oct. 27. 2. Your bass and soprano (with Roman Numerals) are due on Nov. 3. 3. Your four-part texture is due on Nov. 10 (with Roman Numerals and cadences indicated). 4. Your final copy with text inserted is due on Nov. 17. Please bring a copy for each student in the class for a joint hymn-singing. EXTRA CREDIT Any additional hymn composition (of good quality) will add an extra 10 points to the project grade (which is roughly one point to your final average for the class). Rough drafts of any extra work are due on Nov. 24. Final drafts are due on December 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. | | MUSI 2331 | Theory III | 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. Prerequisites: MUSI 1132 and 1332. University Of Mary Hardin-Baylor College of Visual and Performing Arts Department of Music COURSE SYLLABUS Theory III - MUSI 2331(should be taken concurrently with MUSI 2131 - Aural Skills III) Prerequisite MUSI 1132 - Aural Skills II MUSI 1332 - Theory II Instructor Dr. Lon W. Chaffin Presser 203 (254) 295-4683 lchaffin@umhb.edu http://lcsproductions.net Materials staff paper and pencils Objectives: This course provides the student with advanced theoretical concepts of harmony through analysis and functional compositional skills, especially relating to music of the common practice period. The course will cover secondary dominant and leading-tone chords, melodic harmonization, modulation to closely-related keys, as well as altered and borrowed harmonies. Attendance Each student is expected to attend each and every class meeting and will be held responsible for all coursework and assignments. Failure to attend class will result in a lower semester grade and may result in dismissal from the University. It is the student's responsibility to document each absence with the instructor immediately upon returning to class following the absence. Failure to do so will result in an "unexcused" absence being recorded. "Excused" absences will be for conditions beyond the student's control, such as: University-sponsored events requiring the student's attendance (must be documented by a University official) Personal illness (must be documented by a health-care administrator) Family crisis issues (must be documented by a responsible family member) Grading As mentioned above, it is the student's responsibility to complete all coursework and assignments. In this course, there will be daily assignments and a quiz given each week of the semester. These weekly grades, along with two major exams, and one presentation will be the basis for the semester grade. The semester grade will be figured as follows: Weekly average - 40% Mid-term exam - 15% *Lecture/Recital - 15% Final exam - 30% Late work is not acceptable. One letter-grade will be subtracted from the assignment for each class period it is late. If the student is absent when the assignment is due, that assignment will be due the class period the student returns to class, provided the absence is "excused." If the absence is "unexcused," a grade of "0" (zero) will be recorded. *Each student will present one piece of music in a Lecture/Recital format on a designated evening toward the end of the semester. This piece will be one that the student is currently preparing in his/her private lessons. The student will prepare the piece to perform as well as prepare a brief lecture (between 3 and 5 minutes) on the theoretical and historical aspects of the work. BONUS If the student chooses, he/she may compose an original composition for extra credit. The guidelines are as follows: - The piece must be fully notated No lead-sheets or chord charts accepted - It must be for a medium that can utilize full, tertian harmony Ex. Vocal or instrumental solo with piano accompaniment Ex. Trio, quartet, quintet, etc. voices or instruments Ex. Piano solo No unaccompanied solo works accepted - It must be at least 32 measures in length (repeated sections not included) - It must include COMPLETE harmonic analysis The student will have, at most, 10 points added to his/her Final Exam grade if the piece is completed and turned in by the last day of class. The student will have, at most, 15 points added to his/her Final Exam grade if the piece is completed, performed in Performance Lab and turned in before the last day of class. I, (printed name) _________________________________________________, have received, read and understand the syllabus for MUSI 2331 and agree to abide by the policies and procedures therein. ________________________________________ _______________ Student's signature Date | | | | 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. Prerequisites: MUSI 2131 and 2331.University Of Mary Hardin-Baylor College of Visual and Performing Arts Department of Music COURSE SYLLABUS Theory IV - MUSI 2332 (should be taken concurrently with MUSI 2132 - Aural Skills IV) Prerequisite MUSI 1132 - Aural Skills III MUSI 1332 - Theory III Instructor Dr. Lon W. Chaffin Presser 203 (254) 295-4683 lchaffin@umhb.edu http://www.lcsproductions.net Materials Benjamin, Horvit, and Nelson, Techniques and Materials of Music, 6th edition Burkhart, Anthology for Musical Analysis, 6th edition David Cope, New Directions in Music, 7th edition staff paper and pencils Objectives: This course provides the student with advanced theoretical concepts of harmony through analysis and functional compositional skills, especially relating to music of the late common practice period and 20 th-century. The course will cover the expansion of tonal music intochromatic techniques, atonal music, and compositional trends of the 20 th century.Attendance Each student is expected to attend each and every class meeting and will be held responsible for all coursework and assignments. Failure to attend class will result in a lower semester grade and may result in dismissal from the University. It is the student's responsibility to document each absence with the instructor immediately upon returning to class following the absence. Failure to do so will result in an "unexcused" absence being recorded. "Excused" absences will be for conditions beyond the student's control, such as: University-sponsored events requiring the student's attendance (must be documented by a University official BEFORE the event) Personal illness (must be documented by a health-care administrator) Family crisis issues (must be documented by a responsible family member) Grading As mentioned above, it is the student's responsibility to complete all coursework and assignments. In this course there will be daily assignments, which will result in a weekly grade being recorded each week of the semester. These weekly grades, along with two major exams, and one presentation will be the basis for the semester grade. The semester grade will be figured as follows: Weekly average - 30% Mid-term exam - 15% *Lecture/Recital - 15% #Final exam - 40% Late work is not acceptable. One letter-grade will be subtracted from the assignment for each class period it is late. If the student is absent when the assignment is due, that assignment will be due the class period the student returns to class, provided the absence is "excused." If the absence is "unexcused," a grade of "0" (zero) will be recorded. *Each student will present one piece of music in a Lecture/Recital format at an assigned performance time toward the end of the semester. This piece will be one that the student is currently preparing in his/her private lessons. The student will prepare the piece to perform as well as prepare a brief lecture (between 5 and 7 minutes) on the theoretical and historical aspects of the work. #Part of the final exam grade will be from original compositions, constructed by small groups from the class, utilizing contemporary compositional techniques covered in the course. It must be at least 5 minutes in length, and will be presented at an assigned performance time toward the end of the semester. Each group must produce a full score, with appropriate directions/instructions, and program notes which will describe and summarize the piece for the audience members. BONUS If the student chooses, he/she may compose an original composition for extra credit. The guidelines are as follows: - The piece must be fully notated No lead-sheets or chord charts accepted - It must be for a medium that can utilize full, tertian harmony Ex. Vocal or instrumental solo with piano accompaniment Ex. Trio, quartet, quintet, etc. voices or instruments Ex. Piano solo No unaccompanied solo works accepted - It must be at least 32 measures in length (repeated sections not included) - It must include COMPLETE harmonic analysis The student will have, at most, 10 points added to his/her Final Exam grade if the piece is completed and turned in by the last day of class. The student will have, at most, 15 points added to his/her Final Exam grade if the piece is completed, performed and turned in before the last day of class. I, (printed name) _________________________________________________, have received, read and understand the syllabus for MUSI 2332 and agree to abide by the policies and procedures therein. ________________________________________ _______________ Student's signature Date | | | | 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. If I need to request this syllabus, I will forward Dr. Chaffin's email to Michelle Schumann | | | | 2 | MUSI 4223 Orchestration A survey of the characteristics of standard orchestral instruments and of arranging for various combinations of instruments. Steve Crawford teaches this one | | | 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 1400 Theory I Fall 2008
- T Th 11:00--11:50 Recital Hall
- Instructor: Dr. David Schwarz
- Office: MU 346
- Phone: (940) 369-7299
- E-mail: dschwarz@music.unt.edu
- Office Hours: TTh 3:00--4:00
There are four goals for this class: 1) you will become completely and fluently literate in the basic materials of music, 2) you will be able to realize a six-measure figured bass in SATB texture using all triads, all seventh chords, all inversions, treating dissonances properly, in appropriate spacing, with accurate roman numerals, fluent and idiomatic melodic writing, tonicization, and modulation in all major and minor keys, 3) you will be able to account for every pitch and chord in a Bach chorale, recognizing proper roman numerals, chord tones / non-chord tones and resolutions of tendency tones, tonicizations, secondary tonal levels, and modulations, and 4) you will be able to write correct first, second, third, and fourth species counterpoint in two voice. The final exam will test all of these skills in three sections corresponding to these goals. NOTE: You must pass the final exam in order to pass the class; the exam takes place from 10:30 to 12:30 on December 11, in the Recital Hall. In order to do well in this class, you need to come to class every day, arriving at 11:00 a.m. You may miss class due to scheduled UNT COM activities and acute medical emergencies. In case of UNT COM activities or medical emergencies / illnesses, download the following pdf and fill it out with signatures and names of you and appropriate faculty / staff. All excused work must be made up within one week of your return to school. It is your responsibility to make up missed work. Excused missed work must be accompanied by the absence.pdf form filled out in its entirety, stapled to your assignment, and both pinned to the cork board outside my office (MU 346) Absence / illness form; NOTE: if you know in advance that you are going to miss more than one class, treat each missed class individually and download the form with signatures, accompanied by made-up work within a week of your return to UNT. Computers may be used during class for note-taking purposes only. If we discover you using computers for any other purpose (such as watching movies, playing games, etc.) you will receive a 0 for that day's work. All cell phones must be turned off during class. If we discover one on, you will receive a 0 for the day. There will be no unexcused, late work accepted. Graded work, and unexcused late work can be revised and corrected at the discretion of the graders. No grade will change as a result of re-worked material; re-doing work will, however, give you added confidence for future assignments. You must take and pass the final exam to pass the course. Bring staff paper to every class. Only work handed-in on full, 8 1/2 X 11 staff paper (printed) will be accepted. Many course materials are presented below as pdf files that you can download; do not download pdf files from the College of Music computer lab. You can listen to the mp3 files by clicking on the links; a player appears on the right of the page. These mp3 files cannot be downloaded. There is one text required for the course: Stephen Laitz, The Complete Musician. Second Edition (text only; no workbook required). (New York: Oxford University Press, 2008). Our Supplemental Instructor for the course is Megan Sidler; her e-mail address is mas0415@unt.edu Megan's SI sessions will be held in MU 290, Mondays 9 to 10 in the evening, Wednesdays 2:30 to 3:30 in the afternoon, and Thursdays 5 to 6 in the late afternoon. Her office hour is in Kerr Hall 205 B, Wednesdays noon to 1 in the afternoon. Grades will be determined as follows: - Daily work = 25%
- Midterm = 25%
- Cumulative Final Exam (in class) = 50%
- 08.26.2008
Bach, Chorale 137: mp3 LAITZ: You should already know the material in Chapters 1-3--particularly Chapters 1 and 3. Review this material as needed. Make sure that you know the following materials cold. keyboard: pdf key signatures: pdf circle of fifths: pdf Bach chorale 137: pdf Make sure that you know all the key signatures in major and minor. Make sure that you can explain the logic of the circle of fifths. Make sure that you know that the relative minor of any major key begins a minor third below the major key (and they share the same key signature): The relative minor of C major is A minor, etc. - 08.28.2008
Bach, Well-Tempered Klavier, Prelude no. 1: mp3 LAITZ: prepare (read and be ready to explain) Chapter 3, pp. 86-89. Be ready to analyze the melodies in terms of "melodic cadence", "tendency tones", "conjunct motion", "disjunct motion", and "law of recovery." Bach, Well-Tempered Klavier, Prelude no.1: pdf For those of you who are ambitious, I have added a pdf and mp3 of the first prelude from Bach's Well-Tempered Clavier (Glenn Gould playing). We usually do this piece in detail in theory II. This is a completely optional element of today's work. Remember the following general principles when writing melodies in our style: 1) use stepwise motion with legal intervals (major and minor seconds), 2) avoid consecutive leaps (if you have to leap, they should be thirds, sometimes perfect fourths or perfect fifths or octaves; remember: a leap says "I am a space to be filled, not left empty"), 3) come to rest or highpoint(s) on scale degree 3 or 5 (or a "neighbor" note above each of these), and 4) conclude melodies with MI-RE-DO or ME-RE-DO or DO-TI-DO (Be sure, in minor to add the leading tone to the seventh scale degree to make TI and not TE). Here are the pdf files that correspond to the four pages of LAITZ for today: page 86 page 87 page 88 page 89 - 09.02.2008
LAITZ: Chapter 5: pp. 122-124. Focus on the "Figured Bass" material. Make sure you understand Example 5.6 on page 123 and Example 5.7 on page 124 parallelism: pdf part-writing template: pdf spacing, doubling, voicing: pdf From today's class please remember: a) the principle of doubling the roots of stable triads, b) the rule of close spacing = an octave or less between tenor and soprano, and open spacing = more than an octave between tenor and soprano, c) the rule of no more than an octave between tenor and alto, d), the rule of never part-write a chord with just tonic and fifth (always include the third), and e) the principle that you may part-write a chord (particularly as the final cadence) with tripled root and third, only if you do this because you are resolving tendency tones as necessary. Terms introduced today: "tendency tone": a dissonance that must resolve in a certain way (more explanations forthcoming). For next time study the handouts and be able to construct a page of triads and inversions for D minor. This is tricky. There are two chord on scale degree five, one on the lowered scale degree seven, and one on the raised scale degree seven--the leading tone. If there is an in-class quiz on this stuff it will be at the end of class, once I explain all this to you. Here are the pages from the LAITZ: page 122 page 123 page 124
- 09.04.2008
There will be a quiz today on key signatures; I'll give you empty staves (treble + bass); I'll ask for several keys (one per empty measure); you'll supply the correct key signature. LAITZ: Chapter 5, pp. 116-119. Make sure you can reproduce all triads in all inversions in all keys from any root by the time you come to class today. numbers: pdf triads in minor: pdf inversions, triads, intervals: pdf Remember that in major the triads are: tonic (built on scale degree 1), supertonic (built on scale degree 2), mediant (built on scale degree 3), subdominant (built on scale degree 4), dominant (built on scale degree 5), submediant (built on scale degree 6), and the leading-tone triad (built on scale degree 7--the leading tone of the key). Remember that in minor, on the other hand, there are: tonic (built on scale degree 1), supertonic built on scale degree 2), mediant (built on scale degree 3), augmented mediant (built on scale degree 3 with an altered leading tone (chord member fifth)), subdominant (built on scale degree 4), (minor) dominant (built on scale degree 5), (major) dominant (built on scale degree 5 with an altered leading tone (chord member third)), submediant (built on scale degree 6), subtonic triad (built on the naturally-occuring scale degree 7), and the leading-tone triad (built on the altered leading tone (the chord member root)). Look above: I have added a pdf to illustrate these triads in minor. Here are the Laitz pages that you need for today: page 116 page 117 page 118 page 119
- 09.09.2008
Schubert, "Wasserflut"; mp3 Study and master the assignment below. It is difficult and densely packed; pick it apart patiently! :) figured bass: pdf Assignment #1 (due Thursday, September 11): pdf Remember that the tendency tone we have discussed so far is the leading tone, when it is the third chord member of a dominant triad (that is major). Be sure to play all pairs of voices in your work for Thursday; if you hear a parallel perfect fifth or parallel perfect octave between any two voices, fix it (we'll talk about parallel repair on Thursday.) - 09.11.2008
LAITZ:Chapter 9, pp. 213-217. Pay particular attention to Laitz's point about the preparation and resolution of chord member sevenths (NB: this is hugely important). dominant sevenths: pdf tonic - dominant introduction: pdf Melodic Intervals: when writing a melody, use only major and minor, or perfect intervals (minor second, major second, minor third, major third, perfect fourth, perfect fifth, perfect octave). Write no augmented or diminished intervals (the one that happens often is the augmented second in minor between "LE" and "TI"). Also remember that a leap says "I am a space to be filled, not left empty." Remember also to avoid leaps larger than a perfect fifth (although a minor sixth can sound good, particularly if it is filled with contrary motion to fill-in the space you have opened). Leap a seventh under no conditions in this style. Here are two things: 1) a basic principle of voice-leading in four-part harmonic writing, and 2) a very important exception to this principle. 1) Voices move as much as necessary but as little as possible. 2) When you move from one root position harmony to another by step, upper voices (TAS) move in contrary motion to the bass. We have a new tendency tone: FA (when it is the chord member seventh of a (major) dominant seventh chord. FA (under these conditions) is a tendency tone that must resolve down by step (this step will be a major second in minor (FA-ME); it will be a minor second in major (FA-MI). Remember our other tendency tone: TI (when it is the chord member third of a dominant triad or (major) dominant seventh chord). TI (under these conditions) is a tendency tone that must resolve up by step to DO. This step will always be a minor second. Why? We will soon work on delayed resolutions of these tendency tones. Here are another two things: 1) a principle of voice-leading in four-part harmonic writing, and 2) an exception to that principle: 1) Tendency tones resolve in their own voices. 2) At a final cadence the soprano may resolve an alto's "TI". Here are the pages from Laitz that you need for today: Laitz p. 213 Laitz p. 214 Laitz p. 215 Laitz p. 216 Laitz p. 217
- 09.16.2008
LAITZ:Chapter 14, pp. 324-330. Pay particular attention to the essential structure of pedal, passing, and cadential 6/4 chords. You need to be able to illustrate their structure in four-part harmony in any key. 6/4 chords: pdf seventh chords in minor: pdf seventh chords in major: pdf Assignment #2 (due at 11:00 on Thursday, September 18): pdf Here are the pages you need to read from Laitz: I know it's a lot. The work I will show you in class today is what you need to remember. There is a TON of fascinating and important information in these pages. Read them, play what you can, and come to class with questions. Laitz 324 Laitz 325 Laitz 326 Laitz 327 Laitz 328 Laitz 329 Laitz 330
- 09.18.2008
Bach, Chorale 193: mp3 LAITZ:Chapter 8, pp. 186-188. Pay particular attention to the structure of the perfect authentic cadence (PAC) and the half cadence (HC); you need to be able to illustrate this structure in four-part texture in any key; remember and be able to illustrate what Laitz says about the "Piccardy third." Here are some definitions of all the seventh chords. In all cases we are counting half steps up from the root of the chord. - Major Seventh Chord: 4 3 4 (for example C, E, G, B)
- Dominant Seventh Chord: 4 3 3 (for example C, E, G, B-flat)
- Minor Seventh Chord: 3 4 3 (for example C, E-flat, G, B-flat)
- Fully-Diminished Seventh Chord: 3 3 3 (for example C, E-flat, G-flat, B-double flat)
- Half-Diminished Seventh Chord: 3 3 4 (for exammple C, E-flat, G-flat, B-flat)
Now, you need to find out a) where you can find these seventh chords in our "palette" of triads built on major and minor scales, and b) how these chords function (are they dominant preparation or dominant substitues chords) and how the sevenths are prepared and resolved. Here is the Laitz you need for today: Laitz page 186 Laitz page 187 Laitz page 188 - 09.23.2008
Bach, Chorale 140: mp3 An introduction to non-chord tones and secondary tonal levels. half cadences: pdf Haydn a half cadence: pdf Bach chorale 140: pdf Assignment #3 due at 11:00 a.m. on Thursday 09.25 (Roman Numerals and a Bach Chorale): pdf. Listen to this piece under 09.18.2008 I accidentally uploaded two pages: the second page is very difficult. Try it just for fun, but hand in page 1 only. Remember that "tritones" are always either diminished fifths or augmented fourths. Diminished fifths resolve to thirds; augmented fourths resolve to sixths. Remember that (always in a dominant complex) a perfect fifth can move to a diminished fifth only if that diminished fifth moves to a third. A Review of Tendency Tones: - 1) the leading tone (TI) when chord member 3 of a (major) dominant triad or seventh chord. In this context, TI always resolves up to Do.
- 2) the chord member 7 (FA) of a (major) dominant seventh chord. In this context FA resolves down to MI (in major); FA resolves down to ME (in minor).
- 3) all chord member sevenths; they resolve down by step.
Remember: - 1) all sevenths must be prepared either by common tone or by step.
- 2) resolutions of all tendency tones may be delayed
Please remember this general definition of a phrase: "A phrase is a unit of music with some degree of harmonic and / or melodic closure." This definition is broad enough to work for all kinds of music. Laitz' more restricted definition works for tonal music. - 09.25.2008
Bach, Chorale 145: mp3 deceptive cadence and plagal cadence: pdf Bach, chorale 145: pdf Assignment #4 due at 11:00 a.m. on Tuesday, 9/30 (Roman Numerals, cadences, and tendency tones in Bach Chorale #153): pdf Be aware that in a leading tone diminished triad, TI is a tendency tone that must resolve up and FA is a tendency tone that must resolve down. Sound familiar? This is the "tritone". If TI is below FA this "tritone" will make a diminished fifth that resolves "in" to a third; if FA is below TI this "tritone" will make an augmented fourth that resolves "out" to a sixth. - 09.30.2008
Bach, Chorale 153: mp3 Bach, chorale 153: pdf phrygian half cadence: pdf cadence worksheet: add keys and analyze the cadences contained here: pdf cadence worksheet: completed: pdf triad worksheet: identify these triads using pop symbols and then imagine possible tonal contexts: pdf - 10.02.2008
In-class review work on part-writing and figured bass practice.
- 10.07.2008
Midterm Spelling Practice Figured Bass Practice. Add roman numerals and correct part-writing. Show preparation and resolution (delayed if necessary / possible) of all chord member sevenths with arrows; show resolution of tendency tones with arrows. Show the cadences at the fermatas. You can also transpose this example to a bunch of other minor keys. An advanced setting would be to transpose this to the parallel major: D major (making all adjustments as necessary). Avoid parallel perfect fiths and octaves like the plague. Or, write a few intentionally and think of the most efficient way to un-do them. :) Here are some bass lines for Progressive / Regressive motion. Determine whether the motion from chord to chord (once the bass line is fully-realized of course) is PROGRESSIVE or REGRESSIVE. Remember: Progressive harmonic motion is root motion down a fifth OR down a third OR up a second. There will be two things to do on the midterm: - Spell all triads and all seventh chords in all inversions. I'll provide a key, such as "C-sharp minor" then a function, such as "v". Then you properly part-write that triad. Keep in mind that you never double a tendency tone, and all chords must be complete. It is essential that the correct note is in the bass. In the example above, the bass note will be G-sharp.
- Part-Write using all the figured bass elements we have used so far. There will be one short phrase illustrating a cadence, a dominant complex, all three legal 6/4 chords and the following tendency tones: 1) the leading tone TI when the chord member third of a dominant triad or seventh chord; it resolves up to Do. 2) scale degree four (FA) when it is the chord member seven of a major dominant seventh chord; it resolves down to ME (in minor) or down to MI (in major). 3) all chord member sevenths. 4) the leading tone when the chord member root of a leading-tone diminished chord; it resolves up to DO. 5) scale degree four (FA) when the chord member five of a leading-tone diminished seventh chord; it resolves down to ME (in minor) and down to MI (in major). You must know the roman numerals of all triads and seventh chords cold.
- 10.09.2008
Midterm back and Review Take a Look at an Amazing job on the Midterm: Tyler Watson's exam: part I Tyler Watson's exam: part II
- 10.14.2008
LAITZ:Chapter 4: pp. 94-105. For today make sure you can discuss and illustrate "parallel motion" and "contrary motion." Make sure you can define "first species counterpoint" and "cantus firmus." Here are the pages you need from Laitz: Laitz, page 94 Laitz, page 95 Laitz, page 96 Laitz, page 97 Laitz, page 98 Laitz, page 99 Laitz, page 100 Laitz, page 101 Laitz, page 102 Laitz, page 103 Laitz, page 104 Laitz, page 105 There will be an in-class quiz next time on first-species counterpoint. For the quiz, I will provide a short cantus firmus; you will write first-species counterpoint above it. Here's what you need to remember: - 1) write a whole note against a whole note.
- 2) the vertical intervals are consonances only; the perfect consonances are the perfect unison, the perfect fifth, and the perfect octave; the imperfect consonances are the major third, the minor third, the major sixth, and the minor sixth.
- 3) write a unison only at the final cadence.
- 4) the only compound interval that is OK is the 10th.
- 5) write arabic numbers between the parts that show what generic interval you are writing. Write "6" for any major or minor sixth, for example.
- 6) make sure that your counterpoint does not destroy the mode (see below
- 7) write no direct parallel perfect fifths or octaves.
A review of the modes: - dorian: d to d white keys on the piano (emphasize A)
- phrygian: e to e white keys on the piano (emphasize B)
- lydian: f to f white keys on the piano (emphasize C)
- mixolydian: g to g white keys on the piano (emphasize D)
- aeolian: a to a white keys on the piano (emphasize E)
Check out this as a dry run for Thursday: Dry Run
- 10.16.2008
LAITZ:Chapter 4: practical applications of pp. 94-105.
- 10.21.2008
LAITZ:Chapter 4: pp. 106-115. Make sure you know what Laitz means by consonance and dissonance in these pages. Make sure that you can define and illustrate second species counterpoint with a simple cantus firmus. Make sure that you can define passing motion in air-tight language. Here are the pages you need from Laitz: Laitz, page 106 Laitz, page 107 Laitz, page 108 Laitz, page 109 Laitz, page 110 Laitz, page 111 Laitz, page 112 Laitz, page 113 Laitz, page 114 Laitz, page 115 Here are the rules for second species counterpoint vertical intervals: Vertical consonances include perfect fifths and octaves, major thirds, minor thirds, major sixths, and minor sixths (and their compounds). Vertical dissonances include minor seconds, major seconds, perfect fourths, minor sevenths, major sevenths, all augmented and diminished intervals (beware the "tritone") (and their compounds). - 1) all strong beats must be consonant
- 2) weak may be consonant or dissonant; if they are dissonant, they must be passing
- 3) consecutive strong beats may not be perfect parallel fifths or octaves
- 4) consecutive weak beats may be perfect parallel fifths or octaves
- 5) do not write direct parallel fifths or octaves from a strong to a weak, or a weak to a strong beat
- 6) you may begin with a strong beat rest
- 7) you may end with a whole note and even the penultimate measure may be a whole note
All horizontal or melodic intervals may be minor seconds, major seconds, major thirds, minor thirds, perfect fourths, perfect fifths, and ascending minor sixths. Octaves are fine as well. Never write a melodic major sixth, minor seventh, or major seventh (or their compounds); and never write an augmented or diminished melodic interval. Here is second species counterpoint that we would have worked on in class if the technology had not barfed: Second Species Work
- 10.23.2008
Third Species (four quarters against one whole note). In-class work + quizz. Remember the following rules for third species (four quarter notes above a whole note: - 1) beat one is always consonant
- 2) beats two and four may be dissonant if they are passing
- 3) beat three may be dissonant if it is passing
- 4) you may leap away from a dissonance only in the cambiata figure whose intervals are 8 7 5 6
- 10.28.2008
Fourth Species counterpoint (suspensions). In-class material. Remember that the 4-3, 7-6, and 2-3 suspension are the "normal" suspensions we'll be using. Here are the basic rules for suspensions: - Weak beat preparations, are followed by
- Strong beat dissonances resulting from the non c-f voice being held over into the new measure, which are followed by
- Weak beat resolutions of the suspension down by step.
- 10.30.2008
Class cancelled due to illness. I'll have a special review session for you on the species at the end of the semester. I'd highly recommend that each of you make a review sheet for yourselves on the do's and don'ts of each species.
- 11.04.2008
Bach, Well-Tempered Klavier, Prelude no. 1: mp3 Bach, Prelude in C from the Well-Tempered Clavier: pdf Today, we'll work on a complete roman numeral description of Bach's Prelude in C from the Well-Tempered Clavier. I'll introduce you to tonicization and we'll look more at secondary tonal levels, extended dominant and tonic complexes as well. - 11.06.2008
Scubert, Morgengruss: mp3 Schubert, Morgengruss: pdf We'll start today with the dominant and tonic complexes at the end of the Bach. Doing a tonic complex like the dominant complex doesn't work very well. Can you think of a better way to account for the voice-leading and harmony of the "tonic complex?" In the Schubert, there is a short but very challenging dominant complex in mm. 9-10. What makes this a particularly difficult passage? - 11.11.2008
Bach, Chorale no. 238: mp3 Review of Non-Chord Tones: passing tones, neighbor notes, suspensions, anticipations. Be able to explain and reproduce examples of these non-chord tones by class on 11.11.2008: pdf. Roman Numeral Assignment, Bach, Chorale no. 238 due at the beginning of class on Thursday, 11/13: pdf. - 11.13.2008
Part-Writing Seventh Chords Part-Writing Seventh Chords: pdf. Part-Writing Seventh Chord Assignment (Due 11.18): pdf Here's a pdf of our in-class work today: In-Class work - 11.18.2008
Assignment due today (see 11.13) Review and moving ahead with tonicization: part-writing. tonicization assignment: due 11.20: pdf Here are the two things we worked on in class today concerning tonicization; these may not make sense unless you were in class! one of 'em the other one - 11.20.2008
Schubert, Die Nebensonnen: mp3 Review and moving ahead with toniciation: analysis. We will also work on sequences today. Do a complete Roman Numeral analysis of this song by Schubert. Pay particular attention to tonicizations. By the way, the first page is in A major; then on page 2 the mode shifts to A minor. To what effect? Schubert, Die Nebensonnen: pdf - 11.25.2008
Today we will work on the last topic of the semester--MODULATION (to be included in both analysis and part-writing portions of the final. Here's today's stuff. Tendency Tone Review Tendency Tones include: the leading-tone of a key when it is the chord member third of a dominant triad or a dominant seventh chord; the leading-tone of a key when it is the chord member root of a seven diminished seventh triad, a seven half-diminished seventh chord, or a fully-diminished seventh chord; the temporary leading tone of a tonicized triad when it is the chord member third of a (secondary) dominant triad or dominant seventh chord; the temporary leading tone of a tonicized triad when it is the chord member root of a (secondary) seven diminished seventh triad, a seven half-diminished seventh chord, or a fully-diminished seventh chord; leading tones resolve up by half step; all chord member sevenths; sevenths resolve down by step (half or whole depending on the context); both pitches of a "tritone";"tritones" occur in the dominant seventh chord, twice in fully-diminished seventh chords; once in half-diminished seventh chords, and once in diminished triads; diminished fifths resolve to thirds; augmented fourths resolve to sixths. Do this part-writing for 12.02.2008
- 12.02.2008
Part-writing due (See 11.25.2008 for the pdf). Sarah McConnell: REVIEW for the Final. Here's a new figured bass for review: find everything you can in this passage!
- 12.04.2008
Schubert, Wasserflut: mp3 Exam Review. - 12.07.2008
Extra Review Hours on Sunday There will be a two-hour review session from 4 to 6 in the afternoon today in the recital hall. - 4 to 5: analysis and modulation
- 5 to 6: part-writing
In addition, I'll have an open office hour from 3 to 4 as well. - 12.11.2008
Final Exam from 10:30 to 12:30 in the Recital Hall - Part I. Spelling
- Add key signatures and part-write the chords SATB. Remember: do not double tendency tones. Write all pitches on the staves only (no ledger lines).
- 10 total = 5 points (1/2 point each).
- Part II. Figured Bass
- 1) provide a separate and complete stream of roman numerals (13: 1 point each).
- 2) show arrows (preparation of all chord member sevenths, delayed resolutions of all chord member sevenths, resolutions of all chord member sevenths, and all tendency tones (22 arrows: 1 point each).
- 3) label the cadences (2: 2 points each).
- 4) show tonicization with an arrow or a double function as in V7/iv followed by a iv at the destination chord (1: 5 points).
- 5) write no melodic augmented or diminished intervals (-3 each).
- 6) write no parallel perfect intervals (-5 each).
- 7) show the pivot modulation (1: 6 points for pivot chord; 5 points for new key).
- 8) if there is a fully-diminished seventh chord, use the four tendency tone resolution.
- 9) all triads (except the final chord) must be complete (-4 for incomplete triads).
- 10) show key of the beginning (5 points)
- 60 points.
Part III. Species Counterpoint - Write first species counterpoint (whole notes against whole notes) above. Begin and end with an octave (or its compound). Have notes on the staff only. Write arabic numbers between the staves to show intervals. You may write a C-sharp right before the Final D.
- Write second species counterpoint (half notes against whole notes) above. Write notes on the staff only. Begin with a half note rest; begin and end with an octave (or its compound). You must write at least one dissonant passing tone. Write arabic numbers between the staves to show intervals. You may write a C-sharp right before the Final D. End with a whole note.
- Write third species counterpoint (quarter notes against whole notes) above. Begin and end with an octave or its compound. Write notes on the staff only. You must write at least two dissonant passing notes. Write arabic numbers between the staves to show intervals. You may write a C-sharp right before the Final D. Avoid the cambiata. End with a whole note. Remember: leap only by perfect fourth, perfect fifth, ascending minor sixth, or octave!
- Write fourth species counterpoint (half notes against whole notes including ties across the barlines) above. Begin and end with an octave. Write notes on the staff only. You must write at least one dissonant suspension. Write arabic numbers between the staves to show intervals. You may write a C-sharp right before the Final D. Begin with a half-rest.
- 20 points; 5 points each species (full credit / no credit).
Part IV. Analysis. - Here are the first 16 measures of piece X. There are four phrases of four measures each. Each phrase begins in the home key and modulates to the new key with a pivot chord. Indicate the home key at the beginning of each phrase and indicate the pivot + new key for each phrase. (You will be repeating similar information four times). I have put non-chord tones in parentheses to clarify the harmonies for you. Indicate the types of cadences (in the new key of course) at measures 4, 8, 12, and 16. Make sure to have one Roman Numeral per measure and make sure not to miss sevenths, should they exist.
- 15 points. correct keys = 5 points; correct pivots = 5 points; correct cadences = 5 points.
| | 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 1500 Theory II Spring 2009 Instructor: Dr. David Schwarz Office: MU 346 Phone: (940) 369-7299 E-mail: dschwarz@music.unt.edu Office Hours: Tuesdays and Thursdays 3:00-4:00
In this course we will work on diatonic harmony and form in eighteenth- and nineteenth-century pieces. The purpose of the course is to give you mastery of the harmonic language and formal principles of common-practice music. To that end, we will analyze pieces to discover their principles of organization, and you will do regular, part-writing assignments. You should think of part-writing a concentrated form of music composition. Coming to class regularly and punctually is very important. There will be frequent quizzes which will be used to monitor attendance. You will be excused from class due to natural disasters, medical emergencies (concerning you or members of your immediate family), and official UNT musical activities. All of the audio for the course is present in the form of mp3 files found below; you may listen to these by clicking on the link; these files cannot be downloaded. All of the scores you need will found below as pdf files that you may download. Our graders will be announced once the semester gets underway. Plagiarism will result in an F for the course. ALSO: laptops may be used for note-taking only. If we see that laptops are being used for any other purpose, you will receive a "O" for the day. Cell phones must be turned off or put in silent mode during class. Our graders are Chris Viens, Devin Iler, and Andrew Dittman. Our SI (supplemental instructor) Megan Lamb can be reached at mas0415@unt.edu Grades will be determined as follows: Daily work (4 part-writing + 4 form assignments) = 25% Midterm = 25% (on extended part-writing and analysis) Final Exam (cumulative) = 50% (on extended part-writing, analysis, and form)
Daily work missed due to an excused absence can be made up if it is handed in within a week of your return to school. Otherwise there will be no late work accepted. Graded work can be revised and corrected at the discretion of the graders. Initial grades will remain; re-doing work will, however, give you added confidence for future assignments. 01.20.2009 Bach: WTC I and Review of Theory I: mp3 These are the things that we covered in MUTH 1400 that you need to know 100% for this class: all key signatures and scales in major and all three forms of minor all triads and seventh chords in all inversions the three common forms of 6/4 chords and their treatment secondary dominants and tonicization tendency tones and their resolutions preparation and resolution of all chord member sevenths the dominant complex and its voice-leading cadences (PAC, IAC, DC, PC, PHC, HC) progressive / regressive harmonic motion non-chord tones (PT, N, SUS)
If you are unsure of these things, come to my office hour with questions and / or attend an early SI review!
01.22.2009 Haydn, String Quartet Opus 74, no. 1 minuet and trio: mp3 Haydn, String Quartet Opus 74 no. 1 minuet and trio: pdf Augmented Sixth ChordAugmented Sixth chords are powerful dominant preparation chords that move directly to V. In the bass, there is usually LE that resolves to SO and in an inner voice FI resolves to So. LE and FI are two new tendency tones. The Augmented Sixth Chord is weird because in a way it's not a "chord" at all; there is no root, no chord members, no inversions. For this definition, think scale degrees in a key. All augmented sixth chords consist of LE (the lowered sixth scale degree that occurs naturally in minor and needs to be added in major), and FI (the raised fourth scale degree that always needs to be added in both major and minor). If, in addition to LE and FI the "chord" has scale degree 1, you have an Italian Augmented Sixth chord. If, in addition to LE and FI the "chord" has scale degree 1 and 2, you have a French Augmented Sixth chord. If, in addition to LE and FI the "chord" has scale degree 1 and (flat)3 (that occurs naturally in minor and has to be added in major) you have a German Augmented Sixth chord. Be aware that there are radically different explanations for the "Augmented Sixth chord" out there in the world, particularly in Europe. More on that some other time. Escape TonesA non-chord tone approached by step and left by leap usually in the opposite direction. InterruptionA structure in which a tonality is established and a move to V broken off; the piece re-initializes tonic, moves (again) to the dominant and resolves. Many folksongs begin with this structure; sing "O Susanna" and you'll hear it. The interruption occurs on the music that sets the word "knee" early in the tune.
01.27.2009 Ice Day!
01.29.2009 Schubert, "Gute Nacht": mp3 Work through the first page of Schubert's "Gute Nacht" given below. Locate all non-chord tones and listen carefully to the harmonies. Can you hear "local" and "larger" harmonies at work? Page one of Schubert's "Gute Nacht": pdf Passing Tones, Neighbor Notes, and Suspensions
02.03.2009 Chopin, Prelude no. 20: mp3 Figured Bass Work #1 due today. Figured Bass Review: pdf Part-Writing Review: pdf Figured Bass #1: pdf. Chopin, Prelude no. 20: pdf.
02.05.2009 Progressive and Regressive Harmonic Motion + Cadences Progressive and Regressive Harmonic Motion: pdf Cadences: pdf Part-Writing (unmarked) that illustrates all of the tendency tones we have done so far: pdf. The Idea of Progressive / Regressive Harmonic Motion is one of Principle not Rule. Progressive Harmonic motion = root motion down by 5th, down by 3rd, or up by 2nd. Other motion is Regressive. All you need to remember is the sentence above. Just to make sure, you've got it, you should be able to recite the following: Progressive Motion is root motion down by 5th or up by 4th down by 3rd or up by 6th up by 2nd or down by 7th
Regressive Motion is root motion up by 5th or down by 4th up by 3rd or down by 6th down by 2nd or up by 7th
CadencesI assume that you have learned cadences and this is review: here are the definitions: perfect authentic cadence: root position dominant to root position tonic with scale degree one in the upper most voice imperfect authentic cadence: a dominant to tonic cadence without one or more of the above conditions deceptive cadence: a dominant harmony whose tendency tones resolve but not to a tonic harmony plagal cadence: root position tonic to root position subdominant to root position tonic half cadence: a cadence on the dominant phrygian half-cadence: (in minor) a first inversion subdominant to a root position dominant
02.10.2009 The Augmented Sixth Chord and Part-Writing Here is the assignment #2 due 02.19.2009 (see below). Part-Writing Assignment #2 (THE CORRECTED ONE) A musical representation of an augmented sixth chord: pdf Augmented sixth chords are unusual. Unlike all the other chords we have studied they have no "root" or chord members that "stack" on roots to form chord member thirds, fifths, sevenths. Augmented sixth chord consist of a bunch of tones that function in a key. They all contain the NOTES LE and FI. Think of augmented sixth chords arising in minor as a particularly powerful way to move to the dominant. LE is the naturally-occuring sixth scale degree in natural minor. When augmented sixth chord occur in major (rare) you need to lower the naturally-occuring sixth scale degree. Thus you often see this note referred to as (flat)six. FI occurs naturally nowhere in the diatonic tonal universe. It needs to be added. These are two tendency tones: LE resolves down to SO that supports the dominant; FI resolves up to SO (doubled an octave higher) that supports the dominant. Other notes accompany these two: when the tonic note is added you have an Italian Augmented Sixth Chord; when the tonic note and the second scale degree is added, you have a French Augmented Chord: when the tonic note and the (lowered)third scale degree is added you have a German Augmented Sixth Chord.
02.12.2009 Schubert, Die Stadt: mp3 The Neapolitan A musical representation of a Neapolitan chord: pdf The Neapolitan does not exist in the diatonic universe; it is built upon a chromatic note--the lowered second scale degree. The solfege syllable for the lowered second scale degree is RA. The Neapolitan or flat-II chord is a major triad built upon that lowered second scale degree (usually in minor). The chord moves directly to the dominant and is usually found in first inversion. There is very often a RA-Do-Ti-Do voice-leading; see the pdf above for a musical illustration in F-sharp minor. The Neapolitan harmony in Schubert's "Die Stadt" occurs in measure 32. Listen to it carefully and try to imagine how it functions, from hearing it, and from looking at it on the score. Schubert, "Die Stadt": pdf
02.17.2009 The Voice-Exchange Here is a progression with consonant fourths, dissonant fourths, and parallel fifths that are OK. A progression illustrating voice exchanges: pdf Tendency Tone Review. (This is not pleasant reading, but it gives you in a nutshell all the information you need): The leading tone of a key when it is the third chord member of a dominant The leading tone of a key when it is the third chord member of a dominant seventh chord The leading tone of a key when it is the root of a vii diminished triad The leading tone of a key when it is the root of a vii diminished seventh chord The leading tone of a key when it is the root of a vii half-diminished seventh chord All tritones (if augmented fourths they expand "out"; if diminished fifths they contract "in") All chord member sevenths (resolve down) and must be prepared by step or common tone In augmented sixth chords, flat-6 (resolves down) sharp-4 (resolves up)
02.19.2009 Haydn, String Quartet Opus 74, no. 1 minuet and trio: mp3 (revisited) Sequences Figured Bass Work #2 due today. Haydn, String Quartet Opus 74 no. 1 minuet and trio: pdf A sequence is a musical "thing" of at least two consecutive elements that undergoes transposition (at least once) according to tonal or chromatic principles.
Bach, WTC Book I Prelude in C: mp3
02.24.2009 The Interruption Today we are going to start with a full version of the sequence underlying the Haydn Opus 74, no. 1 from last time. Give it a try before class and what I will show you will make sense; if not, it won't. Then we'll look at the structure of interruptions, listening again to some of the examples we have for evidence of interruptions. Assignment #3 due March 3 The chromatic hypothetical structure "inside" the Haydn: pdf The sketch above assumes a chromatic "deep structure". Try it with a diatonic "deep structure". That is, have the dominant ninth chords resolve not by ascending major seconds, but by steps within the A-flat major scale!"
02.26.2009 The Full Orchestral Score The first page of the full score of Beethoven's Symphony no. 5, II: pdf Full Scores have winds at the top, followed by brass, percussion, and strings. This is a classification system that governs the "choirs" of an orchestra; there is another way to think of instruments: those that sound as written and those that do not sound as written. These latter instruments transpose. Some instruments that transpose have notes in their names; other instruments that transpose do not have notes in their names. You need to memorize the following saying by Kent Kennan: "The name of the instrument is the sound that is produced when written C is played."So, for example is you are playing a horn in F, you look at and play a written C and an F sounds. Therefore the horn in F sounds a perfect fifth lower than written. Here are some common transposing instruments: clarinet in A (sounds a minor third lower than written) clarinet in B-flat (sounds a major second lower than written) trumpet in B-flat (sounds a major second lower than written) horn in F (sounds a perfect fifth lower than written)
03.03.2009 Haydn, String Quartet Opus 74, no. 2: mp3 Haydn, String Quartet Opus 74, no. 2: pdf Figured Bass #3 due today. Anna Norris' work: an excellent example Reminder: Suspensions are dissonant; suspension figures are consonant. See below. Illustration of a suspension and a suspension figure: pdf
03.05.2009 Haydn, String Quartet Opus 76, no.1: mp3 Haydn, String Quartet Opus 76, no. 1: pdf Reminder: You may part-write a perfect fifth moving to a diminished fifth that resolves to a third. See below. Illustration of part-writing perfect fifth, diminished fifth, third: pdf
03.10.2009 Haydn, String Quartet Opus 74, no. 3: mp3 Haydn, String Quartet Opus 76, no. 3: pdf Thumbnails for the Augmented Sixth Chord, the Neapolitan (flat-II), the fully-diminished seventh chord and voice-exchange: pdf Reminder: Here's the differences between escape tones and appoggiatures. See below. Escape Tones and Appoggiaturas: pdf Chords with tritones: pdf
03.12.2009 Midterm Practice Midterm (without answers): pdf Practice Midterm (with answers): pdf
03.24.2009 Mendelssohn, Violin Concerto, I: mp3 The PhraseA phrase is a short passage of music with some degree of melodic and / or harmonic closure; phrases end with a cadence. You will be analyzing phrases in two ways: 1) on a score, and 2) on two-voice reductions. You will account for: 1) melodic structure (indicated as rising, static, falling using scale degree numbers), 2) local and large-scale harmonic structure using roman numerals on different levels, 3) cadence types that mark the end of a phrase, 4) an arabic numeral circled to indicate the measure length of a phrase, and 5) descriptive word (such as "antecedent" or "consequent") + the word "phrase." I may ask for other information as well. Mendelssohn, Violin Concerto, I (first page): pdf Mendelssohn, Violin Concerto, I (second page): pdf Reminder: Remember that there are two things that can happen after a Half Cadence: 1) the dominant chord of the HC resolves into the next harmony, or 2) the HC marks an interruption. In an interruption, the chord after the dominant of the HC re-initializes the opening harmony of the music, and the music makes on more "pass" at and then through the dominant left hanging in the interruption. Interruptions are marked by a double slash.
03.26.2009 Reducing Mendelssohn to SATB + solo line. Assignment Three due (instructions within): pdf
03.31.2009 The PeriodA period is two or more phrases that are in some degree of parallel or contrasting relation to one another. Parallel orcontrasting relates to the ways in which the phrases begin. A period is progressive if it modulates. For today, listen to Schubert's Death and the Maiden. Take a very careful look at the first 14 measures of the first movement. Ask yourself the following questions: How does Schubert establish tonic D minor at the outset of the piece? How do measures 9 and 10 sound to you? What techniques that we worked on in SATB texture does Schubert use in these measures? Could you do both a close and a googled-out harmonic analysis of these measures?
Adrianne DeKrey's work for today: pdf Reminder: Here's the differences between pitches and pitch classes. See below. Pitches and Pitch Classes: pdf
04.02.2009 Schubert, Death and the Maiden, I: mp3 Today, we'll work on the Schubert Death and the Maiden. Schubert, Death and the Maiden, I: page one: pdf Timeline analysis model for today's assignment: pdf Assignment for today. Listen to the Haydn, String Quartet Opus 74, no.1 under 01.22.2009. Provide a timeline analysis of mm. 1-14 for today.Use my handy-dandy file above as a guide. Include: a timeline with each measure marked a local harmonic analysis a global harmonic analysis cadences in each of the above phrase-level analysis (discussing antecedent-ness and consequent-ness of each phrase) period-level analysis (discussing parallel-ness and contrasting-ness) salient points that are cool with various marks and drawings + discussions thereof
04.07.2009 Schubert, Death and the Maiden, II: mp3 Schubert, Death and the Maiden, I: page two: pdf
04.09.2009 Beethoven, Piano Sonata Opus 2, no. 1, II: mp3 Today we will devote the entire hour to an in-class written assignment. It will be graded. Listen to the Beethoven Sonata movement above and study the score provided below. At the beginning of class I will give you an assignment asking you to perform one of the kinds of analysis we have been doing in class. Beethoven, Piano Sonata Opus 2, no. 1, II: pdf To prepare for this assignment do the following: do a complete local harmonic analysis mark NCTs in parentheses with simple designations ("n" for neighbor, etc) do a global harmonic analysis mark cadences analyze phrases (including how they are antecedent and consequent in relation to others) analyze periods (including how they are parallel and contrasting in terms of how constituent phrases begin) notice things that make the music unique
04.14.2009 Bach, Partita no. 2 for solo violin, Giga: mp3 Phrase and Period Structure (Review) Samantha Kelly (page one) Samantha Kelly (page two) Simple Binary Form ||: A :||: B :|| The A section in major usually moves from I to V ("in" or "on" V?) The B section in major usually moves from V ("in" or "on"?) back to I. The A section in minor moves from i to either III or V ("in" or "on"?) The B section in minor moves from III or V ("in" or "on"?) back to i. Bach, Partita no. 2 for Solo Violin, Giga: (page one)pdf Bach, Partita no. 2 for Solo Violin, Giga: (page two)pdf
04.16.2009 Haydn, String Quartet Opus 76, no. 1 TRIO: mp3 Rounded Binary Form ||: A :||: B A' :|| The harmonic scheme is identical to simple binary above. Rounded Binary Forms represent Ternary Forms "about to happen" and their interest resides largely in the degrees of similarity and difference between the initial A section and the "repeated" A' section, nested inside the B section. For today, do a local harmonic analysis of the entire trio; put non-chord tones in parentheses; mark cadences; sketch out the phrase and period structure (not for a grade; just do this if you want to be well-prepared for class). Haydn, String Quartet Opus 76. no. 1: TRIO: pdf For Today hand in the following assignment to be graded. Take a look at, and listen to, the second page of the Bach Giga for Solo Violin that we looked and listen to last time. Answer the following question: on page two (after the double bar) what harmony does Bach imply in say, the first half of that page? What is its relation to tonic D minor? Provide a full analysis of at least two measures of music on that second page to illustrate your answer to these questions. Include Roman Numerals, non-chord tones in parentheses + ids of the NCTs. You may do this work on on the music and hand in page two of the piece with your name at the top. Reminder: All pitches are either chord tones or non-chord tones. In the case of sevenths, you may decide if a seventh is a chord tone or a non-chord tone. If you decide it's a chord tone, you include it in the roman numeral; if not, you put it in parentheses and identify it. There are the following non-chord tones: NB: these are thumbnails only, not full definitions: passing tones ("p") stepwise motion to the note and continued stepwise motion away from it neighbor notes ("n") stepwise motion away from a note and back again suspensions ("sus") note held over, resolves down retardations ("ret") note held over, resolves up appoggiaturas ("app") leap to a note, step away in opposite direction escape tones ("esc") step to a note, leap away in opposite direction anticipations ("ant") at a cadence, a note from tonic sounds "too early" in a (typically) dominant chord note X ("x") a leap to the note and a step away in the same direction
04.21.2009 Schubert, "Ihr Bild": mp3 Ternary Form For Today, Hand in the score to Schubert's "Ihr Bild" below. Do a roman numeral analysis of measures 7, 8, 9, 10, 11, and 12 (the key is B-flat minor). Also in one sentence answer the following question: "Why would a phrase / period analysis of mm. 1-12 be difficult? And see if you can answer the extra special question: Assuming the B section modulates to the submediant, how would you explain measures 23 and 24?" This will be handed in today for a grade. Schubert, Ihr Bild: pdf A B A' Two things are interesting about ternary forms: 1) what are the degrees of similarity and difference between the initial A section and the "repeated" A' section, and 2) how clear are the thresholds from A to B and B to A'? NB: ternary forms are common in early 19th Century art songs; they often set text that develops sequentially A to B to C; think what happens when sequential text (A to B to C) is set to cyclical ternary forms in music (A to B to A')! DeMarcus Walker's work for today.
04.23.2009 Beethoven, Symphony no. 5, I: mp3 The Sonata The "typical" sonata in minor. In Major, Theme II is in V in the exposition, and I in the Recapitulation. Now this is "typical" and composers depart from this more-or-less fantasy norm in all kinds of ways. What does Beethoven do, for example, in the Recapitulation of Theme II? Why does he do this? What musical possibilities does his thinking outside the box allow? How does he exploit these possibilities? Beethoven, Symphony no. 5, I: pdf (this is a rather large file)
04.28.2009 Review for Sections V and VI of Final Exam
04.30.2009 Review of Part I of the Final Exam Due Today: Realize the figured bass below (altered version of the midterm) Altered Version of our Midterm for Final Exam Practice (Graded)
05.05.2009 Review of Part-Writing Amazing job of part-writing by Eric Mills
05.07.2009 Haydn, String Quartet Opus 74, no. 1: mp3 Pieces for Review for Part III of the Final Exam Haydn String Quartet Opus 74, no. 1: pdf Haydn String Quartet Opus 74, no. 2: pdf Haydn String Quartet Opus 74, no. 3: pdf Haydn String Quartet Opus 76, no. 1: pdf Haydn String Quartet Opus 76, no. 2: pdf Haydn String Quartet Opus 76, no. 4: pdf Haydn String Quartet Opus 77, no. 1: pdf Haydn String Quartet Opus 77, no. 2: pdf
Haydn, String Quartet Opus 74, no. 2: mp3
Haydn, String Quartet Opus 74, no. 3: mp3
Haydn, String Quartet Opus 76, no. 1: mp3
Haydn, String Quartet Opus 76, no. 2: mp3
Haydn, String Quartet Opus 76, no. 4: mp3
Haydn, String Quartet Opus 77, no. 1: mp3
Haydn, String Quartet Opus 77, no. 2: mp3
05.12.2009 Final Exam: 10:30 to 12:30 in the Recital Hall This will be a four measure phrase with the harmonic rhythm of quarter, quarter, quarter, quarter, half, half (fermata/cadence); quarter, quarter, quarter, quarter, half, half (fermata/cadence). Arrows: showing preparation of all chord member sevenths and the resolution of all tendency tones: the leading tone (built in in major; added in minor) when in the major dominant triad, seventh, or ninth chord, the diminished triad built on the leading tone, the fully-diminished seventh built on the leading tone, the half-diminished seventh built on the leading tone; and tritones (augmented fourths resolve "out" / diminished fifths resolve "in"). Roman Numerals (no more so-called tonic 6/4 chords as part of a cadential dominant Pivot chords (if the passage modulates). Tonicizations (if present). No direct parallel perfect fifth or octave. No melodic interval larger than a sixth. No melodic augmented or diminished intervals. Practice Test for Part I (without answers): pdf Practice Test for Part I (with answers): pdf You will get eight measures from one of the Haydn String Quartet movements above. You will write Roman Numerals at a harmonic rate to be provided. You will put all non-choard tones in parentheses and identify them: p for passing, n for neighbor, app for appoggiatura, ant for anticipation, esc for escape tone, sus for suspension, sus-fig for suspension figure, ret for retardation, x for our non-chord tone x (approached by leap and left by step in the same direction). The piece modulates; show the pivot. Show the cadences. Show the key in which the piece begins and the key in which the passage ends. Do a timeline analysis showing phrases (how many measures in each and how they are marked by a cadence). Show the period structure and indicate one clear reason that you would call the period parallel, contrasting, and / or progressive. Practice Test for Part II (without answers): pdf Practice Test for Part II (with answers): pdf III. Implied Harmony in Melodic Writing + Sequences
You will get a short passage from the Bach Giga we studied. I'll mark off sections of the melody for you to analyze. You'll indicate a Roman Numeral for each segment; consider sevenths part of the chord. You'll put non-chord tones in parentheses and identify them. You will also analyze the sequence in the passage: circle the "chunk" and indicate the transposition levels as it goes along. Indicate where and "why" it stops. Practice Test for Part III (without answers): pdf Practice Test for Part III (with answers): pdf IV. Harmonic Analysis of Full Score
You will get some measures from the full score of Beethoven's Fifth Symphony. I will tell you the key in which the passage beings. You will do a Roman Numeral Analysis at a harmonic rate to be provided. You will show motions into and out of sevenths as part of the appropriate Roman Numeral. You will put non-chord tones in parentheses and identify them. If the passage modulates, you'll indicate this with a pivot chord, showing the new key. I will provide a reminder about which instrument is playing which line to the left of the passage. Remember how transposing instruments work: KENT KENNAN'S MIGHTY LINE: "The key of the instrument is the sound that is produced when written C is played." Review the alto clef (middle "C" is on the middle line of the staff) and the soprano clef (middle "C" is on the next to the top line of the staff). Practice Test for Part IV (without answers): pdf Practice Test for Part IV (with answers): pdf (one of the roman numerals is a mistake; can you find it and understand how you might make a similar one?)
| | 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 2500 Theory IV Spring 2008 Section 001 MW at 8 in 321 Section 004 MW at 10 in 320 Instructor: Dr. David Schwarz Office: MU 346 Phone: (940) 369-7299 E-mail: dschwarz@music.unt.edu Office Hours: TTh 12:30--2:00
In this course we will spend roughly the first half of the course deepening our skills in composition and analysis of diatonic tonal and chromatic tonal music. We will spend the second half of the course studying two early-to-mid 20th Century techniques--atonal and serial (12-tone) music. There will be one text required for the course: Steven Laitz, The Complete Musician. Second Edition. (New York: Oxford University Press, 2008). All of the pieces we will discuss are present below as mp3 files to which you may listen on line but may not download and pdf files that you may download and print; do not download and print pdfs from the College of Music computer room. Coming to class regularly and punctually is very important. Unexcused absence will lower your final grade 1/3 a letter; 5 late arrivals = 1 unexcused absence. You will be excused from class due to natural disasters, transportation problems beyond your control, medical emergencies (concerning you or members of your immediate family), and official UNT musical activities. A proven case of plagiarism on an exam will result in an F for the course. Grades will be determined as follows: You must take and pass the final exam in order to pass the course. 01.14.2008 review of part-writing the figures chord spacing doubling tendency tones voice-leading the neapolitan
01.16.2008 Schubert, "Die Stadt": mp3 Schubert, "Die Stadt": pdf The neapolitan Laitz: the first few pages (music cut off) of Chapter 29: the neapolitan: pdf For 01.23.2008 do 29.2 in the middle of the pdf below. Write out the work on staff paper. Include the figures as a separate stream of roman numerals. Show preparation and resolution of all tendency tones (to be discussed in class today). Include Roman Numerals. Laitz: the page including 29.2 for 01.23.2008: pdf
01.21.2008 the university is closed for the MLK holiday.
01.23.2008 Schubert's "Der Wegweiser": mp3 A Devil's Mill Schubert, "Der Wegweiser": pdf
01.28.2008 Read Laitz Chapter 30 on augmented sixth chords. By "read" I mean read the text, play through and consider all the musical examples (playing yourself in addition to hearing the Eastman performances on DVD), and coming up with musical / analytical sketches of your own for each important point (the different flavors of the augmented sixth chords, for example). Can you think of "derivations" of the augmented sixth chord other than the one upon which Laitz focuses? For Wednesday, January 30 write a one-page (or less) sketch on how augmented sixth chords function in Schubert's "Der Doppelgaenger." Do the following in preparation for your work: 1) Analyze the poem. What are the key images in the poem? How does the poem develop from stanza to stanza (in terms of tone, modes of rhetorical address, imagery)? 2) Analyze the song. What exactly is the musical language of this piece? (based on the first four measures). Does the song stay in B minor? If not, where, and how, and to what effect does it modulate? 3) How does the song set the large-scale development of the poem? 4) Where are the augmented sixth chords? How do they function locally?
Prepare one page (using prose, and / or chart(s), and / or music example(s)) in which you show clearly both the local and large-scale function of augmented sixth chords in the work. Add this pledge to your work: "I have neither given nor received aid on this assignment."
01.30.2008 Schubert, "Der Doppelgaenger": mp3 Analysis assignment due today (see 01.28.2008) augmented sixth chords Schubert's "Der Deppelgaenger": pdf Heine's "Der Doppelgaenger": pdf
02.04.2008 part-writing and enharmonic re-spelling. Read Laitz 191-202 very carefully! An excellent example of an analysis of the Schubert by Daniel Rojas: pdf
02.06.2008 Beethoven's Piano Sonata Op. 110 II: mp3 the look and sound of enharmonic re-spelling Beethoven Piano Sonata Opus 110, II: pdf For 02.11.08 realize the figured bass below. There will be one point per pitch, three points per roman numeral, five points for each cadence, four points for the tonicization, four points per tendency tone resolution, four points per preparation of chord member sevenths, four points for each resolution of chord member sevenths. Minus 5 points per parallel perfect fifth or octave.There are two measures where you need to add your own figures to complete the passage in idiomatic form and content! Part-Writing Assignment: due 02.11.2008.
02.11.2008 Part-writing assignment due today. See 02.06.08 for details. Today we'll work on analyzing and part-writing progressions in thirds. For Wednesday 02.13.2008, turn in a one-page sketch (prose and / or music examples just like last time) on the relationship between F-sharp minor and A major in Schumann's "Im wunderschoenen Monat Mai." See Daniel Rojas' excellent version of the Doppelgaenger assignment under 02.04.2008 as a guide and inspiration.
02.13.2008 Schumann's "Im wunderschoenen Monat Mal": mp3 Assignment due; see 02.11.2008 for details. Schumann, "Im wunderschoenen Monat Mai: pdf Heine, "Im wunderschoenen Monat Mai: pdf
02.18.2008 Sequences and Semitonal Motion in Schumann's "Im wunderschoenen Monat Mai" Brett Penshorn's work on Schumann: pdf
02.20.2008 Schuman, "Ich grolle nicht": mp3 For today, read Laitz, Chapter 27 on mode mixture. Schumann, "Ich grolle nicht": pdf Heine, "Ich grolle nicht": pdf
02.25.2008 Chopin's Prelude Op. 28 No. 2: mp3 For today, read Laitz, Chapters 7 and 13 on chord tones and non-chord tones. Come to class being able to distinguish consonant from dissonant non-chord tones. Chopin, Prelude No. 2: pdf
02.27.2008 Chopin's Prelude Op. 28 No. 4: mp3 For today, do the figured bass below. Figured bass assignment for today. purple surface / clear depth Chopin, Prelude No. 4: pdf
03.03.2008 Part-Writing Back and Review for the Midterm Exam
03.05.2008 Midterm Exam NEW DATE
03.10.2008 Berg, Piano Sonata Opus 1: mp3 the augmented triad Berg, Piano Sonata Opus 1: pdf
03.12.2008 Schoenberg, "Verklaerte Nacht": mp3 a mystery chord Schoenberg, "Verklaerte Nacht": pdf
03.24.2008 from diatonic tonality to chromatic tonality to atonality ordered pitch intervals (the number of half-steps between two pitches with regard to direction); unordered pitch intervals (the number of half-steps between pitches without regard to direction); ordered pitch-class intervals (the distance of half-steps within an octave, ascending, from one pitch class to another); unordered pitch-class intervals (the smaller distance between any two pitch classes). interval cycles pitch-class sets--segmentation
03.26.2008 Webern, Piece for String Quartet Opus 5, No. 4: mp3 an atonal classic Webern, Piece for String Quartet Opus 5, No. 4: pdf After you have listened to the piece a lot and imagined how your ear places "delimiters" before and after certain events, download the segmented score beneath and see if my segmentation matches yours. Determine as much information as you can about the sets, numbered in roman numerals. Webern, Piece for String Quartet Opus 5, No. 4 (segmented): pdf
03.31.2008 For today, hand-in a list of pitch-class sets and the set classes to which they belong (like we did in class on 03.26) for the segmented version of Webern's Piece for String Quartet Opus 5, IV (see the pdf under 03.26.2008). Remember the pitch-class sets use pitch-class numbers in curly braces, as in pc set {1,2,4} and set classes use parentheses, as in the set class (0,1,3). Remember the logic of saying "I am listening to the awesome pc set {1,2,4} which belongs to set class (0,1,3)". Once you find the set class to which a pc set belongs, look it up on the list of set classes below. If it's not there, then you did something wrong and the set doesn't exist. NOTE: the set classes are provided on the extreme right and extreme left of the list; be sure to look ON BOTH SIDES of the hexachord list: there are a bunch of hexachords there where students often forget to look. Page 1 of the Set Class list Page 2 of the Set Class list Page 3 of the Set Class list Page 4 of the Set Class list Today we introduced how to read inverted pc sets. If you put a pc set into normal order and it doesn't read correctly to produce a legal set class, read it "right to left". So pc set {125} is a member of set class (014) and pc set {256} is a member of set class (014). Or, pc sets {125} and {256} both belong to the same set class (014). Now, if two or more pc sets belong to the same set class, they are related by transposition or inversion (or both). pc set {125} and pc set {236} are related by transposition: T1 {125} = {236} pc set {125} and {256} are related by inversion. I'll show you how to notate this next time.
04.02.2008 Webern, Piece for Violin and Piano Opus 7, No. 1: mp3 a minimal atonal work Webern, Pieces for Violin and Piano Opus 7, Numbers 1-4: pdf For today, hand in a sheet (for a grade) with the pitch-class sets labelled in normal form (with pitch-class numbers in curly braces) and show the set classes to which they belong (in parentheses). See the review of 03.31 above for notational conventions. Also, make some comments on similarities between / among the sets, including transposition, inversion, tonal elements, cool timbre issues. Webern, Piece for Violin and Piano Opus 7, no. 1 (segmented): pdf
04.07.2008 Today we will work on atonal pitch-class set theory and Webern's Pieces for Violin and Piano Opus 7, nos. 1 and 3. This will be the last class on the basic elements of atonal pitch-class set theory. We are going to move on to a quiz on the Rochberg and then a transition into serial techniques. So to review; here's what you need to know: pitch space; pitch-class space; pc sets (in normal order); set classes. Here is a great example of today's work by Brett Penshorn. Brett first tried reading all sets left-to-right; when that didn't work, he read them right-to-left.
04.09.2008 Rochberg, Caprice for Solo Violin, No. 42 Today we are going to work on relations among pc sets in Webern's Opus 7, no. 1 We will (I hope) also get to interval vectors today. For today, hand in a set theoretical analysis of the Rochberg Caprice no. 42 for violin solo. Hand in: 1) the piece with your segments marked with roman numerals (make your own segmentation, keeping the three rules for segmentation in mind (no notes left behind, no overlapping, pc sets of cardinality 3 to 9 (inclusive)). 2) the pc sets in curly braces and the set classes to which they belong in parentheses. Make sure to include the Forte numbers to your set classes, so I know that you have checked them. For example set class (0156) is 4-8 (for the Forte numbers look on the set class chart; the numbers always begin with a number that indicates the pc set's cardinality (number of notes in a set); then there's a hyphen and then another number. Some Forte numbers contain a "Z". 3) some indication of how the pc sets relate to one another across the piece (for example, whether some are related by transposition or transposition and inversion), or whether you hear / see something interesting happening in the work.
Rochberg, Caprice no. 42 for Solo Violin (1973): pdf
04.14.2008 from atonality to serial composition the 12-tone row and its permutations the matrix
04.16.2008 Z-related pitch-class sets. Atonal Voice Leading. A look at fuzzy Transposition. Introduction to 12-tone Techniques.
04.21.2008 Webern, Symphony Opus 21, II: mp3 a serial theme and variations Webern, Symphony Opus 21, II: pdf
04.23.2008 Webern, Variations for Piano Opus 27, II: mp3 a serial theme and variations Webern, Variations for Piano, Opus 27, II: pdf
04.28.2008 Review of Tonal Part-Writing.
04.30.2008 Review of Atonal Pitch-Class Set Theory and 12-tone Techniques.
05.06.2008 Mario Davidovsky, Electronic Study no. 1
05.07.2008 Final Exam (10:00 section) The Final Exam for the 10:00 section will take place in our classroom on May 7, 2008 from 8 to 10 in the morning. Remember you must take and pass the final in order to pass the course. There will be five sections of the exam, 20% each: 1) chromatic analysis For this portion of the exam, you will be given a short passage of music to analyze. You will need to accurately describe what's going on locally (with roman numerals, for example) and you'll need to say something analytic--for example, what procedure governs the descriptive details you have found. 2) chromatic part-writing For this portion of the exam, you will realize a figured bass, showing preparation of all chord member sevenths with arrows, resolution of all tendency tones with arrows, voice-exchanges, separate stream of roman numerals, dominant complexes, tonicization(s), modulation(s), You will need to accurately describe and part write: fully-diminished seventh chords (with three and four tendency tone resolutions), half-diminished seventh chords, all seventh chords, all secondary dominants, the neapolitan, and the augmented sixth chord. 3) atonal analysis For this portion of the exam, you'll get a short and quite sparse section of a piece by Webern. I will have segmented it a bit, and you'll show the pitch-class sets of the bubbled pitches, the set classes to which they belong, and make one analytic point about what connects them. 4) some atonal pitch-class set(s) manipulation For this portion of the exam, you will have to either: 1) show the interval vector of a pitch-class set, or 2) show how two pitch-class sets are related. 5) 12-tone row(s) manipulation For this portion of the exam you will either: 1) show a permutation of a given row (say an inversion of a given row starting on a pitch-class), or 2) you will show the first step in generating a matrix from a given row.
05.09.2008 Final Exam (8:00 section) The Final Exam for the 8:00 section will take place in our classroom on May 9, 2008 from 8 to 10 in the morning. Remember you must take and pass the final in order to pass the course. There will be five sections of the exam, 20% each: 1) chromatic analysis For this portion of the exam, you will be given a short passage of music to analyze. You will need to accurately describe what's going on locally (with roman numerals, for example) and you'll need to say something analytic--for example, what procedure governs the descriptive details you have found. 2) chromatic part-writing For this portion of the exam, you will realize a figured bass, showing preparation of all chord member sevenths with arrows, resolution of all tendency tones with arrows, voice-exchanges, separate stream of roman numerals, dominant complexes, tonicization(s), modulation(s), You will need to accurately describe and part write: fully-diminished seventh chords (with three and four tendency tone resolutions), half-diminished seventh chords, all seventh chords, all secondary dominants, the neapolitan, and the augmented sixth chord. 3) atonal analysis For this portion of the exam, you'll get a short and quite sparse section of a piece by Webern. I will have segmented it a bit, and you'll show the pitch-class sets of the bubbled pitches, the set classes to which they belong, and make one analytic point about what connects them. 4) some atonal pitch-class set(s) manipulation For this portion of the exam, you will have to either: 1) show the interval vector of a pitch-class set, or 2) show how two pitch-class sets are related. 5) 12-tone row(s) manipulation For this portion of the exam you will either: 1) show a permutation of a given row (say an inversion of a given row starting on a pitch-class), or 2) you will show the first step in generating a matrix from a given row.
| | 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 If they do not pass the Theory Placement exam, they must take MUTH 1260 | | 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) MUST 1313, Music Theory I CHARLES LEINBERGER, PH.D. UTEP Course Syllabus, Fall Semester |
COURSE INFORMATION |
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Description: | Introduction to diatonic harmony for all music majors, including the elements of pitch and rhythm, major and minor scales, major and minor key signatures, functional harmony of all diatonic chords, and the principles of voice leading in four-part harmony using root-position and inverted triads. | Location: | FFA Room M101 | Meeting Times | MWF, 0830-0920AM and 1130AM-1220PM | Prerequisite: | A grade of "C" or better in MUST 1311 or 1312 Music Fundamentals or a passing score on the Music Theory Placement Exam | Corequisite: | MUST 1111 Aural Skills I | INSTRUCTOR INFORMATION |
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Name: | Charles Leinberger | E-mail: | CHARLESL@UTEP.EDU | Office: | Fox Fine Arts Center, Room M432 | Office Phone: | (915) 747-7800 | Office Hours: | T and R 1100AM-1150PM and 200PM-250PM, or by appointment | Biography: | Charles Leinberger's Biography | TEXTBOOK |
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Textbook and Workbook: | Stefan Kostka and Dorothy Payne: Tonal Harmony, Sixth Edition (Required) | | CD: | Stefan Kostka and Dorothy Payne: Tonal Harmony, Sixth Edition (Optional) | COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. |
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Course Goal: | To provide the student with the theoretical knowledge and skills needed for success in a career in music performance, education, or composition. | Course Objective: | Upon successful completion of the course, the student will be able to: Understand and appreciate the existence of music as a written language; Understand the rules of music notation and to develop skills at notating music accordingly; Understand the musical structures used by composers of tonal music in the creation of melody, harmony and rhythm; Develop proficiency at writing four-part harmony using diatonic root-position and inverted major, minor, and diminished triads.
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GRADING |
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The final grade will be calculated according to the following point values: | 12 Assignments | 10 points each | 120 points | 12% of final grade | 12 Quizzes | 25 points each | 300 points | 30% of final grade | Class Attendance, Preparation, and Participation | Approximately 1.95 (80/41) points per class | 80 points | 8% of final grade | Midterm Exam 1 | 100 points | 10% of final grade | Midterm Exam 2 | 100 points | 10% of final grade | Final Exam | 300 points | 30% of final grade | Total Points Possible | 1000 points | 100% of final grade | Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A grade of "W" will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 10 (October 30, 2009). | A | 900-1000 points | 90.0-100.0% | B | 800-899 points | 80.0-89.9% | C | 700-799 points | 70.0-79.9% | D | 600-699 points | 60.0-69.9% | F | 0-599 points | 0.0-59.9% |
COURSE POLICIES |
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The following policies apply to all of Dr. Leinberger's classes: Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will receive half of the attendance points for that class meeting. Students attending a section in which they are not enrolled will receive no attendance points. In addition to losing attendance points for missed classes, a student's final grade will be lowered for excessive unexcused tardiness and absenteeism. For a class that meets three times each week, the student's grade will be lowered one letter grade after the first 9 unexcused absences plus one additional letter grade for every 6 subsequent unexcused absences. For a class that meets twice each week, the student's grade will be lowered one letter grade after the first 6 unexcused absences plus one additional letter grade for every 4 subsequent unexcused absences. For a class that meets once each week, the student's grade will be lowered one letter grade after the first 3 unexcused absences plus one additional letter grade for every 2 subsequent unexcused absences.
Each unexcused tardy is counted as one half of an unexcused absence. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. Students are encouraged to work together on assignments, however, each student must submit written assignments in their own handwriting, in pencil, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. Exceptions will be made for parents of small children and expectant fathers. Students may not wear headphones of any kind during class. Laptop computers may only be used during the first and last five minutes of class (except MUST 3218). Please visit Dr. Leinberger's Fall Semester Final Exam Schedule for the date and time of the final exam. Students may not change the day or time of their Final Exam. Students should never schedule a jury or any other appointment during a final exam.
The following policies apply to this class: Come to class on time and prepared. Bring your Textbook and workbook every Monday. Bring your workbook every Wednesday. Assignments are due on Fridays at the beginning of class. Quizzes take place in class on Fridays. If a student misses a quiz due to an excused absence (university function, medical emergency, car trouble, etc.), the student may take the quiz the following Monday morning. To do so, the student must arrive at the instructor's office between 7:30 and 7:45 a.m. and must provide some documentation for his or her absence. Some listening will be done in class, but the student is responsible for all listening assignments. The Midterm Exams will be during class on Friday of weeks 5 and 10. Some students may be excused from class on Monday and Wednesday of weeks 5, 10, and 15 during the review sessions for the midterm and final exams.
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SCHEDULE |
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Week | Days | Topic | Assignment | Listening | Test |
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1 | MWF | Kostka/Payne: Chapter 1 | 1-2, 1-3, Read Syllabus | None | Quiz 1 |
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2 | WF | Kostka/Payne: Chapter 1 continued | 1-5: A-B, 1-6: A, B | None | Quiz 2 |
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3 | MWF | Kostka/Payne: Chapter 2 | 2-1: A, 2-2: A, 2-3: A, 2-4: A | None | Quiz 3 |
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4 | MWF | Kostka/Payne: Chapter 3 | 3-1: A-C, 3-2: A, 3-3: A, 3-3: B1-2 | None | Quiz 4 |
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5 | MWF | Review for Midterm 1 | None | None | Midterm 1 |
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6 | MWF | Kostka/Payne: Chapter 4 | 4-1: A, B, 4-2: A, B | None | Quiz 5 |
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7 | MW | Kostka/Payne: Chapter 5 | 5-2: C, D, 5-3: B-D | None | Quiz 6 |
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8 | MWF | Kostka/Payne: Chapter 6 | 6-1, 6-2: A | None | Quiz 7 |
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9 | MWF | Kostka/Payne: Chapter 6 continued | 6-3: A, 6-4: A | None | Quiz 8 |
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10 | MWF | Review for Midterm 2 | None | None | Midterm 2 |
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11 | MWF | Kostka/Payne: Chapter 7 | 7-1: A-C | 7-1: C1-2 | Quiz 9 |
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12 | MWF | Kostka/Payne: Chapter 8 | 8-1: A, B | 8-1: A1-3 | Quiz 10 |
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13 | MWF | Kostka/Payne: Chapter 9 | 9-1: A1-4 | 9-1: A1-4 | Quiz 11 |
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14 | MW | Kostka/Payne: Chapter 9 continued | 9-1: C | None | Quiz 12 |
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15 | MW | Review for Final | None | None | None |
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Final | M or W | None | None | None | Final |
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PLAGIARISM/ACADEMIC DISHONESTY STATEMENT |
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Cheating/Plagiarism: Cheating is unethical and not acceptable. Plagiarism is using information or original wording in a paper without giving credit to the source of that information or wording: it is also not acceptable. Do not submit work under your name that you did not do yourself. You may not submit work for this class that you did for another class. If you are found to be cheating or plagiarizing, you will be subject to disciplinary action, per UTEP catalog policy. Refer to Student Conduct (http://studentaffairs.utep.edu/Default.aspx?tabid=4386) for further information. |
DISABILITIES STATEMENT |
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Disabilities: The professor will make any reasonable accommodations for students with limitations due to disabilities, including learning disabilities. Please meet with the professor before or after class in the first two weeks or make an appointment, to discuss any special needs you might have. If you have a documented disability and require specific accommodations, you will need to contact the Disabled Student Services Office in the East Union Bldg., Room 106 within the first two weeks of classes. The Disabled Student Services Office can also be reached in the following ways: Web: http://www.utep.edu/dsso Phone: (915) 747-5148 voice or TTY Fax: (915) 747-8712 E-Mail: dss@utep.edu |
| | | | 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) MUST 1111, Aural Skills I CHARLES LEINBERGER, PH.D. UTEP Course Syllabus, Fall Semester |
COURSE INFORMATION |
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Description: | Diatonic sight-singing, dictation, computer assisted instruction in major and minor keys, and in simple and compound meters. | Location: | FFA Room M340 | Meeting Times | TR, 0800-0850AM and 0900-0950AM | Prerequisite: | A grade of "C" or better in MUST 1311 or 1312 Music Fundamentals or a passing score on the Music Theory Placement Exam | Corequisite: | MUST 1313 Music Theory I | INSTRUCTOR INFORMATION |
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Name: | Charles Leinberger | E-mail: | CHARLESL@UTEP.EDU | Office: | Fox Fine Arts Center, Room M432 | Office Phone: | (915) 747-7800 | Office Hours: | T and R 1100AM-1150PM and 200PM-250PM, or by appointment | Biography: | Charles Leinberger's Biography | TEXTBOOK |
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Textbook/Workbook: | Robert Ottman and Nancy Rogers: Music for Sight Singing, Seventh Edition (Required) | | Software: | Ars Nova: Practica Musica, (Optional) | COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. |
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Course Goal: | To provide the student with the theoretical knowledge and skills needed for success in a career in music performance, education, or composition. | Course Objective: | Upon successful completion of the course, the student will be able to: Apply knowledge of musical structure (melodic, harmonic, and rhythmic) learned in Music Theory I; Comprehend the relationship between music as a written language and music as sound, including: Develop skills in reading and singing diatonic music, using moveable Do solfège, in major and minor keys, in simple meters; Develop skills in structured improvisation (within prescribed guidelines of rhythm and melodic contour), using moveable Do solfège, in major and minor keys, in simple meters; Develop skills (perception, recognition, identification, and notation) in dictating diatonic melodies and harmonic progressions, in major and minor keys, in simple meters.
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GRADING |
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The final grade will be calculated according to the following point values: | 3 Sight-Singing Performances | 20 points each | 60 points | 6% of final grade | 12 Assignments | 20 points each | 240 points | 24% of final grade | 6 Quizzes | Approximately 25 points each | Approximately 150 points | Approximately 15% of final grade | Class Attendance and Participation | Approximately 1.724 (50/29) points per class | Approximately 50 points | Approximately 5% of final grade | Midterm Exam 1 | | 100 points | 10% of final grade | Midterm Exam 2 | | 100 points | 10% of final grade | Final Exam | | 300 points | 30% of final grade | Total Points Possible | | 1000 points | 100% of final grade | Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A grade of "W" will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 10 (October 30, 2009). | A | 900-1000 points | 90.0-100.0% | B | 800-899 points | 80.0-89.9% | C | 700-799 points | 70.0-79.9% | D | 600-699 points | 60.0-69.9% | F | 0-599 points | 0.0-59.9% |
COURSE POLICIES |
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The following policies apply to all of Dr. Leinberger's classes: Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will receive half of the attendance points for that class meeting. Students attending a section in which they are not enrolled will receive no attendance points. In addition to losing attendance points for missed classes, a student's final grade will be lowered for excessive unexcused tardiness and absenteeism. For a class that meets three times each week, the student's grade will be lowered one letter grade after the first 9 unexcused absences plus one additional letter grade for every 6 subsequent unexcused absences. For a class that meets twice each week, the student's grade will be lowered one letter grade after the first 6 unexcused absences plus one additional letter grade for every 4 subsequent unexcused absences. For a class that meets once each week, the student's grade will be lowered one letter grade after the first 3 unexcused absences plus one additional letter grade for every 2 subsequent unexcused absences.
Each unexcused tardy is counted as one half of an unexcused absence. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. Students are encouraged to work together on assignments, however, each student must submit written assignments in their own handwriting, in pencil, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. Exceptions will be made for parents of small children and expectant fathers. Students may not wear headphones of any kind during class. Laptop computers may only be used during the first and last five minutes of class (except MUST 3218). Please visit Dr. Leinberger's Fall Semester Final Exam Schedule for the date and time of the final exam. Students may not change the day or time of their Final Exam. Students should never schedule a jury or any other appointment during a final exam.
The following policies apply to this class: Come to class on time and prepared. Bring your sight singing book, staff paper, pencil, and eraser everyday. Practica Musica assignments are due on Thursdays at the beginning of class. Activities are worth 20 points each (10 points per level). To earn the maximum of 10 points for each level, the student must achieve the required score within 30 minutes. 5 points for each level will be earned by achieving the required score within 60 minutes. Zero points for each level will be earned if the required score is not reached within 60 minutes. The Midterm Exams will be during class on Tuesday (dictation) and Thursday (sight singing) of weeks 5 and 10.
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SCHEDULE |
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Week | Days | Sight Singing Topic: Chapter: Section: Examples | Dictation Assignment: Activity: Level | Test |
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1 | TR | Ottman: Chapter 2 | Read Syllabus, PM: Activity 1: Levels 1 & 2 | None |
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2 | TR | Ottman: Chapter 2 continued | PM: Activity 2: Levels 1 & 2 | Quiz 1 |
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3 | TR | Ottman: Chapter 1 | PM: Activity 3: Levels 1 & 2 | Quiz 2 |
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4 | TR | Ottman: Chapter 1 continued | PM: Activity 4: Levels 1 & 2 | None |
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5 | TR | Midterm 1 | None | Midterm 1 |
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6 | TR | Ottman: Chapter 3 | PM: Activity 5: Levels 1 & 2 | None |
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7 | TR | Ottman: Chapter 3 continued | PM: Activity 6: Levels 1 & 2 | Quiz 3 |
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8 | TR | Ottman: Chapter 4 | PM: Activity 7: Levels 1 & 2 | Quiz 4 |
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9 | TR | Ottman: Chapter 4 continued | PM: Activity 8: Levels 1 & 2 | None |
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10 | TR | Midterm 2 | None | Midterm 2 |
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11 | TR | Ottman: Chapter 5 | PM: Activity 9: Levels 1 & 2 | None |
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12 | TR | Ottman: Chapter 5 continued | PM: Activity 10: Levels 1 & 2 | Quiz 5 |
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13 | TR | Ottman: Chapter 6 | PM: Activity 11: Levels 1 & 2 | Quiz 6 |
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14 | T | Ottman: Chapter 6 continued | PM: Activity 12: Levels 1 & 2 | None |
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15 | TR | Review for Final | None | None |
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Final | T or R | None | None | Final |
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PLAGIARISM/ACADEMIC DISHONESTY STATEMENT |
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Cheating/Plagiarism: Cheating is unethical and not acceptable. Plagiarism is using information or original wording in a paper without giving credit to the source of that information or wording: it is also not acceptable. Do not submit work under your name that you did not do yourself. You may not submit work for this class that you did for another class. If you are found to be cheating or plagiarizing, you will be subject to disciplinary action, per UTEP catalog policy. Refer to Student Conduct (http://studentaffairs.utep.edu/Default.aspx?tabid=4386) for further information. |
DISABILITIES STATEMENT |
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Disabilities: The professor will make any reasonable accommodations for students with limitations due to disabilities, including learning disabilities. Please meet with the professor before or after class in the first two weeks or make an appointment, to discuss any special needs you might have. If you have a documented disability and require specific accommodations, you will need to contact the Disabled Student Services Office in the East Union Bldg., Room 106 within the first two weeks of classes. The Disabled Student Services Office can also be reached in the following ways: Web: http://www.utep.edu/dsso Phone: (915) 747-5148 voice or TTY Fax: (915) 747-8712 E-Mail: dss@utep.edu |
| | | | 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. MUST 1314, Music Theory II CHARLES LEINBERGER, PH.D. UTEP Course Syllabus, Spring Semester |
COURSE INFORMATION |
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Description: | Harmonic progression including cadences, diatonic seventh chords, modulation to closely-related keys, an introduction to chromaticism, as well as non-chord tones and period forms. | Location: | FFA Room M101 | Meeting Times | MWF, 0830-0920AM and 1130AM-1220PM | Prerequisite: | A grade of "C" or better in MUST 1313 Music Theory I and MUST 1111 Aural Skills I | Corequisite: | MUST 1112 Aural Skills II | INSTRUCTOR INFORMATION |
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Name: | Charles Leinberger | E-mail: | CHARLESL@UTEP.EDU | Office: | Fox Fine Arts Center, Room M432 | Office Phone: | (915) 747-7800 | Office Hours: | T and R 1100AM-1200PM and 200PM-300PM, or by appointment | Biography: | Charles Leinberger's Biography | TEXTBOOK |
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Textbook/Workbook: | Stefan Kostka and Dorothy Payne: Tonal Harmony, Sixth Edition (Required) | | CD: | Stefan Kostka and Dorothy Payne: Tonal Harmony, Sixth Edition (Optional) | COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. |
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Course Goal: | To provide the student with the theoretical knowledge and skills needed for success in a career in music performance, education, or composition. | Course Objective: | Upon successful completion of the course, the student will be able to: Understand and appreciate the existence of music as a written language; Further understand the rules of music notation and to continue developing skills at notating music accordingly; Understand more complex musical structures used by composers of tonal music in the creation of melody, harmony and rhythm; Develop proficiency in writing four-part harmony using diatonic and chromatic, root-position and inverted, triads and seventh chords.
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GRADING |
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The final grade will be calculated according to the following point values: | 12 Assignments | 10 points each | 120 points | 12% of final grade | 12 Quizzes | 25 points each | 300 points | 30% of final grade | Class Attendance, Preparation, and Participation | Approximately 4.5 (180/40) points per class | 180 points | 18% of final grade | Midterm Exam 1 | 100 points | 10% of final grade | Midterm Exam 2 | 100 points | 10% of final grade | Final Exam | 200 points | 20% of final grade | Total Points Possible | 1000 points | 100% of final grade | Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A grade of "W" will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 10 (April 3, 2009). | A | 900-1000 points | 90.0-100.0% | B | 800-899 points | 80.0-89.9% | C | 700-799 points | 70.0-79.9% | D | 600-699 points | 60.0-69.9% | F | 0-599 points | 0.0-59.9% |
COURSE POLICIES |
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The following policies apply to all of Dr. Leinberger's classes: Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will receive half of the attendance points for that class meeting. Students attending a section in which they are not enrolled will receive no attendance points. In addition to losing attendance points for missed classes, a student's final grade will be lowered for excessive unexcused tardiness and absenteeism. For a class that meets three times each week, the student's grade will be lowered one letter grade after the first 9 unexcused absences plus one additional letter grade for every 6 subsequent unexcused absences. For a class that meets twice each week, the student's grade will be lowered one letter grade after the first 6 unexcused absences plus one additional letter grade for every 4 subsequent unexcused absences. For a class that meets once each week, the student's grade will be lowered one letter grade after the first 3 unexcused absences plus one additional letter grade for every 2 subsequent unexcused absences.
Each unexcused tardy is counted as one half of an unexcused absence. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. Students are encouraged to work together on assignments, however, each student must submit written assignments in their own handwriting, in pencil, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. Exceptions will be made for parents of small children and expectant fathers. Students may not wear headphones of any kind during class. Laptop computers may only be used during the first and last five minutes of class (except MUST 3218). Please visit Dr. Leinberger's Spring Semester Final Exam Schedule for the date and time of the final exam. Students may not change the day or time of their Final Exam. Students should never schedule a jury or any other appointment during a final exam.
The following policies apply to this class: Come to class on time and prepared. Bring your Textbook and workbook every Monday. Bring your workbook every Wednesday. Assignments are due on Fridays at the beginning of class. Quizzes take place in class on Fridays. If a student misses a quiz due to an excused absence (university function, medical emergency, car trouble, etc.), the student may take the quiz the following Monday morning. To do so, the student must arrive at the instructor's office between 7:30 and 7:45 a.m. and must provide some documentation for his or her absence. Some listening will be done in class, but the student is responsible for all listening assignments. The Midterm Exams will be during class on Friday of weeks 5 and 10. Some students may be excused from class on Monday and Wednesday of weeks 5, 10, and 15 during the review sessions for the midterm and final exams.
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SCHEDULE |
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Week | Days | Topic | Assignment | Listening | Test |
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1 | WF | Kostka/Payne: Chapter 10 | 10-1: A | None | Quiz 1 |
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2 | MWF | Kostka/Payne: Chapter 10 continued | 10-1: B1-4 | 10-1: B1-4 | Quiz 2 |
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3 | MWF | Kostka/Payne: Chapter 11 | 11-1: A, B | 11-1: A2 | Quiz 3 |
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4 | MWF | Kostka/Payne: Chapter 12 | 12-1: A, B | 12-1: A4-6 | Quiz 4 |
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5 | WF | Review for Midterm 1 | None | None | Midterm 1 |
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6 | MWF | Kostka/Payne: Chapter 13 | 13-1: A, B, C | 13-1: B | Quiz 5 |
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7 | MWF | Kostka/Payne: Chapter 13 continued | 13-2: A, B, C | 13-2: B1-4 | Quiz 6 |
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8 | WF | Kostka/Payne: Chapter 14 | 14-1: A, B, C1-3 | 14-1: C1-3 | Quiz 7 |
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SB | Spring Break |
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9 | MWF | Kostka/Payne: Chapter 15 | 15-1: A, B, C1-3 | 15-1: C1-4 | Quiz 8 |
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10 | MWF | Review for Midterm 2 | None | None | Midterm 2 |
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11 | MW | Kostka/Payne: Chapter 16 | 16-1: A, B, 16-2: A1-2 | 16-2: A1-2 | Quiz 9 |
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12 | MWF | Kostka/Payne: Chapter 16 continued | 16-2: B, C | None | Quiz 10 |
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13 | MWF | Kostka/Payne: Chapter 17 | 17-1: A, B, 17-2: A1 | 17-2: A1 | Quiz 11 |
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14 | MWF | Kostka/Payne: Chapter 18 | 18-1: A, B, 18-2: A3-4 | 18-2: A1-4 | Quiz 12 |
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15 | MW | Review for Final | None | None | None |
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Finals | M or W | None | None | None | Final |
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PLAGIARISM/ACADEMIC DISHONESTY STATEMENT |
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Cheating/Plagiarism: Cheating is unethical and not acceptable. Plagiarism is using information or original wording in a paper without giving credit to the source of that information or wording: it is also not acceptable. Do not submit work under your name that you did not do yourself. You may not submit work for this class that you did for another class. If you are found to be cheating or plagiarizing, you will be subject to disciplinary action, per UTEP catalog policy. Refer to Student Conduct (http://studentaffairs.utep.edu/Default.aspx?tabid=4386) for further information. |
DISABILITIES STATEMENT |
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Disabilities: The professor will make any reasonable accommodations for students with limitations due to disabilities, including learning disabilities. Please meet with the professor before or after class in the first two weeks or make an appointment, to discuss any special needs you might have. If you have a documented disability and require specific accommodations, you will need to contact the Disabled Student Services Office in the East Union Bldg., Room 106 within the first two weeks of classes. The Disabled Student Services Office can also be reached in the following ways: Web: http://www.utep.edu/dsso Phone: (915) 747-5148 voice or TTY Fax: (915) 747-8712 E-Mail: dss@utep.edu |
| | | | 1 | Aural Skills II (MUST 1112; 2CR) Syllabus (Charles Leinberger) Experience in aural recognition of tone relations through sight-singing, dictation, and keyboard activities. MUST 1112, Aural Skills II CHARLES LEINBERGER, PH.D. UTEP Course Syllabus, Spring Semester |
COURSE INFORMATION |
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Description: | Diatonic sight-singing, dictation, and computer assisted instruction in major and minor keys, and in simple and compound meters, with an introduction to chromaticism. | Location: | FFA Room M101 | Meeting Times | TR, 0800-0850AM and 0900-0950AM | Prerequisite: | A grade of "C" or better in MUST 1313 Music Theory I and MUST 1111 Aural Skills I | Corequisite: | MUST 1314 Music Theory II | INSTRUCTOR INFORMATION |
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Name: | Charles Leinberger | E-mail: | CHARLESL@UTEP.EDU | Office: | Fox Fine Arts Center, Room M432 | Office Phone: | (915) 747-7800 | Office Hours: | T and R 1100AM-1200PM and 200PM-300PM, or by appointment | Biography: | Charles Leinberger's Biography | TEXTBOOK |
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Textbook/Workbook: | Robert Ottman and Nancy Rogers: Music for Sight Singing, Seventh Edition (Required) | pr | Software: | Ars Nova: Practica Musica, (Optional) | COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. |
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Course Goal: | To provide the student with the theoretical knowledge and skills needed for success in a career in music performance, education, or composition. | Course Objective: | Upon successful completion of the course, the student will be able to: Apply knowledge of musical structure (melodic, harmonic, and rhythmic) learned in Music Theory II; Comprehend the relationship between music as a written language and music as sound, including: Continue developing skills in reading and singing diatonic music, using moveable Do solfège, in major and minor keys, in simple and compound meters; Continue developing skills in structured improvisation (within prescribed guidelines of rhythm and melodic contour), using moveable Do solfège, in major and minor keys, in simple and compound meters; Develop skills (perception, recognition, identification, and notation) in dictating diatonic and chromatic melodies and harmonic progressions, in major and minor keys, in simple and compound meters.
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GRADING |
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The final grade will be calculated according to the following point values: | 3 Sight-Singing Performances | 40 points each | 120 points | 12% of final grade | 12 Assignments | 25 points each | 300 points | 30% of final grade | Class Attendance, Participation, and Quizzes | Approximately 6.21 (180/29) points per class | 180 points | 18% of final grade | Midterm Exam 1 | | 100 points | 10% of final grade | Midterm Exam 2 | | 100 points | 10% of final grade | Final Exam | | 200 points | 20% of final grade | Total Points Possible | | 1000 points | 100% of final grade | Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A grade of "W" will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 10 (April 3, 2009). | A | 900-1000 points | 90.0-100.0% | B | 800-899 points | 80.0-89.9% | C | 700-799 points | 70.0-79.9% | D | 600-699 points | 60.0-69.9% | F | 0-599 points | 0.0-59.9% |
COURSE POLICIES |
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The following policies apply to all of Dr. Leinberger's classes: Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will receive half of the attendance points for that class meeting. Students attending a section in which they are not enrolled will receive no attendance points. In addition to losing attendance points for missed classes, a student's final grade will be lowered for excessive unexcused tardiness and absenteeism. For a class that meets three times each week, the student's grade will be lowered one letter grade after the first 9 unexcused absences plus one additional letter grade for every 6 subsequent unexcused absences. For a class that meets twice each week, the student's grade will be lowered one letter grade after the first 6 unexcused absences plus one additional letter grade for every 4 subsequent unexcused absences. For a class that meets once each week, the student's grade will be lowered one letter grade after the first 3 unexcused absences plus one additional letter grade for every 2 subsequent unexcused absences.
Each unexcused tardy is counted as one half of an unexcused absence. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. Students are encouraged to work together on assignments, however, each student must submit written assignments in their own handwriting, in pencil, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. Exceptions will be made for parents of small children and expectant fathers. Students may not wear headphones of any kind during class. Laptop computers may only be used during the first and last five minutes of class (except MUST 3218). Please visit Dr. Leinberger's Spring Semester Final Exam Schedule for the date and time of the final exam. Students may not change the day or time of their Final Exam. Students should never schedule a jury or any other appointment during a final exam.
The following policies apply to this class: Come to class on time and prepared. Bring your sight singing book, staff paper, pencil, and eraser everyday. Practica Musica assignments are due on Thursdays at the beginning of class. Activities are worth 20 points each (10 points per level). To earn the maximum of 10 points for each level, the student must achieve the required score within 30 minutes. 8 points for each level will be earned by achieving the required score within 60 minutes. 6 points for each level will be earned by achieving any score after 60 minutes or longer. If a student spends less than 60 minutes on a level and does not achieve the required score, no points will be earned. The Midterm Exams will be during class on Tuesday (dictation) and Thursday (sight singing) of weeks 5 and 10.
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SCHEDULE |
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Week | Days | Sight Singing Topic: Chapter: Section: Examples | Dictation Assignment: Activity: Level | Test |
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1 | TR | Ottman & Rogers: Chapter 7 | PM: Activity 1: Levels 3, 4 | None |
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2 | TR | Ottman & Rogers: Chapter 7 continued | PM: Activity 2: Levels 3, 4 | None |
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3 | TR | Ottman & Rogers: Chapter 8 | PM: Activity 3: Levels 3, 4 | Quiz 1 |
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4 | TR | Ottman & Rogers: Chapter 8 continued | PM: Activity 4: Levels 3, 4 | None |
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5 | TR | Midterm 1 | None | Midterm 1 |
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6 | TR | Ottman & Rogers: Chapter 9 | PM: Activity 5: Levels 3, 4 | None |
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7 | TR | Ottman & Rogers: Chapter 9 continued | PM: Activity 6: Levels 3, 4 | None |
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8 | TR | Ottman & Rogers: Chapter 10 | PM: Activity 7: Levels 3, 4 | Quiz 2 |
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SB | Spring Break |
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9 | TR | Ottman & Rogers: Chapter 10 continued | PM: Activity 8: Levels 3, 4 | None |
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10 | R | Midterm 2 | None | Midterm 2 |
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11 | TR | Ottman & Rogers: Chapter 11 | PM: Activity 9: Level 3 | None |
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12 | TR | Ottman & Rogers: Chapter 11 continued | PM: Activity 10: Levels 3, 4 | None |
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13 | TR | Ottman & Rogers: Chapter 12 | PM: Activity 11: Levels 3, 4 | Quiz 3 |
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14 | TR | Ottman & Rogers: Chapter 12 continued | PM: Activity 12: Level 3 | None |
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15 | TR | Review for Final | None | None |
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Finals | T or R | None | None | Final |
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PLAGIARISM/ACADEMIC DISHONESTY STATEMENT |
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Cheating/Plagiarism: Cheating is unethical and not acceptable. Plagiarism is using information or original wording in a paper without giving credit to the source of that information or wording: it is also not acceptable. Do not submit work under your name that you did not do yourself. You may not submit work for this class that you did for another class. If you are found to be cheating or plagiarizing, you will be subject to disciplinary action, per UTEP catalog policy. Refer to Student Conduct (http://studentaffairs.utep.edu/Default.aspx?tabid=4386) for further information. |
DISABILITIES STATEMENT |
---|
Disabilities: The professor will make any reasonable accommodations for students with limitations due to disabilities, including learning disabilities. Please meet with the professor before or after class in the first two weeks or make an appointment, to discuss any special needs you might have. If you have a documented disability and require specific accommodations, you will need to contact the Disabled Student Services Office in the East Union Bldg., Room 106 within the first two weeks of classes. The Disabled Student Services Office can also be reached in the following ways: Web: http://www.utep.edu/dsso Phone: (915) 747-5148 voice or TTY Fax: (915) 747-8712 E-Mail: dss@utep.edu |
| | | | 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.] MUST 1313, Music Theory V, Analytical Processes in Music CHARLES LEINBERGER, PH.D. UTEP Course Syllabus, Fall Semester |
COURSE INFORMATION |
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Description: | 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. | Location: | FFA Room M101 | Meeting Times | TR, 1200-1250PM | Prerequisite: | A grade of "C" or better in MUST 2314 Music Theory IV and MUST 2112 Aural Skills IV, and a passing grade on the music theory "barrier" exam | INSTRUCTOR INFORMATION |
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Name: | Charles Leinberger | E-mail: | CHARLESL@UTEP.EDU | Office: | Fox Fine Arts Center, Room M432 | Office Phone: | (915) 747-7800 | Office Hours: | T and R 1100AM-1150PM and 200PM-250PM, or by appointment | Biography: | Charles Leinberger's Biography | TEXTBOOKS |
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Scores: | Bach: The Six Brandenburg Concertos and the Four Orchestral Suites (Required) Mozart: Piano Concertos Nos. 17-22 (Required) Beethoven: Symphonies Nos. 8 and 9 (Required) Tchaikovsky: Fourth, Fifth and Sixth Symphonies (Required) | | COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. |
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Course Goal: | To provide the student with the theoretical knowledge and skills needed for success in a career in music performance, education, or composition. | Course Objective: | Upon successful completion of the course, the student will be able to: Gain an understanding of the formal structures of common practice music through harmonic and thematic analysis; Recognize a composer's use of chromatic harmony within those formal structures; Appreciate the means by which modulation can be accomplished and its role in determining musical form; Develop proficiency at reading and understanding orchestral scores.
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GRADING |
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The final grade will be calculated according to the following point values: | Class Attendance and Participation | Approximately 0.86 (25/29) points per class | 25 points | 2.5% of final grade | 15 Assignments | 25 points each | 375 points | 37.5% of final grade | Sonata Form Project | | 100 points | 10% of final grade | Midterm Exam 1 | | 100 points | 10% of final grade | Midterm Exam 2 | | 100 points | 10% of final grade | Final Exam | | 300 points | 30% of final grade | Total Points Possible | | 1000 points | 100% of final grade | Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A grade of "W" will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 10 (October 31, 2008). | A | 900-1000 points | 90.0-100.0% | B | 800-899 points | 80.0-89.9% | C | 700-799 points | 70.0-79.9% | D | 600-699 points | 60.0-69.9% | F | 0-599 points | 0.0-59.9% |
COURSE POLICIES |
---|
The following policies apply to all of Dr. Leinberger's classes: Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will receive half of the attendance points for that class meeting. Students attending a section in which they are not enrolled will receive no attendance points. In addition to losing attendance points for missed classes, a student's final grade will be lowered for excessive unexcused tardiness and absenteeism. For a class that meets three times each week, the student's grade will be lowered one letter grade after the first 9 unexcused absences plus one additional letter grade for every 6 subsequent unexcused absences. For a class that meets twice each week, the student's grade will be lowered one letter grade after the first 6 unexcused absences plus one additional letter grade for every 4 subsequent unexcused absences. For a class that meets once each week, the student's grade will be lowered one letter grade after the first 3 unexcused absences plus one additional letter grade for every 2 subsequent unexcused absences.
Each unexcused tardy is counted as one half of an unexcused absence. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. Students are encouraged to work together on assignments, however, each student must submit written assignments in their own handwriting, in pencil, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. Exceptions will be made for parents of small children and expectant fathers. Students may not wear headphones of any kind during class. Laptop computers may only be used during the first and last five minutes of class (except MUST 3218). Please visit Dr. Leinberger's Fall Semester Final Exam Schedule for the date and time of the final exam. Students may not change the day or time of their Final Exam. Students should never schedule a jury or any other appointment during a final exam.
The following policies apply to this class: Come to class on time and prepared. Bring the appropriate score every Tuesday and Thursday. Assignments are due on Tuesdays and Thursdays at the beginning of class. Some listening will be done in class, but the student is responsible for all listening assignments. The Midterm Exams will be during class on Thursday of weeks 5 and 10. The Sonata Form Project Presentations will take place in class during weeks 13 and 14. The projects will consist of four components, each one is worth 25 points: A chart of the sonata-form movement that each student was assigned, including Exposition, Development, and Recapitulation. The chart should also include First Theme and Second Theme, as well as Transition, Closing Theme, and Codetta, if any A list of at least ten items pertaining to the movement assigned. Each item should be written in a complete sentence and address issues such as key relationships, modulation types, and anything that makes the movement assigned unique. Each student will also submit a copy of the movement assigned showing their analysis of themes and harmony. The final component is the presentation itself.
Project materials (chart, list, and analysis of movement assigned) are due at noon on Wednesday of week 14. All materials should be submitted electronically. Email attachments are preferred; no floppy disks, please. Microsoft Word files or PDF files are recommended.
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SCHEDULE |
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Week | Days | Topic | Assignment | Listening | Test |
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1 | TR | Mozart: Piano Sonata in B-flat Major, K. 333 (I) | Mozart K333 (I), Read Syllabus | Mozart K333 (I) | None |
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2 | TR | Bach: Brandenburg 5 (I, II) | B 5 (I, II) | B 5 (I, II) | None |
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3 | TR | B 5 (III), Mozart: Piano Concerto 21 (I) | B 5 (III), Mozart: PC 21 (I) | B 5 (III), Mozart: PC 21 (I) | None |
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4 | TR | Mozart: PC 21 (II, III) | Mozart: PC 21 (II, III) | Mozart: PC 21 (II, III) | None |
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5 | TR | Review for Midterm 1 | None | Bach: B 5 (All), Mozart: K333 (I), PC 21 (All) | Midterm 1 |
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6 | TR | Sonata Form Project | Begin Project | None | None |
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7 | TR | Beethoven: Symphony No. 9 (I, II) | S 9 (I, II) | S 9 (I, II) | None |
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8 | TR | Beethoven: S 9 (III) | S 9 (III) | S 9 (III) | None |
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9 | TR | Beethoven: S 9 (IV) | S 9 (IV) | S 9 (IV) | None |
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10 | TR | Review for Midterm 2 | None | S 9 (All) | Midterm 2 |
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11 | TR | Tchaikovsky: Symphony No. 5 (I, II) | S 5 (I, II) | S 5 (I, II) | None |
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12 | TR | Tchaikovsky: S 5 (III, IV) | S 5 (III, IV) | S 5 (III, IV) | None |
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13 | TR | Sonata Form Project | Chart, List, Analysis, and Presentation | None | None |
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14 | T | Sonata Form Project | Chart, List, Analysis, and Presentation | None | None |
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15 | TR | Review for Final | None | All | None |
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Final | T | None | None | None | Final |
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PLAGIARISM/ACADEMIC DISHONESTY STATEMENT |
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Cheating/Plagiarism: Cheating is unethical and not acceptable. Plagiarism is using information or original wording in a paper without giving credit to the source of that information or wording: it is also not acceptable. Do not submit work under your name that you did not do yourself. You may not submit work for this class that you did for another class. If you are found to be cheating or plagiarizing, you will be subject to disciplinary action, per UTEP catalog policy. Refer to Student Conduct (http://studentaffairs.utep.edu/Default.aspx?tabid=4386) for further information. |
DISABILITIES STATEMENT |
---|
Disabilities: The professor will make any reasonable accommodations for students with limitations due to disabilities, including learning disabilities. Please meet with the professor before or after class in the first two weeks or make an appointment, to discuss any special needs you might have. If you have a documented disability and require specific accommodations, you will need to contact the Disabled Student Services Office in the East Union Bldg., Room 106 within the first two weeks of classes. The Disabled Student Services Office can also be reached in the following ways: Web: http://www.utep.edu/dsso Phone: (915) 747-5148 voice or TTY Fax: (915) 747-8712 E-Mail: dss@utep.edu |
| | | | 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.] MUST 3218, Music Theory VI (Orchestration) CHARLES LEINBERGER, PH.D. UTEP Course Syllabus, Spring Semester |
COURSE INFORMATION |
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Description: | 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. | Location: | FFA Room M102 | Meeting Times | TR, 1200-1250PM | Prerequisite: | A grade of "C" or better in MUST 3215 Music Theory V | INSTRUCTOR INFORMATION |
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Name: | Charles Leinberger | E-mail: | CHARLESL@UTEP.EDU | Office: | Fox Fine Arts Center, Room M432 | Office Phone: | (915) 747-7800 | Office Hours: | T and R 1100AM-1200PM and 200PM-300PM, or by appointment | Biography: | Charles Leinberger's Biography | TEXTBOOK |
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Textbook and Workbook: | Kent Kennan and Donald Grantham: The Technique of Orchestration, 6th edition (Required) | | Software: | MakeMusic Inc. Finale 2009 (Optional) | COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. |
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Course Goal: | To provide the student with the theoretical knowledge and skills needed for success in a career in music performance, education, or composition. | Course Objective: | Upon successful completion of the course, the student will be able to: Use music notation software for the creation and playback of arrangements of short compositions; Produce professional-looking printed musical scores and parts suitable for publication; Arrange short compositions for a variety of small ensembles, as well as for a large ensemble; Arrange music for all orchestral instruments in a way that will maximize their potential while demonstrating an understanding of their limitations.
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GRADING |
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The final grade will be calculated according to the following point values: | 8 Assignments | 50 points each | 400 points | 40% of final grade | Final Project | | 100 points | 10% of final grade | Class Attendance and Participation | Approximately 3.45 (100/29) points per class | 100 points | 10% of final grade | Midterm Exam 1 | | 100 points | 10% of final grade | Midterm Exam 2 | | 100 points | 10% of final grade | Final Exam | | 200 points | 20% of final grade | Total Points Possible | | 1000 points | 100% of final grade | Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A grade of "W" will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 10 (April 3, 2009). | | A | 900-1000 points | 90.0-100.0% | | B | 800-899 points | 80.0-89.9% | | C | 700-799 points | 70.0-79.9% | | D | 600-699 points | 60.0-69.9% | | F | 0-599 points | 0.0-59.9% |
COURSE POLICIES |
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The following policies apply to all of Dr. Leinberger's classes: Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will receive half of the attendance points for that class meeting. Students attending a section in which they are not enrolled will receive no attendance points. In addition to losing attendance points for missed classes, a student's final grade will be lowered for excessive unexcused tardiness and absenteeism. For a class that meets three times each week, the student's grade will be lowered one letter grade after the first 9 unexcused absences plus one additional letter grade for every 6 subsequent unexcused absences. For a class that meets twice each week, the student's grade will be lowered one letter grade after the first 6 unexcused absences plus one additional letter grade for every 4 subsequent unexcused absences. For a class that meets once each week, the student's grade will be lowered one letter grade after the first 3 unexcused absences plus one additional letter grade for every 2 subsequent unexcused absences.
Each unexcused tardy is counted as one half of an unexcused absence. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. Students are encouraged to work together on assignments, however, each student must submit written assignments in their own handwriting, in pencil, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. Exceptions will be made for parents of small children and expectant fathers. Students may not wear headphones of any kind during class. Laptop computers may only be used during the first and last five minutes of class (except MUST 3218). Please visit Dr. Leinberger's Spring Semester Final Exam Schedule for the date and time of the final exam. Students may not change the day or time of their Final Exam. Students should never schedule a jury or any other appointment during a final exam.
The following policies apply to this class: Come to class on time and prepared. Bring your textbook every Tuesday and your assignments every Thursday. Assignments are due on Thursdays at the beginning of class. Laptop computers may be used during class, but not during an exam. The Midterm Exams will be during class on Thursday of weeks 5 and 10.
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SCHEDULE |
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Week | Days | Topic | Reading | Assignment | Test |
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1 | TR | Intro to Orchestration | Kennan/Grantham: Chapter 1 | Begin Composition | None |
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2 | TR | Intro to Finale | None | 1: Notating Short Composition | None |
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3 | TR | Creating Scores in Finale | Kennan/Grantham: Chapter 20 | 2: Formatting Scores | None |
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4 | TR | Creating Parts in Finale | None | 3: Formatting Parts | None |
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5 | TR | Review for Midterm I | None | None | Midterm 1 |
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6 | TR | Scoring for Strings | Kennan/Grantham: Chapters 2, 3, 4 | 4: String Quartet | None |
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7 | TR | Scoring for Winds | Kennan/Grantham: Chapters 5, 6, 7 | 5: Woodwind Quintet | None |
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8 | TR | Scoring for Brass | Kennan/Grantham: Chapters 8, 9 | 6: Brass Quintet | None |
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SB | Spring Break |
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9 | TR | Scoring for Other Instruments | Kennan/Grantham: Chapter 18 | 7: Saxophone Quartet | None |
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10 | R | Review for Midterm II | None | None | Midterm 2 |
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11 | TR | Scoring for Percussion | Kennan/Grantham: Chapters 13, 14 | 8: Percussion Ensemble | None |
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12 | TR | Scoring for Orchestra | Kennan/Grantham: Chapters 10, 11, 12, 16, 19 | Begin Final Project (orchestra) | None |
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13 | TR | Scoring for Band | Kennan/Grantham: Chapters 17, 21 | Begin Final Project (band) | None |
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14 | TR | Scoring for Choir & Piano | Kennan/Grantham: Chapter 15, Appendix D | Begin Final Project (choir) | None |
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15 | TR | Review for Final Exam | None | None | None |
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Finals | T | None | None | None | Final |
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PLAGIARISM/ACADEMIC DISHONESTY STATEMENT |
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Cheating/Plagiarism: Cheating is unethical and not acceptable. Plagiarism is using information or original wording in a paper without giving credit to the source of that information or wording: it is also not acceptable. Do not submit work under your name that you did not do yourself. You may not submit work for this class that you did for another class. If you are found to be cheating or plagiarizing, you will be subject to disciplinary action, per UTEP catalog policy. Refer to Student Conduct (http://studentaffairs.utep.edu/Default.aspx?tabid=4386) for further information. |
DISABILITIES STATEMENT |
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Disabilities: The professor will make any reasonable accommodations for students with limitations due to disabilities, including learning disabilities. Please meet with the professor before or after class in the first two weeks or make an appointment, to discuss any special needs you might have. If you have a documented disability and require specific accommodations, you will need to contact the Disabled Student Services Office in the East Union Bldg., Room 106 within the first two weeks of classes. The Disabled Student Services Office can also be reached in the following ways: Web: http://www.utep.edu/dsso Phone: (915) 747-5148 voice or TTY Fax: (915) 747-8712 |
| | | | | | | | | | | | 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. | | | | | | | | | | |
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