Dissertation2

DisAdvisorCorrespondence

3 Documents

• Music Standards for the Texas State Board for Educator CertificationThe domains and competencies on which the TExES Music exam is based are designed to assess the knowledge and skills needed to provide quality instruction in the music classroom. (from link below)TExES stands for The Texas Examination of Educator Standards
  http://www.tmea.org/080_College/bannerTExES_r.htm

• NASM Competencies

• TEKS

• TEKS Searchable

Qualitative Data Analysis Software

Criteria for coding:

1. When timelines are given, the proportion of time spent on each element is calculated.

2. When grading percentages are specified,

Preparation of documents

1. 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

2. 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

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

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

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

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 7^th-chord arpeggiations
• sing melodies including 7^th-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

• rhythm and meter—note and rest values, the beat and its division, meter

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

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 20^th- and 21^st-century scale types
• spell and analyze 20^th- and 21^st-century chord types, using lead-sheet notation and descriptive labels as appropriate
• analyze and write melodies in 20^th- and 21^st-century styles using appropriate pitch collections, melodic and rhythmic characteristics, and methods of construction
• analyze and employ 20^th- and 21^st-century rhythmic techniques
• analyze and employ 20^th- and 21^st-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)

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

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, 4^th ed., by Berkowitz, Fontrier, & Kraft (Norton)

        Developing Aural Skills, Vol. 1, by Barbara Wallace (Kees Academic Press)

        Studying Rhythm, 2^nd 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

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, 4^th 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

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, 6^th ed., by Kostka and Payne, McGraw-Hill, 2008

        Workbook for Tonal Harmony, 6^th 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

MUS 1312:  Theory II

Course Design

Catalog Description:  A continuation of MUSI 1311.

        Prerequisite:  MUS 1311

Textbooks:

        Tonal Harmony, 6^th ed., by Kostka and Payne, McGraw-Hill, 2008

        Workbook for Tonal Harmony, 6^th 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

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, 4^th 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.

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, 4^th 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.

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, 6^th ed., by Kostka and Payne, McGraw-Hill, 2008

        Workbook for Tonal Harmony, 6^th 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

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, 6^th ed., by Kostka and Payne, McGraw-Hill, 2008 (plus supplemental materials)

        Workbook for Tonal Harmony, 6^th 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.

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)

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, 6^th 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.

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 courses

MUSI 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 20th Century Analytical Techniques................................................................................2

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 (4^th) 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.  2^nd 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 - Ear Training I

Fall 2008

Mr. Ray Herman                                                                                 rherman@etbu.edu

J.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, 7^th 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.

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, 6^th ed., Boston:  McGraw-Hill, 2009.

Kostka, Stefan and Dorothy Payne, Workbook for Tonal Harmony, 6^th 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

Spring 2009

Mr. Ray Herman                                                                                 rherman@etbu.edu

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, 7^th 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:

         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

Examples in the Ottman text will be studied which support the above outline.

MUSI 1312.01 Elementary Harmony II
Spring 2009

Professor:  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 Description

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.  Prerequisite: MUSI 1311

Course Textbook(s)

Tonal Harmony , 6^th ed.- Stefan Kostka, Dorothy Payne
Copyright - 2004
ISBN – 0-07-285260-7

Workbook for Tonal Harmony, 6^th ed. - Stefan Kostka, Dorothy Payne
Copyright - 2004
ISBN – 0-07-285261-5

Course Objectives

1.     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 Computation

Tests 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 Exam

The 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 Requirements

See 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 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.    

Course Outline / Material to be Covered

Tentative 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

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 (3,0,3)
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 2008

Professor:  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 Description

Through extensive analysis and part-writing exercises, this course examines the altered and chromatic harmonies of the common practice period through the late 19^th century.

Course Textbook(s)

Tonal Harmony , 5^th ed.- Stefan Kostka, Dorothy Payne
Copyright - 2004
ISBN – 0-07-285260-7

Workbook for Tonal Harmony, 5^th ed. - Stefan Kostka, Dorothy Payne
Copyright - 2004
ISBN – 0-07-285261-5

Course Objectives

1. to be able to analyze music of the common practice era (through the late 19^th 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 Computation

Tests 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 Exam

The final exam will be given on Monday, December 8^th, from 10:30-12:20 pm in accordance with the University Fall 2008 Exam Schedule.                 

Attendance / Participation Requirements

See 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 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.    

Course Outline / Material to be covered

Tentative 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

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

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 18^th and 19^th 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, 6^th 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, 6^th 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 3203.01

20^th 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 20^th 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 20^th Century music styles.

2.      Be able to compose short works in 20^th 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 20^th Century music.

Grade Computation:

Chapter Quizzes (4), Listening Quizzes (4), and Daily assignments – 60%

Take Home Analyses (2) – 15%

Final exam: 20^th 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 20^th 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 20^th 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 20^th century music

10/16 – Continued analyses of selected 20^th century music

10/21 – Take home analysis due; begin working on 20^th 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 20^th Century Music

12/2 – Chapter 15, Minimalism and Beyond

12/4 – Work on compositions

Final Exam – Thursday, December 11, 9:30 – 11:20 AM; 20^th century compositions due

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.

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

Mr. Lawson Hager, Dean. SYLLABUS