ohio university, course schedule and syllabus - music 1010 ... · • know and demonstrate basic...

1

Ohio University, Course Schedule And Syllabus - Music 1010: Music Theory I - Fall 2014

Class Number: 6635 Section: 101

Time & location: 9:40 – 10:35 A.M. – Room 550

Instructor: C. Scott Smith

E-mail: [email protected]

Office: 361

Office phone: 593-4244 (Music office)

Office Hours: to be arranged with the course instructor

Brief description of course:

Music 1010, Music Theory I, is the first of a series of two courses designed to acquaint the freshman

music major with the underlying grammar and syntax of musical structure, and to prepare him or her to

perceive that structure with both the ear and the eye. During this semester, emphasis will be placed on

the basics of musical notation, tonal melodic structures, and the fundamentals of functional tertian

harmony.

Required Materials:

• Kostka, Stefan, Dorothy Payne, and Almén: Tonal Harmony, With an Introduction to Twentieth-

Century Music, 7th Edition (New York, NY, etc.: McGraw-Hill, 2013); ISBN-13: 978-0-078-02514-3.

• the accompanying workbook to the above: ISBN-13: 978-0-07-741017-9.

• the accompanying CD to the text: ISBN-13: 978-0-07-7410131-1.

• Burkhart, Charles and Rothstein, William: Anthology for Musical Analysis With Post-Modern

Update, 7th edition; (Boston, MA: Schirmer, 2012); ISBN-13: 978-0-495-91607-9; ISBN-10: 0-495-

91607-2.

• a music notebook. Standard size 8 1/2" X 11".

Note: bring text, workbook, and staff paper to each class, anthology as announced.

Note: these texts will be used throughout the year and during the MUS 201-203 sequence.

Expected Competencies:

By the end of the semester the student, to receive a grade of C or higher, will be expected to: • know the fundamentals of our musical notation system and produce clean, legible copies;

• know note names in all clefs;

• recognize and write all major and minor scales and their key signatures;

• know scale degree names in major and minor;

• construct intervals accurately and quickly above or below a given pitch;

• understand and use the concept of intervallic inversion;

• understand the elements of rhythm, meter, and rhythmic notation;

• spell and identify isolated triads and seventh chords;

• spell and identify triads and seventh chords in major and minor keys;

• know the basic principles of voice leading;

• knowledge of basic Roman Numeral and lead sheet chord symbols

• notation of four-part harmony (SATB);

• know thoroughly the principles of voice leading;

• know the principles of doubling found in tonal 4-part chorale settings in root position

triads;

• know and demonstrate basic principles of counterpoint;

• understand the concept of harmonic progression;

• understand the concepts of melodic and harmonic sequences.

2

MUS 1010 F 2014 – Syllabus – P. 2

Class attendance: Attendance is required. You are allowed a maximum of two unexcused absences.

Each absence in addition to the maximum will lower your final grade by a portion of a letter (A to A-,

etc.). In addition, no make-up work will be allowed for unexcused absences. An absence is

considered excused only if the instructor approves it in advance, or if it is documented (e.g. medical,

family emergency). Make sure that you have signed the attendance list, or you will not be counted

present. Habitual lateness will be counted as absences.

Homework, quizzes, and exams: No late homework will be accepted unless as the result of an

excused absence. Students who are not present for exams or quizzes will receive a "0" for that exam

unless arrangements are made in advance. No additional time will be given for lateness.

Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments,

announcements, and so on. You are expected to have and use an OU email account, and check

Blackboard regularly.

Plagiarism: Duplication of another’s work on an exam or assignment will result in a failing grade in the

course and may be referred to Student Judiciaries.

Special Needs or Disabilities: Students with documented special needs or a disability may request

special services. The student should contact the instructor within the first two weeks of the academic

session for making special needs arrangements. If you have a disability but are not yet registered as a

student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the

office in 348 Baker University Center.

Tutoring: Singing and dictation are skills that take practice. As soon as you feel you do not understand

a concept, need more practice, or are falling behind, see your instructor for additional help,

recommendations for tutors, etc.

Grading:

This course involves two basic areas of written musical skills competence: 1. theory; and

2. analysis. The grades for each skill area will be weighted as follows:

Assignments & Speed Quizzes 10% Grading Scale example:

Midterm exam: 25% 87-89 = B+

4 Quizzes: 30% 83-86 = B

Final Exam: 35% 80-82 = B-

Important Dates:

Aug. 29: Last day to add a fall class without instructor's approval

Sept. 1: Labor Day: No Classes

Sept. 5: Last day to add (with instructor's approval); last day to drop a class without a W

Oct. 31: Last day to withdraw (WP/WF) from a class

Nov. 11: Veterans Day: No Classes

Nov. 26: Thanksgiving Break begins: No Classes

Dec. 1: Classes Resume

Dec. 6: Last day of classes

Dec. 8 – 13: Final exam period

The final exam for this class is scheduled for Friday, December 12, 2014 @ 8:00 a.m.

3

MUS 1010 F 2014 – Syllabus – P. 3

COURSE SCHEDULE

(subject to change)

INSTRUCTIONAL WEEKS: MATERIAL COVERED:

Weeks 1 – 2 (August 25 – Sept. 5): Chapter One: Elements of Pitch.

CHAPTER QUIZ NO. 1 (Sept. 8)

Weeks 3 – 4 (Sept. 10 – 21): Chapter Two: Elements of Rhythm.

CHAPTER QUIZ NO. 2 (Sept. 22)

Weeks 5 – 7 (Sept. 24 – Oct. 12): Chapter Three: Introduction to Triads

and Seventh Chords.

Chapter Four: Diatonic Chords in Major and

Minor Keys.

**********

MID TERM EXAM (Oct. 13)

***********

Weeks 8 – 9 (Oct. 15 – 26): Chapter Five: Principles of Voice Leading.

Weeks 10 - 11 (Oct. 29 – Nov. 9): Chapter Six: Root Position Part Writing.

CHAPTER QUIZ NO. 3 (Nov. 10)

Weeks 12 – 13 (Nov. 12 – 23): Chapter Seven: Harmonic Progression and

The Sequence.

CHAPTER QUIZ NO. 4 (Dec. 1)

Weeks 14-15 (Nov. 26 – Dec. 7): Chapter Eight: Triads in First Inversion

Music 1020, SP14 1

Ohio University, Course Schedule And Syllabus

Music 1020: Music Theory II

Spring Semester 2014

Class Number: Section: Time & location: MWF X-X, Glidden XXX

Instructor:

Instructor:

Email:

Office: Glidden Hall, room XXX

Office phone: x4244 (School of Music main office)

Office hours:


Music 1020, Music Theory II, is the second of a four-semester sequence of theory courses for

music majors. Emphasis this semester will be placed on diatonic harmony, phrase structure, and

the introduction of chromatic harmony, including secondary chords and modulation to closely-

related keys. Students with strengthen their writing and analytical skills.

Required Materials:

• Steven G. Laitz, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis,

and Listening, Oxford University Press, 3rd edition (April 7, 2011) [includes CD]

ISBN-10: 0199742782 | ISBN-13: 978-0199742783

• Steven G. Laitz, Writing and Analysis Workbook to Accompany The Complete Musician: An

Integrated Approach to Tonal Theory, Analysis, and Listening Workbook 1, Oxford

University Press, 3rd edition (June 17, 2011) [includes CD]

ISBN-10: 0199742790| ISBN-13: 978-0199742790

• Charles Burkhart/William Rothstein, Anthology for Musical Analysis, Postmodern Update,

6th edition (Thomson/Schirmer, 2008) or 7th

edition (Cengage, 2011).

• A music notebook or staff paper, standard size 8 1/2" X 11".

These texts will also be used during the MUS 2010-2020 sequence.

Note: Bring text, workbook, anthology, and staff paper to each class unless otherwise

announced.


By the end of the semester the student, to receive a grade of C or higher, will be expected to:

• know thoroughly the principles of chord connection found in 4-part chorale settings

• know the principles of doubling found in tonal 4-part chorale settings, including first and

second inversion triads

• write and identify tonal cadences

• analyze and diagram typical phrase structures

• analyze and diagram expansions of typical phrase structures

• know the basic principles of harmonic progression found in tonal music of the common-

practice period

Music 1020, SP14 2

• common instrument ranges and transpositions

• nonchord tones: passing tones, neighboring tones, and suspensions

• recognize and be able to write examples of all triads and seventh chords regardless of key

• analyze, write and resolve secondary dominants in any key

• analyze and be able to write examples of modulation to closely related keys

Class attendance: Attendance is required. You are allowed a maximum of two unexcused

absences. Each absence in addition to the maximum will lower your final grade by a portion of a

letter (A to A-, etc.). In addition, no make-up work will be allowed for unexcused absences. An

absence is considered excused only if the instructor approves it in advance, or if it is documented

(e.g. medical, family emergency). Make sure that you have signed the attendance list, or you will

not be counted present. Habitual lateness will be counted as absences. Please turn off cell phones

and other electronic devices before class begins.

Homework, quizzes, and exams: No late homework will be accepted unless as the result of an

excused absence. Students who are not present for exams or quizzes will receive a "0" for that

exam unless arrangements are made in advance. No additional time will be given for lateness.

Blackboard: Changes to the course schedule will be posted on Blackboard, as will online

assignments, announcements, and so on. You are expected to have and use an OU email account,

and check Blackboard regularly.

Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or

any other form of academic dishonesty, will result in automatically failing the assignment/exam or

the course, and may be referred to student judiciaries, which can impose additional sanctions.

Students may appeal academic sanctions through the grade appeal process.

Special Needs or Disabilities: Students with documented special needs or a disability may

request accommodations based on the impact of a disability. The student should contact the

instructor within the first two weeks of the academic session for making special needs

arrangements, and provide written documentation from the Office of Student Accessibility

Services. If the student is not yet registered as a student with a disability, s/he should contact the

Office of Student Accessibility Services.

Tutoring: Music theory and analysis are skills that take practice. As soon as you feel you do not

understand a concept, need more practice, or are falling behind, see your instructor for additional

help, recommendations for individual tutors, etc. Also, attend the free tutoring provided by the

School of Music (see posters in Glidden Hall).

Grading:

This course involves two basic areas of written musical skills competence: 1) theory; and

2) analysis. The grades for each skill area will be weighted as follows:

Assignments & Speed Quizzes .................... 10% Grading Scale example:

Midterm exam: ............................................. 25% 87-89 = B+

4 Chapter Quizzes: ........................................ 30% 83-86 = B

Final Exam: ................................................. 35% 80-82 = B-

Music 1020, SP14 3

NOTE that you must have A FINAL GRADE OF C OR HIGHER to continue to the next

course in the sequence.

Important Dates:

1/17: Last day to add a class without instructor's approval

1/20: Martin Luther King, Jr. Day: No Classes

1/24: Last day to drop a class without a WP/WF; last day to add a class with

instructor's permission

3/2-3/8: Spring Break

3/28: Last day to drop a class with a WP/WF

4/26: Last day of classes

4/28-5/2 Final exams period

[DATE HERE] == FINAL (COMPREHENSIVE) WRITTEN EXAM

COURSE SCHEDULE

(subject to change at the discretion of the instructor)

INSTRUCTIONAL WEEKS:

1/13–1/17 Week 1 Chapter 7: Contrapuntal Expansions Of Tonic And

Dominant: Six-Three Chords

1/22–1/24 Week 2 Chapter 8: More Contrapuntal Expansions: Inversions Of

V7, Introduction To Leading Tone Seventh Chords, And

Reduction And Elaboration

1/27–1/31 Week 3 Chapter 9: The Pre-Dominant Function And The Phrase

Model

CHAPTER QUIZ NO. 1

2/3–2/7 Week 4 Chapter 10: Accented And Chromatic Embellishing Tones

2/10–2/14 Week 5 Chapter 11: Six-Four Chords, Revisiting The Subdominant,

And Summary Of Contrapuntal Expansions

CHAPTER QUIZ NO. 2

2/17–2/21 Week 6 Chapter 12: The Pre-Dominant Refines The Phrase Model

2/24–2/28 Week 7 Chapter 13: The Submediant: A New Diatonic Harmony,

And Further Extensions Of The Phrase Model

**********

MID TERM EXAM (2/28)

***********

Music 1020, SP14 4

3/10–3/12 Week 8 Chapter 14: The Mediant, The Back-Relating Dominant,

And A Synthesis Of Diatonic Harmonic Relationships

3/14–3/21 Weeks 8-9 Chapter 15: The Period

Chapter 16: Other Small Musical Structures: Sentences,

Double Periods, And Modified Periods

CHAPTER QUIZ NO. 3

3/24–3/28 Week 10 Chapter 17: Harmonic Sequences

3/31–4/11 Weeks 11-12 Chapter 18: Applied Chords

CHAPTER QUIZ NO. 4

4/14–4/25 Weeks 13-14 Chapter 19: Tonicization And Modulation

Music 1030, Fall ‘13, page 1

Ohio University, Course Schedule And Syllabus Music 1030: Dictation & Sight Singing I

Fall Semester 2014 Class Number: 6638 Section: 101 Time & location: T-Th, 9:00-9:55, Glidden 550 Instructor: C. Scott Smith E-MAIL: [email protected] Office: School of Music - Robert Glidden Hall, Room 361 Office phone: 593-4244 (School of Music Secretary) Office Hours: by appointment with the instructor Brief description of course:

Music 1030, Dictation and Sight Singing I, is the first of a series of courses designed to assist the student music major in acquiring the aural skills necessary for success as a professional musician. The first semester will emphasize basic rhythm and pitch discrimination skills, introducing sight singing, rhythmic reading, pitch identification, and dictation drills, and proceed to more difficult rhythm and pitch discrimination skills, involving syncopation in simple meter, compound meters, leaps within the primary triads and V7 chords, and both major and minor keys. Required Materials:

• Berkowitz, Fontrier, and Kraft. A New Approach to Sight Singing. Norton, 5th ed. • Kazez, Daniel. Rhythm Reading. Norton, 2nd Edition

• Blombach, Ann. MacGAMUT 6 (software) • Wallace, Barbara. Developing Aural Skills, Volume I.

• a music notebook or staff paper, either 5" by 7" or 8 1/2" by 11", and pencils • an OAK id & password to access materials posted on Blackboard • a metronome Note: All of these texts (except Wallace) will be used throughout the two-year aural skills core.


• write down and perform rhythms in simple and compound meters (Chap 2 and ff.). • identify the degrees of a given major or minor scale aurally. • sing examples of diatonic melodies, both prepared and at sight, using solfège syllables. • write down brief diatonic melodies after three or four hearings. • aurally discover errors in short melodic examples. • improvise rhythmic phrases using predetermined meters and phrase lengths. • improvise simple melodic lines over assigned harmonic progressions. • identify aurally all intervals, triad qualities and their inversions. • identify aurally short harmonic progressions involving the principal triads and V7

• identify aurally brief two-voice diatonic examples;


Grading: Musicianship: 3 Quizzes: 10% 2 Exams (Mid Term & Final): 30% TOTAL: 40%

Dictation:

5 Quizzes: 40% Assignments: 10% MacGamut Levels: 10% TOTAL: 60%

Grading Scale: A = 93–100; A- = 90–92; B+ = 87–89; B = 83–86; B- = 80–82; C+ = 77–79; C = 73–76; C- = 70–72; D+ = 67–69; D = 63–66; D- = 60–62; F = 0–59.

Important Dates Aug. 29: Last day to add a fall class without instructor's approval Sept. 1: Labor Day: No Classes Sept. 5: Last day to add (with instructor's approval); last day to drop a class without a W Oct. 31: Last day to withdraw (WP/WF) from a class Nov. 11: Veterans Day Observed: No Classes Nov. 26: Thanksgiving Break begins: No Classes Dec. 1: Classes Resume Dec. 6: Last day of classes Dec. 8–13 Finals week

The final exam for this class is scheduled Thursday, December 11, at 8:00 a.m. (The final singing exams will occur throughout the morning via a sign up list. There will be no dictation final exam.)

Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments, announcements, and so on. You are expected to have and use an OU email account, and check Blackboard regularly. Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in addition to the maximum will lower your final grade by a portion of a letter (A to A-, etc.). In addition, no make-up work will be allowed for unexcused absences. An absence is considered excused only if it is approved ahead of the by the instructor, or if it is documented (e.g. medical, family emergency). Habitual lateness will be counted as absences. In the event of a major campus emergency, course requirements, deadlines and grading percentages are subject to changes that may be necessitated by a revised semester calendar or other circumstances beyond the instructor’s control. All changes will be posted on Blackboard.


Stretching your limits: “Settling” for less than you are capable of accomplishing is not viewed favorably by the instructor. All students are expected to work toward the highest level they can achieve. Skills developed in this course will be utilized throughout one’s professional career. Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or any other form of academic dishonesty, will result in automatically failing the course and may be referred to student judiciaries. Special Needs or Disabilities: Students with documented special needs or a disability may request special services. The student should contact the instructor within the first two weeks of the academic session for making special needs arrangements. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center. Tutoring: Singing and dictation are skills that take practice. As soon as you feel you do not understand a concept, need more practice, or are falling behind, see your instructor for additional help, recommendations for tutors, etc. Also, attend the free tutoring provided by the School of Music (see posters in Glidden Hall).


Tentative Course Schedule*

Melodies (Berkowitz) Sing & Play** (Berkowitz) Rhythm (Kazez) Dictation(Wallace) Week 1 (8/26, 28) 1-11 handout 1: A & B Kazez, Chap. 1 Unit 1 Week 2 (9/2, 4) 12-19 handout 1: C & D Kazez, Chap. 1 Unit 1 MacGAMUT start-up file verification required Dictation Quiz #1 Week 3 (9/9, 11) 20-30 handout 1: E & F Kazez, Chap. 1 Unit 1 Musicianship Quiz #1 Week 4 (9/16, 18) 31-35, & 1-3 on p. 345) handout 1: G & H Kazez, Chap. 2 Unit 1

MacGAMUT: Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: level 1; Scales: level 1; Rhythmic dictation: level 1; Melodic dictation: level 1.

Week 5 (9/23, 25) 36-46 handout 2: I & J Kazez, Chap. 2 Unit 1 Dictation Quiz #2 Week 6 (9/30, 10/2) 47-52 handout 2: K & L Kazez, Chap. 2 Unit 1

Musicianship Quiz #2 MacGAMUT: Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: level 2; Scales: level 2; Rhythmic dictation: level 2; Melodic dictation: level 2.

Week 7 (10/7, 9) 53-60 handout 2: M & N Kazez, Chap. 2 Unit 1

Week 8 (10/14, 16) 60-67 handout 2: O & P Kazez, Chap. 2 Unit 1

Dictation Quiz #3 MacGAMUT: Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: level 3; Scales: level 3; Rhythmic dictation: level 3; Melodic dictation: level 3.

Week 9 (10/21, 23) 68-73 handout 2: Q & R Kazez, Chap. 3 Unit 1

Musicianship Midterm (cumulative: prepare materials from weeks 1-9)

*This course schedule may be changed at the discretion of the instructor. You will be informed of all changes.


Week 10 (10/28, 30) 74-86 1, 2 (p. 268, Berkowitz) Kazez, Chap. 3 Unit 2 MacGAMUT: Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: level 4; Scales: level 4; Rhythmic dictation: level 4; Melodic dictation: level 4.

Week 11 (11/4, 6) 87-100 3, 5 Kazez, Chap. 3 Unit 2 Week 12 (11/11, 13) 103, 107-116 6, 8 Kazez, Chap. 4 Unit 2

Dictation Quiz #4 MacGAMUT: Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Scales: level 6; Rhythmic dictation: level 5; Melodic dictation: level 5; Chords: level 1.

Week 13 (11/18, 20) 117-127 9, 10 Kazez, Chap. 4 Unit 2 Musicianship Quiz #3

MacGAMUT: Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Scales: level 7; Melodic dictation: level 5; Harmonic: level 1.

Week 14 (11/25) 128-138 4, 11 Kazez, Chap. 4 Unit 2 Week 15 (12/2, 4) 139-148 12a, 12b Kazez, Chap. 4 Unit 2 Dictation Quiz #5

MacGAMUT: Required Final Levels: Scales: level 8; Chords: level 2; Harmonic Dictation, Level 2.

*This schedule may be changed at the discretion of the instructor; you will be informed of all changes in class and/or via email or Blackboard. ** The sing and plays from weeks 1-8 are on the handouts provided on Blackboard; weeks 9-15 are in the Berkowitz et al, beginning on page 268.

Music 1040, Spring 14, page 1

Ohio University, Course Schedule And Syllabus Music 1040: Dictation & Sight Singing II


Class Number: Section: Time & location: T-Th, 0:00-0:00, Glidden XXX Instructor:

E-MAIL: Office: Office phone: x4244 (School of Music main office) Office Hours: Brief description of course:

Music 1040, Dictation and Sight Singing II, is the second of four courses designed to assist the music major in acquiring the aural skills necessary for success as a professional musician. This semester will emphasize more difficult rhythm and pitch discrimination skills, involving syncopation in simple meter, compound meters, leaps within all primary triads and V7 chords, and both major and minor keys. Required Materials:


• Blombach, Ann. MacGAMUT 6 (software) • Wallace, Barbara. Developing Aural Skills, Volumes I & II.

• a music notebook or staff paper, either 5" by 7" or 8-1/2" by 11", and pencils • an OAK id & password to access materials posted on Blackboard • a metronome Note: All of these texts (except Wallace) will be used throughout the two-year aural skills core.


• identify aurally all intervals within the octave • identify aurally all triads and their inversions • take melodic dictation involving diatonic pitches and some syncopation in simple

and compound meters • sing at sight, and for more complex examples, with preparation, melodic examples

involving the above skills, using appropriate solfège • take dictation of outer voices and Roman numeral of homophonic examples

involving all diatonic triads, the V7, and ii7 (in first inversion) • take dictation of two-voice diatonic examples • recognize errors in melodic, harmonic, and two-voice examples


• perform and take dictation of rhythms involving numerous difficulties of subdivision, syncopation, and other complexities, using appropriate rhythm syllables

• collaborative and assigned improvisation using specified embellishing figures (e.g. suspension, etc.) over assigned harmonic progressions involving all diatonic triads, the V7, and ii7 (in first inversion)

Grading: Musicianship: 3 Quizzes: 10% 2 Exams (Midterm & Final): 30% TOTAL: 40%

Dictation:

5 Quizzes: 40% Assignments 10% MacGamut Levels (4): 10% TOTAL: 60% Grading Scale: A = 93–100; A- = 90–92; B+ = 87–89; B = 83–86; B- = 80–82; C+ = 77–79; C = 73–76; C- = 70–72; D+ = 67–69; D = 63–66; D- = 60–62; F = 0–59. NOTE that you must have A FINAL GRADE OF C OR HIGHER to continue to the next course in the sequence. Important Dates: 1/17/13: Last day to add a class without instructor's approval 1/20/13: Martin Luther King, Jr. Day: No Classes

1/24/13: Last day to drop a class without a WP/WF; last day to add a class with instructor's permission

3/2-3/8: Spring Break 3/28: Last day to drop a class with a WP/WF 4/26: Last day of classes

The final exam for this class is scheduled for XXXXXXXXXXXXXXXXX Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments, announcements, and so on. You are expected to have and use an OU email account, and check Blackboard regularly. Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in addition to the maximum will lower your final grade by a portion of a letter (A to A-, etc.). In addition, no make-up work will be allowed for unexcused absences. An absence is considered excused only if it is approved in advance the by the instructor, or if it is documented (e.g. medical, family emergency). Habitual lateness will be counted as absences. Please turn off cell phones and other electronic devices before class begins.


In the event of a major campus emergency, course requirements, deadlines and

grading percentages are subject to changes that may be necessitated by a revised semester calendar or other circumstances beyond the instructor’s control. All changes will be posted on Blackboard. Homework, quizzes, and exams: No late homework will be accepted unless as the result of an excused absence. Students who are not present for exams or quizzes will receive a "0" for that exam/quiz unless arrangements are made in advance. No additional time or hearings will be given for lateness. Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or any other form of academic dishonesty, will result in automatically failing the assignment/exam or the course, and may be referred to student judiciaries, which can impose additional sanctions. Students may appeal academic sanctions through the grade appeal process. Special Needs or Disabilities: Students with documented special needs or a disability may request accommodations based on the impact of a disability. The student should contact the instructor within the first two weeks of the academic session for making special needs arrangements, and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services. Tutoring: Singing and dictation are skills that take practice. As soon as you feel you do not understand a concept, need more practice, or are falling behind, see your instructor for additional help, recommendations for tutors, etc. Also, attend the free tutoring provided by the School of Music (see posters in Glidden Hall).



Melodies (Berkowitz) Sing & Play (Berkowitz) Rhythm (Kazez)** Wallace (dictation) Week 1 (1/14, 16) 149–158 13, 14 Kazez, Chap. 5 Vol. I, Unit III Week 2 (1/21, 23) 159–166 16, 18 Kazez, Chap. 5 Vol. I, Unit III Dictation Quiz #1 Week 3 (1/28, 30) 167–172 19 Kazez, Chap. 5 Vol. I, Unit III Musicianship Quiz #1 Week 4 (2/4, 6) 173–180 20, 21 Kazez, Chap. 6 Vol. I, Unit III

MACGAMUT #1 DUE Required Levels: You should master the following levels (which means you'll actually be working on the next higher level):

Intervals: level 6; Scales: level 8; Chords: level 4; Rhythmic dictation: level 7; Melodic dictation: level 7; Harmonic Dictation, Level 3.

Week 5 (2/11, 13) 181–189 22a, 22b Kazez, Chap. 6 Vol. II, Unit I Dictation Quiz #2 Week 6 (2/18, 20) 190–197 23a, 23b Kazez, Chap. 6 Vol. II, Unit I

Musicianship Quiz #2 Week 7 (2/25, 27) 198–205 24 Kazez, Chap. 7 Vol. II, Unit I

MACGAMUT #2 DUE Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: level 7; Scales: level 8; Chords: level 5; Rhythmic dictation: level 8; Melodic dictation: level 9; Harmonic Dictation, Level 4. Week 8 (3/11, 13) 206–214 26 Kazez, Chap. 7 Vol. II, Unit II

Dictation Quiz #3 Week 9 (3/18, 20) –– –– –– Vol. II, Unit II

Musicianship Midterm (cumulative: prepare materials from weeks 1-8)

Week 10 (3/25, 27) 215–220 27a, 27b Kazez, Chap. 7 Vol. II, Unit II


MACGAMUT #3 DUE Required Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: level 9; Scales: level 8; Chords: level 6; Rhythmic dictation: level 9; Melodic dictation: level 10; Harmonic Dictation, Level 5. Week 11 (4/1, 3) 221–228 28 Kazez, Chap. 8 Vol. II, Unit II

Dictation Quiz #4 Week 12 (4/8, 10) 229–235 29a, 29b Kazez, Chap. 8 Vol. II, Unit III Musicianship Quiz #3 Week 13 (4/15, 17) 236–242 30 Kazez, Chap. 8 Vol. II, Unit III MACGAMUT #4 DUE

Required Final Levels: You should master the following levels (which means you'll actually be working on the next higher level): Intervals: 11; Scales: 8; Chords: 7; Rhythmic dictation: 11; Melodic Dictation: 12; Harmonic Dictation: 7;

Week 14 (4/22, 24) 243–250 33 Kazez, Chap. 8 Vol. II, Unit III Dictation Quiz #5 The final exam for this class is scheduled for XXXXXXXXXXXXXXXXX

*This schedule may be changed at the discretion of the instructor; you will be informed of all changes in class and/or via email or Blackboard. ** Appropriate rhythms from Kazez, chapter 14, may also be assigned.

MUS 1200: Exploring Musical Styles

Ohio University • Spring 2015

The instructor reserves the right to make changes in this syllabus prior to or during

the term. The instructor will notify students, via email or Blackboard announcement,

when changes are made in the requirements and/or grading.

Class meetings:

Section 100, M/W 3:05 – 4:00 pm

Room: Robert Glidden Hall, Rm. 480

Instructor: Dorothy Bryant

Phone: 593-4243


Office: Music Building 471B

Office Hours: As posted or by appointment

Web Page: https://blackboard.ohiou.edu (you need to use OAK ID and password for login

Course Description

Enhancement of listening skills through understanding of the elements of music, the

history of musical style, the significance of the development of Western Art music and

previous developments influenced the music of today.

Course Overview

Music is a means of expression that is created by the composer, influenced by the

social and historical context in which it was created, interpreted by the performer(s),

and processed by the listener.

This course is designed to assist you in understanding Western Art music. To achieve

this goal several things must happen. An analysis and synthesis of the musical

elements, forms and stylistic periods must be understood. A discussion of the history

of music with selected composers who affected its development is essential to build a

foundation for understanding the art form. The development of listening skills will

serve as a stimulus for creating curiosity.

The course seeks to answer the questions of what, when, where, who, why and how of

music. This course is not an end but, rather, a means to an end. Because of the nature

of this constantly changing art form, we will not be able to discover all the answers.

This means that your continued development as a perceptive listener will continue

after the course has long been over.

Course Learning Goal and Objectives

The over-arching learning goal of this course is to help you listen perceptively to and

communicate effectively about music thereby increasing your enjoyment of this art

form.

Upon successful completion of this course, you will be able to:

1. Identify and define the materials, or elements, out of which music is made.

2. Explain how composers combine these elements into a work of music.

3. Analyze music using basic musical vocabulary and terminology.

4. Identify the generally accepted style periods in the history of Western Art music.

5. For each style period, describe:

a. the characteristics associated with the Western Art music of that period,

b. the major composers and their works, and

c. the artistic, political, economic, religious, philosophical, and/or

technological forces that shaped the music of that period.

6. Identify the style period and characteristics of musical pieces from the Western

Art music tradition.

ATTENDANCE POLICY

Regular attendance is the responsibility of each student. Each of you will be held responsible for

your own attendance. Regular attendance and participation is expected and measured through a response

sheet, group work and discussion board participation. Keeping this in mind, the following will apply:

1. If you have been absent, there is no need to supply the instructor with an excuse. You

are being held responsible for the information presented. Please see a classmate for

the missed information.

2. If a test is to be missed, you must notifv the instructor in writing prior to the test in

order to make it up.

Required Course Resources Forney, K., Dell’Antonio, A., & Machlis, J. The Enjoyment of Music, 12th Short Edition, Norton and

Company, 2015 Paperback with Total Access 978-0-393-93638 ) OR 3-Hole Punch with Total Access 978-0-393-90605-9 OR Ebook Folder with Total Access 978-0-393-93789-3

GRADES will be determined through the use of the following system:

Test I – Middle Ages, Renaissance 2 points per question

Test 2 –Baroque and Classical 2 points per question

Test 3 (Final) Romantic and 20th Century 2 points per question

Quizzes 1 point per question

POLICY FOR EXAMINATIONS

You Are Responsible For Being Here When Examinations Are Given.

The examination questions will include multiple-choice and true/false. These exams will use a

computer answer sheet. Each student must bring a pencil for completion of the answer sheet.

The examinations will be divided into two parts (unless otherwise stated):

1. Factual historical information

2. Listening examples

The factual historical information will be covered on Blackboard, text and will be taken from the

learning quizzes.

Listening lessons (experiences) will be on Blackboard and in class. Please be courteous to your

classmates during these lessons. During the listening experiences there should be no talking or any other

behavior that will distract the attention of others from the music. In the event that you feel you have to

talk -- you may be asked to leave the class.

SPECIAL NEEDS OR DISABILITIES: Any student who feels s/he may need an

accommodation based on the impact of a disability should contact me privately to discuss your

specific needs. If you are not yet registered as a student with a disability, please contact the

Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center.

of 7 Grading Scale

A 93 % and above

A- 90% - 92.9%

B+ 87% - 89.9%

B 84% - 86.9%

B- 80% - 83.9%

C+ 77% - 79.9%

C74% - 76.9%

C-70% - 73.9%

D+67% - 69.9%

D64% - 66.9%

D-60% - 63.9%

F Below 60%

Technical Requirements This course uses the Blackboard Learning Management

System and makes extensive use of audio and video. You will need:

1. A current-generation computer that meets the system requirements for

Blackboard 9.1 (the version of Blackboard we run at Ohio University)

2. To determine whether or not your system meets these requirements:

a. Go to www.ohio.edu/blackboard

b. Select Browser Checker from the menu on the left.

c. NOTE: Each time you work on a different computer, you will have to

make sure the computer meets system requirements.

3. A sound card (current-generation computers should already have one installed)

4. High-quality speakers (internal or external) and/or headphones (you can get a

decent set of headphones for around $25; be sure that the headphone plug is the

right size for your computer)

5. Microsoft Word software. If you use a different word processing program, you

must save your files in .txt or .rtf format.

6. Virus protection software, installed and active, to prevent the spread of viruses via

the Internet and email. It should be continually updated! Virus protection is provided

to all Ohio University students free of charge. Go to:

http://technology.ohio.edu/support/virus

7. A high-speed (broadband) Internet connection. To check your Internet

connection speed:

a. Go to http://www.speedtest.net/

b. Click the “Begin Test” button to launch the test.

c. Review your results including the pop-up box that provides estimates of

how long it would take you to download an MP3 file, a Video Clip, and a

Movie.

d. A download speed of at least 2 Mbp/s is recommended.

University Email (aka CatMail)

All students are required to obtain and use the University email account that is

automatically assigned to them as Ohio University students. All official correspondence

(including all communications from the instructor) will be sent to this address and this

address ONLY to this address.

The Office of Information Technology does provide an email forwarding option at

http://technology.ohio.edu/email/forward.html. However, if you choose to forward your

official University e-mail to a non-University account (e.g. gmail, 3otmail, yahoo), you do

so at your own risk. Many commercial e-mail providers do not handle forwarded mail

very well.

http://www.ohio.edu/blackboard

http://technology.ohio.edu/support/virus

http://www.speedtest.net/

http://technology.ohio.edu/email/forward.html

of 7

Student Code of Conduct

The course is designed with the expectation that each student will work independently.

Failure to do so will result in automatic failure from the course.

The Ohio University Code of Student Conduct prohibits all forms of academic dishonesty.

For such behavior, the student may fail the course or be expelled from the University.

Students should refer to the Ohio University Student Handbook for these regulations.

Sources may be consulted but need to be documented.

http://www.ohio.edu/judiciaries/conduct_policy.cfm

Special Needs or Disabilities

Students with documented special needs or a disability may request special services.

Students must register with the Office for Institutional Equity and present documentation

to qualify. You should contact the office early and before the quarter begins, if possible.

Call 740-593-2620 (TTD: 740-593-0193) or [email protected] the office for more

information or visit their Web site at Disabilities Services.

http://www.ohio.edu/disabilities/

Course Schedule

Week Date Module

1 1/12 Module 1 Elements of Music

2 1/19 “

3 1/26 Module 2 Middle Ages & Renaissance

4 2/2 “

5 2/9 TEST 1

6 2/16 Module 3 Baroque

7 2/23 “

8 3/9 Module 4 Classical

9 3/16 “

10 3/23 TEST 2

11 3/30 Module 5 Romantic

12 4/6 “

13 4/13 Module 6 20th

Century

14 4/20 “

15 12/9 @ 12:20 pm12 Section 100 4/29 @ 12:20

Module 1: Materials of Music: includes Four Ways to hear more in music

Four ways to hear more in music (video)

Ch. 1 Melody, Musical Line: Includes Bobby McFerrin (video)

Ch. 2 Rhythm and Meter,

Ch. 3 Harmony, Musical Depth

Ch. 5 Musical Texture

Ch. 6 Musical Form

Ch. 7 Musical Expression: Tempo and Dynamics

Ch. 8 Music and Words

http://www.ohio.edu/judiciaries/conduct_policy.cfm

mailto:[email protected]

http://www.ohio.edu/disabilities/

of 7

Ch. 12 Style and Function of Music in Society

Tone Color or Timbre: *If you have limited experience recognizing

instrument tone colors, look at Course Materials > Instruments.

Module 2: Medieval (450-1450) and Renaissance Music (1450-1600)

Prelude outline with madrigal performance (video)

Ch. 13 Voice and Worship: Tradition and Individuality in Medieval Chant

Ch. 14 Layering Lines: Early Polyphony of Notre Dame

Ch. 16 Voice and Worship: Tradition and Individuality in Medieval Chant

Ch. 18 Glory Be: Music for the Renaissance Mass

Ch. 19 Instrumental Movements: Medieval and Renaissance Dance Music:

includes Medieval Dance (video)

Module 3 The Baroque Era (1600-1750)

Ch. 21 Performing Grief: Purcell and Early Opera

LG: Purcell, Dido’s Lament from Dido and Aeneas

Dido’s Lament, Recitative and Aria, When I am laid to earth

Ch. 23 Textures of Worship: Handel and the English Oratorio

“Hallelujiah!” Random Act of Culture (Video)

LG: Handel, “Rejoice Greatly” from The Messiah

Handel, LG: Hallelujiah Chorus from The Messiah

Ch. 24 Independent Study: Billings and North American Sacred Tradition

Ch. 25 Grace and Grandeur: The Baroque Dance Suite

Minuet from Baroque Dance Suite (video)

Ch. 26 Sounding Spring: Vivaldi and the Baroque

LG: Vivaldi, Spring from The Four Seasons

Ch. 27 Process as Meaning: Bach and the Fugue:

JS Bach “Little Fugue” (Video with Line Graph)

Bad Romance, Lady Gaga

Lady Gaga Fugue

Module 4 Classical Era (1750-1825)

Ch. 28. Musical Conversations: Haydn and Classical Chamber Music

Mozart Eiene klein Nactmusik

No Listening Guide for this chapter

Ch. 29 The Ultimate Instrument: Haydn and the Symphony

LG Symphony No. 100 (Military), Second movement

Ch. 33 Disrupting the Conversation: Beethoven and the Symphony Transition

LG: Beethoven: Symphony No. 5 in C Minor

Symphony No. 40 (Video, with bar graph)

Ch. 34 Making It Real: Mozart and Classical Opera

LG: Mozart: Don Giovanni, Act I, scene 2

of 7

Mozart, “La ci darem la mano” from Don Giovanni (Video) Mozart, Opening

Scene from Don Giovanni, (Video, ensemble performance

Ch. 35 Mourning a Hero: Mozart and the Requiem

Module 5 Romantic Era (1825 – 1900)

Ch. 36. Musical reading: Schubert, Schumann, and the Early Romantic Leid

LG: Schubert ErlKing

Schubert’s ErlKing, (video)

Ch. 38. Dancing at the Keyboard: Chopin and Romantic Piano

Music

LG: Chopin: Mazurka in B-flat Minor, Op. 24, No. 4

Ch. 41 Personal Soundtracks: Berlioz and the Program Symphony

Ch. 42 Sounding a Nation: Greif and Orchestral Nationalism

LG: Grieg: Peer Gynt, Suite No. 1 Morning Mood

LG: Grieg: Peer Gynt, Suite No. 1 In the Hall of the Mountain King

In the Hall of the Mountain King (video)

Ch. 43 Absolutely Classic: Brahms and the 19th Century Orchestra

LG Brahms: Symphony No. 3 in F Major, third movement

Ch. 45 Total Art: Wagner and German Romantic Opera

LG: Wagner: Die Valkure, Act III, Finale

Let there be Leitmotifs (Video)

Bugs Bunny at the Symphony (Video)

Ch. 50 Jubilees and Jubilation: The African Spiritual Tradition

Module 6 20th Century (1900 – 1999)

Ch. 52 Anything Goes: Schoenberg and Musical Expressionism

LG Schoenberg: Pierrot lunaire, No. 18, “The Moonfleck

Schoenberg, Pierrot Lunaire, (video)

View Schoenberg, A Survivor from Warsaw (video)

Ch. 53. Calculated Shock: Stravinsky and Modernist Multimedia

LG Stravinsky, Rite of Spring, Part 1, excerpts

Stravinsky, Rite of Spring, Opening (Video)

Ch. 54. Still Sacred: Religious Music in the 20th C.

Ch. 59. Sounds American: Ives, Copland, and Musical Nationalism in the US.

LG: Ives: Country Band March

LG: Copland: Appalachian Spring, Section 7

Copland, Simple Gifts from Appalachian Spring (Video)

Ch. 62 New Sound Palettes: Mid-20th Century American Experimentalists

LG.John Cage: Sonatas and Interludes

LG: Crumb: Cabalito negro

John Cage: Sonata II for Prepared Piano (video)

of 7

Ch. 67 Underscoring Meaning: Music for Film

MUS 1200 1200DL_Syllabus 06/2015

8

Syllabus for Music 1250, Introduction to Music History and Literature, Spring 2014 Class Schedule: Classroom: Tuesdays and Thursdays, 12 noon-1:20 p.m. Music 480 Final Exam: Thursday, April 30, 10:10 a.m. Instructor: Dr. Paul Barte <[email protected]> Office: Music Rm. 591C Office Hours: Tuesdays, 10:00-10:30; Wednesdays, 1:00-1:50; Thursdays, 10:00-10:30 Please feel free to contact me in person or by e-mail with any questions or concerns you may have! Required Textbook: Joseph Machlis and Kristine Forney. The Enjoyment of Music, 11th ed., shorter version, New York: W.W. Norton, 2011. The text is available with a set of four CDs; the music is at least as important as the book! Course Objectives: To gain greater understanding of great musical works and an overview of the main style periods of music history. We will study music from a broad historical range, from the Middle Ages though the present. It is also important that you develop a vocabulary for discussing music, gain an understanding of the “elements” of music, and learn critical listening skills. To achieve these objectives, there will be various presentations in class (lecture/discussion, videos, listening). Outside of class you will need

to do assigned readings from the textbook and listening to the CD recordings. It will be to your advantage to read the assigned material before of the class session in which the topics are covered. Evaluation:

There will be five exams; your lowest score will be dropped. The remaining four will each be worth 25% of your grade. No makeup

exams will be given; if you miss one, it will automatically become your dropped score. You may drop the final exam only if you attend all class sessions between the fourth exam and the end of the term. The exams will be given during class sessions and during the scheduled final exam time. The final will not be cumulative. You will receive a study guide by e-mail before each exam that will outline what you will need to know. Immediately before each exam, you will have the opportunity to ask questions to clarify anything that remains unclear.

Academic Integrity: Duplication of another’s work or other cheating may result in failing the course and being referred to University Judiciaries for further disciplinary action. Tentative course schedule–subject to change: dates topics reading 1/13 Introduction, Melody, Rhythm, Harmony 4-25 1/15 Texture, Form, Tempo, Dynamics 26-38 1/20 Instruments, Ensembles 39-67 1/22 Medieval Music 68-88 1/27 Renaissance Music 89-103 1/29 Exam I Review 4-103 2/3 Baroque Overview, Birth of Opera 104-119 2/5 Bach 120-125 2/10 Handel 125-129 2/12 Vivaldi, Baroque Concerti 130-139

2/17 Other Baroque Instrumental Music 140-147 2/19 Exam II Review 104-147 2/24 Classical Overview, Forms 148-166 2/26 Mozart 166-172 SPRING BREAK 3/10 Haydn, Beethoven 172-181 3/12 Beethoven, Opera 182-201 3/17 Exam III Review 148-201 3/19 Romantic Overview , Lieder 202-218 3/24 Romantic Piano Music 219-226 3/26 Berlioz, Nationalism 227-251 3/31 Brahms, Verdi 252-266 4/2 Wagner, Tchaikovsky, Puccini 267-281 4/7 Exam IV Review 202-281 4/9 20th Cent. Overview, post-Romantics, Debussy 282-294 4/14 Stravinsky, Second Viennese School, Bartok 295-320 4/16 Ives, Copland, Jazz 321-356 4/21 Broadway, Bernstein, Rock 357-383 4/23 Post WWII styles 384-428 4/30 Exam V, 10:10 a.m. Review 282-428 Any student who feels s/he may need an accommodation based on the impact of a disability should

contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348

Baker University Center.

Syllabus - MUS 1630: Introduction to Music Education (2 semester hours) T/R 10:30-11:25, 472 Robert Glidden Hall Paul J. Mayhew, Ph.D. Office: 471-D Robert Glidden Hall Phone: cell: 850-274-9232 Email: [email protected] Office Hours: M/W 1:00-2:00, T/R 11:30-12:30, or by appointment Text: Mark, M. and Madura, P. (2009). Music Education in Your Hands: An Introduction for Future Teachers.

New York, NY: Routledge. You are strongly urged to buy an ELECTRONIC version – currently available at Amazon for $42.25. An electronic version will require a reader (kindle) or a (free) download of kindle reader for your computer. The electronic version is less expensive than paperback format and includes links to dozens of relevant web sites. If you choose, you may order the paperback version (new or used) from Amazon or another website. Course Description: This course will introduce students to the field of music education by examining the purposes and basic methodologies for music teaching. It prepares students for future coursework in Education as well as for upper-level Music Education courses. Students will be expected to research relevant topics in music education. Course Goals:

1. Students will become familiar with professional expectations for music teachers. 2. Students will consider the diversity of learners and the effect of social environments on the learning

process. 3. Students will become familiar with curriculum, methodologies, rehearsal strategies, and classroom

management strategies as they relate to classroom music teaching. 4. Students will use research in music education to inform their theories and practice. 5. Students will reflect upon class discussions, readings, and assignments through journal writing and

class interaction.

Course expectations for students: Students will be expected to bring to the class a sense of inquiry, a willingness to expand their thinking to accommodate new ideas about teaching and learning, and thoughtful preparation to discuss the weekly reading, and peer project reports. Instructional Strategies: Approximately 30% of the course will be lecture-based, with the instructor providing information and resources; another 20% of the course will consist of student presentation of assigned projects. The remaining 50% will be discussion-based, with students expected to participate fully. Discussion topics are identified on the course calendar, and adequate preparation is required.

Course Requirements: Students are expected to complete all reading assignments prior to class. Classes will be discussion-based, and all students are expected to participate. In addition to the assigned reading and discussion sessions, students will be expected to complete six short research projects and present their findings to the class. Knowledge of assigned readings and lecture material will be demonstrated in a written mid-term and a written final examination. Attendance and Grading: Attendance is expected at all classes unless excused. Excused absences are given only in the case of personal illness or familial emergency; students should notify the professor IN ADVANCE if requesting excused absence. Three unexcused absences are allowed without grade penalty; further absences will result in a penalty of 1/2 letter grade per absence. Grading: Grading for MUS 1630 is related to Course Objectives and Learning Activities:

Six Research Projects @ 100 pts. (60%) 600

In Class Discussion and Chapter Tests (10%) 100

Mid-Term Exam (15%) 150

Final Exam (15%) 150

Total 1000 points

A = 900-1000 points B = 800-899 points C = 700-799 points F = 0-699 points Instructional Modifications: Students with disabilities who need reasonable modifications to complete assignments successfully and otherwise satisfy course criteria are encouraged to meet with the instructor as early as possible to identify and plan specific accommodations. Any student who suspects s/he may need an accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services. Consultations: The professor is available for student consultation during posted office hours, or during times arranged through mutual agreement. Students are encouraged to schedule periodic discussion/consultation time with the professor. PJM 8/25/15

MUS 1790 Technology for Music Educators Spring 2015 Credit Hours: 2 Instructor: Dorothy Bryant Joshua Boyer Office Hours: Posted on Office Door or by appointment Phone: 593-4243 Email: [email protected] Course Description MUS 1790 replaces EDCT 2030 - Technology Applications in Education which is a required course for all candidates seeking Ohio Licensure. The purpose of this course is to acquaint candidates with technology applications commonly found in educational settings in the content area of music. It encompasses effectively identifying, locating, evaluating, designing, preparing and efficiently using educational technology as instructional resources in the classroom or rehearsal as related to principles of learning and teaching. Candidates will develop increased classroom communication abilities through lectures, discussions, modeling, and computer lab experiences. Candidates will learn to use a variety of open source technology to develop and enhance classroom instruction including hardware and software to develop skills in word processing, using spreadsheets, use of the Web, evaluating educational software and evaluating web pages, use multimedia and create a Web page. Candidates will use low, medium and high technology to enhance classroom instruction, communication and classroom management. This course is designed to meet the requirements of the International Society for Technology in Education NETS Standards for Teachers http://www.iste.org/Content/NavigationMenu/NETS/ForTeachers/2008Standards/NETS_for_Teachers_2008.htm NOTE: OU policy for undergraduate study suggests that for every classroom contact hour a candidate should expect to work 2 hours outside of class therefore this course requires at least 12 hours of preparation outside of class due to the hybrid nature of the course. The content of MUS 1790 meets the following Transfer Assurance Guidelines (TAG) for Ohio. Candidates are expected to:

1. Develop basic technology competencies through the effective use of multiple operating systems. 2. Develop the basic understanding of productivity and utility software applications. 3. Develop basic understanding of using existing and emergent educational technologies in achieving curricular goals including classroom management, curricular design, and instructional strategies. 4. Develop an understanding of copyright law, use of copyrighted materials, software licensing, and other ethical issues. 5. Develop the ability to align curricular goals, instructional objectives, and the capabilities of electronic media through the principles of effective visual design, specification of clear instructional objectives and the production of electronic media in various digital and non-digital formats.

Required Software: LiveText Software – is a portfolio and assessment software that is now required by the Patton College of Education for all preservice teachers. The software may be purchased at http://www.livetext.com or it may be purchased at any college bookstore in Athens.

Required Materials: • USB Jump/pen drive with at least 2GB of storage space [it is not safe to leave you projects on the lab computers, use google docs or jump drive to protect projects] • Internet Access/ Oak Account/

We may use Open Source Software that is found on the web and is free -- you may want to download to your computer at home. This is a list of some of the software to be used:

Google Drive (has word processor, spreadsheet, Presentation software, form/survey tool)

http://www.gmail.com

Microsoft Office located on all computers in the Lab Open Office (free version of MS Office)

http://www.openoffice.org/ FreeMind -Concept Mapping

http://freemind.sourceforge.net/wiki/index.php/Main_Page Or CMAP Tools http://cmap.ihmc.us/conceptmap.html Or 30 Day trial http://www.inspiration.com/

Moviemaker – free software for importing and adapting movies Gimp (free version of Photoshop) Or Online Photo Editor

http://www.pixlr.com/app RubiStar (for building rubrics for assessment)

http://rubistar.4teachers.org/

Grading Policies It is the responsibility of the student to complete all assignments and to give the work to the instructor for grading. Selected work becomes part of the Final Electronic Portfolio in LiveText Assignments have due dates and late submission will deduct the value.

See Grade Scale below:

95 -- 100 A 75 -- 79 C+

90 -- 94 A- 70 -- 74 C

90 -- 92 B+ 65 -- 69 C-

85 -- 89 B 64 -- 68 D+

80 -- 84 B- 59 -- 63 D

http://rubistar.4teachers.org/

The assignments will be graded on their instructional value and visual layout as well as on your demonstration of technical proficiency. You are expected to read the assigned readings, and participate in online Blackboard discussions, chats, and or blogs.

Grading Rubrics will be provided for all assignments and can be examined for the requirements of the assignment. Please note that on the rubric there are 4 categories: Target, Acceptable, Approaching, Unacceptable.

In this course, Target is closely aligned to an A and the work found in the assignment is expected to exceed the requirements to reach Target when grading the assignment.

Assignments may include, but are not limited to the following:

ter to music parents

expenditure)

– transpose parts, recreate score, download and import midi file, Write a

music concepts/theory test that demonstrates your ability to incorporate music notation into a Word document.

th graders with musical excerpts you have

extracted from larger works; each excerpt must have questions specific to the music

Use set criteria for Evaluating a WebQuest

music learning

demonstrate knowledge of copyright issues

investigate online resources for professional development and to enhance student learning

create a podcast using Garageband

Join MERLOT and start a Bookmark Collection

Complete a Prezi or PowerPoint based on a lesson plan

Demonstrate the use of Audacity for music manipulation

Know the basics of recording an ensemble

Other assignments based on interests and needs of the candidates.

Blizzard Bag Assignment

Special Needs/Student Disabilities “Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a documented disability, please contact the Office of Disability Services at 740-593-2620 in Crewson House.” National Educational Technology Standards for Teachers (NETS-T) Candidates are expected to: 1. Facilitate and Inspire Student Learning and Creativity Teachers use their knowledge of subject matter, teaching and learning, and technology to facilitate experiences that advance student learning, creativity, and innovation in both face-to-face and virtual environments. Teachers:

a. Promote, support, and model creative and innovative thinking and inventiveness. b. Engage students in exploring real-world issues and solving authentic problems using digital tools and resources. c. Promote student reflection using collaborative tools to reveal and clarify students' conceptual understanding and thinking, planning, and creative processes. d. Model collaborative knowledge construction by engaging in learning with students, colleagues, and others in face-to-face and virtual environments.

2. Design and Develop Digital-Age Learning Experiences and Assessments: Teachers design, develop, and evaluate authentic learning experiences and assessment incorporating contemporary tools and resources to maximize content learning in context and to develop the knowledge, skills, and attitudes identified in the NETS•S. Teachers: a. Design or adapt relevant learning experiences that incorporate digital tools and resources to

promote student learning and creativity. b. Develop technology-enriched learning environments that enable all students to pursue their individual curiosities and become active participants in setting their own educational goals, managing their own learning, and assessing their own progress. c. Customize and personalize learning activities to address students' diverse learning styles, working strategies, and abilities using digital tools and resources. d. Provide students with multiple and varied formative and summative assessments aligned with content and technology standards and use resulting data to inform learning and teaching.

3. Model Digital-Age Work and Learning Teachers exhibit knowledge, skills, and work processes representative of an innovative professional in a global and digital society. Teachers:

a. Demonstrate fluency in technology systems and the transfer of current knowledge to new technologies and situations. b. Collaborate with students, peers, parents, and community members using digital tools and resources to support student success and innovation. c. Communicate relevant information and ideas effectively to students, parents, and peers using a variety of digital-age media and formats.

d. Model and facilitate effective use of current and emerging digital tools to locate, analyze, evaluate, and use information resources to support research and learning.

4. Promote and Model Digital Citizenship and Responsibility: Teachers understand local and global societal issues and responsibilities in an evolving digital culture and exhibit legal and ethical behavior in their professional practices. Teachers:

a. Advocate, model, and teach safe, legal, and ethical use of digital information and technology, including respect for copyright, intellectual property, and the appropriate documentation of sources. b. Address the diverse needs of all learners by using learner-centered strategies providing equitable access to appropriate digital tools and resources. c. Promote and model digital etiquette and responsible social interactions related to the use of technology and information. d. Develop and model cultural understanding and global awareness by engaging with colleagues and students of other cultures using digital-age communication and collaboration tools.

5. Engage in Professional Growth and Leadership: Teachers continuously improve their professional practice, model lifelong learning, and exhibit leadership in their school and professional community by promoting and demonstrating the effective use of digital tools and resources. Teachers:

a. Participate in local and global learning communities to explore creative applications of technology to improve student learning. b. Exhibit leadership by demonstrating a vision of technology infusion, participating in shared decision making and community building, and developing the leadership and technology skills of others. c. Evaluate and reflect on current research and professional practice on a regular basis to make effective use of existing and emerging digital tools and resources in support of student learning. d. Contribute to the effectiveness, vitality, and self-renewal of the teaching profession and of their school and community.

Professional Dispositions Candidates are expected to:

Commitment to Social Justice (i.e., ideal of fairness & the belief that all students can learn)

• Professional practice incorporates multicultural and international perspectives. • Professional practice respects the dignity of all stakeholders in the education environment. • Professional practice attends to issues of social, economic and political equity for individuals and groups that differ by gender, race, social class, disability, and sexual orientation. • Professional practice entails creation of a challenging, student-centered learning environment that makes use of multiple approaches. Commitment to Ethics

• Professional practice attends to codes of ethical conduct relevant to the candidates’ respective education specialties. • Professional practice demonstrates responsible, principled behavior.

• Professional practice respects the human dignity of all members of the school community. Commitment to the Well-being of Students, Families, and Communities

• Professional practice promotes the development and welfare of all students. • Professional practice attends to students’ health and safety. • Professional practice models caring and empathy. • Professional practice initiates productive relationships with peer candidates, students, families, communities, and colleagues. Commitment to Professional Competence and Ongoing Professional Development

• Professional practice involves decision making and problem solving based on reflection, critical thinking, and self-awareness relating to intra/interpersonal functioning. • Professional practice demonstrates proficiency in the ethical use of technology. • Professional practice demonstrates engagement with continuing education relating to both content and pedagogy.

Overarching Technology Education Program Standards from NCATE which are also addressed:

1. Teachers understand and apply concepts and principles of technology when teaching it in the classroom and laboratory. They make connections between technology and other disciplines. 2. They examine the role of society in the development of technology. They also evaluate the relationship between technology and the environment. 3. They understand the significance of design in the human-made world. They analyze the engineering process and principles of design. 4. Teachers evaluate design, assess the design solution and created proposal for improvements. They have the knowledge to operate and maintain technological products and systems. 5. Teachers analyze the principles of various technologies 6. They identify and supplement a curriculum based on Standards for Technological Literacy for grades K-12 and in content areas. 7. They use a variety of technology materials and processes to enhance student learning. 8. They create learning environments that promote student learning. 9. They plan learning experiences for students of different backgrounds and interests. They integrate current research about hands-on learning and learning about the content of technology to understand how students learn technology most effectively. 10. They conduct self-evaluations and develop a professional development plan for self-improvement in instructional practices. (ITEA/CTTE)

Conceptual Core Knowledge-Bases

• Leader•Educators and Practitioners: the Unit prepares expert, ethical and reflective leader•educators and practitioners and decision•makers who are committed to holistic learning, and engage in collaborative and professional service to society • Diversity: Is the conscious awareness in lived experiences. It includes: Understanding and respecting interdependence of humanity, cultures, and natural environment; practicing mutual admiration for different qualities and experiences; understanding other ways of being and ways of knowing; understanding that individual and cultural discrimination maintains privileges for particular groups while creating disadvantages for others; and eradicating all types of discrimination while empowering school culture (LAS definition of diversity, 2004). • Change Agent: Individuals within organizations recognize the need for change. Few are able to sustain successful change efforts alone. People are inherently resistant to change; avoiding or resisting it is

human nature. At Ohio University, change is recognizable in the processes and development within the college of education. • Life-long Learning: leader-educators and practitioners who engage in self reflection and professional development for continuous personal growth, and who inspire such practices in those whom they serve. Class Policies

Misconduct policy: “All forms of academic misconduct are prohibited by the Student Code of Conduct. Academic misconduct refers to dishonesty in examinations (cheating), presenting the ideas or the writing of someone else as one's own (plagiarism), or knowingly furnishing false information to the university by forgery, alteration, or misuse of university documents, records, or identification. Academic dishonesty includes, but is not limited to, the following examples: permitting another student to plagiarize or cheat from your work, submitting an academic exercise (written work, printing, sculpture, computer program) that has been prepared totally or in part by another, acquiring improper knowledge of the contents of an exam, using unauthorized material during an exam, submitting the same paper in two different courses without knowledge and consent of professors, or submitting a forged grade change slip” (Ohio University Undergraduate/Graduate Catalog 20008-2010) Procedures outlined in the current Student Handbook will be followed. Please realize that a search may be performed on your documents if there is a suspicion that the work has been copied (plagiarized) from the Internet or from a past student’s work. Should a match be found the student will receive an “F” for the final grade in the course and the documents and course materials of the student sent to judiciaries for review and expulsion from Ohio University.

Music 1030, Fall 12, page 1

Ohio University, Course Schedule And Syllabus

Music 2010: Music Theory III

Fall Semester 2014

Class Number: 6640 Section: 100 Time & location: MWF 9:40 - 10:35a.m., Glidden 540

Instructor: Dr. Elaine M. Ross

Office: Glidden 591A

Office Hours: MW – 10:45 a.m. -12:00 p.m.; TTh – 11:30 a.m. – 12:30 p.m.


Brief description of course: This course is a continuation of the two-year music theory sequence begun

in the freshman year. Emphasis will be placed this quarter on chromatic harmonic procedures and vocal

and instrumental small forms of the common-practice era.

Required Materials:

• Steven G. Laitz, The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and

Listening, Oxford University Press, 3rd edition (April 7, 2011) [includes CD]

ISBN-10: 0199742782 | ISBN-13: 978-0199742783

• Steven G. Laitz, Writing and Analysis Workbook to Accompany The Complete Musician: An

Integrated Approach to Tonal Theory, Analysis, and Listening Workbook 1, Oxford University

Press, 3rd edition (June 17, 2011) [includes CD]

ISBN-10: 0199742790| ISBN-13: 978-0199742790

• Charles Burkhart/William Rothstein, Anthology for Musical Analysis, Postmodern Update, 6th

edition (Thomson/Schirmer, 2008) or 7th edition (Cengage, 2011).

• A music notebook or staff paper, standard size 8 1/2" X 11".

Note: All of these texts will be used throughout the two-year theory core.


• Know thoroughly the materials of Chapters 1 through 18 in the text.

• Be conversant with all types of modulation and be able to apply them in both composition and analysis.

• Identify, analyze, compose, and categorize examples of small binary and ternary forms.

• Identify and write brief passages utilizing modal mixture.

• Spell, identify, and write examples of the chord of the Neapolitan.

• Spell, identify, and write examples of all augmented sixth chords usages.

• Identify, analyze, and compose enharmonic modulations.

• Analyze and write altered dominants, common-tone 7ths, and upper tertian chords (9ths, 11ths, and

13ths)

• Analyze late 19th-c. harmonic practice: use of linear and non-functional harmony, chromatic sequences,

chromatic V prolongations (the omnibus progression), “expanded” tonality, etc.

• Analyze and write examples of typical 19th-c. Lieder.

Grading:

Quizzes (2) 15%

Midterm 25%

Final Exam 25%

Projects (2) 15%

Assignments/HW 20%

2

Grading Scale:

A = 93–100

A- = 90–92

B+ = 87–89

B = 83–86

B- = 80–82

C+ = 77–79

C = 73–76

C- = 70–72

D+ = 67–69

D = 63–66

D- = 60–62

F = 0–59

IMPORTANT: The prerequisite for Music 2010 is a grade of C or higher in Music 1020.

You must receive a grade of C or higher in Music 2010 to continue to Music 2020.

Important Dates: August 29: Last day to add a fall class without instructor's approval September 1: Labor Day: No Classes September 5: Last day to add (with instructor's approval); last day to drop a class

without a W Oct. 3: Fall Semester Reading Day: No Classes Oct. 31: Last day to withdraw (WP/WF) from a class Nov. 26: Thanksgiving Break begins: No Classes Dec. 1: Classes Resume Dec. 6: Last day of classes Dec. 8 – 13 Final exam period

The final exam for this class is scheduled for Friday, December 12th, 8:00 – 10:00 a.m.

Blackboard: Changes to the course schedule will be posted on Blackboard, as will online

assignments, announcements, and so on. You are expected to have and use an OU email account,

and check Blackboard regularly.

Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in

addition to the maximum will lower your final grade by a portion of a letter (A to A-, etc.). In

addition, no make-up work will be allowed for unexcused absences. An absence is considered

excused only if it is approved ahead of the by the instructor, or if it is documented (e.g. medical,

family emergency). Habitual lateness will affect your grade (3 tardies = 1 unexcused absence).

With the exception of medical/family emergencies, all assignments are due ON TIME!

Additional Classroom policies:

1. Once class has started, there should be no reason for students to leave the classroom.

2. No food in the classrooms (Beverages are acceptable). Regardless of whether or not you are

distracting to others, the mere fact that you are eating in class means you are not completely

focused on the given topic/activity/discussion, etc. Class time is limited and your utmost

attention is necessary at all time.

3. Absolutely no cellphones are to be visible in the classroom. Turn them off and put them

away or do not bring them at all.

4. Theory classes do not usually require excessive note-taking in the traditional

sense. Therefore, there is no need for any laptops in class. However, this is at the discretion

of the instructor.

5. Students must be fully prepared for class. Students must bring all required materials to class

including worksheets, handouts, and textbooks. Failure to do so will result in a tardy as you

will need to get the material(s). If this happens more than once, it will result in an unexcused

absence.


In the event of a major campus emergency, course requirements, deadlines and grading

percentages are subject to changes that may be necessitated by a revised quarter calendar or

other circumstances beyond the instructor’s control. All changes will be posted on

Blackboard.

Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment,

or any other form of academic dishonesty, will result in automatically failing the course and may

be referred to student judiciaries.

Special Needs or Disabilities: Students with documented special needs or a disability may

request special services. The student should contact the instructor within the first two weeks of

the academic session for making special needs arrangements. If you are not yet registered as a

student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit

the office in 348 Baker University Center.

Tutoring: As soon as you feel you do not understand a concept, need more practice, or are

falling behind, see your instructor for additional help, recommendations for tutors, etc. Also,

attend the free tutoring provided by the School of Music (see posters in Glidden Hall).


Week 1 8/25–8/29 Review of Chapter 18 and earlier chapters

Week 2-3 9/2– 9/10 Chapter 19: Tonicization and Modulation

Week 3-5 9/12– 9/24 Chapter 20 & 25: Binary Form, Ternary, and Variation Forms

Quiz 1: Wednesday, 9/24

Week 5-7 9/26–10/6 Chapter 21 & 22: Modal Mixture & Expansion of Modal Mixture

Harmonies

Week 7-8 10/8–10/17 Chapter 23: The Neapolitan Chord

Midterm Exam: Wed. 10/15 & Friday, 10/17

Week 9 - 10 10/20–10/29 Chapter 24: The Augmented Sixth Chord

Project 1, Composition (binary form): Due Monday, 10/20

Week 10-12 10/31–11/14 Chapter 28: New Harmonic Tendencies

Other topics to include: chromatic mediants, popular chord

symbols, and extended dominants

Quiz 2: Monday, 11/17

Week 13-15 11/17-12/5 Chapter 29: The Rise of Symmetrical Harmony in Tonal Music

Project 2, Analysis Paper: Due Friday, 12/5

The final exam for this class is scheduled for Friday, December 12th, 8:00 – 10:00 a.m.

* The course schedule may be changed at the discretion of the instructor. You will be notified of

all changes.


Ohio University, Course Schedule and Syllabus

Music 2020: Music Theory IV


Class Number: 4434 Section: 101

Time & location: MWF 9:40—10:35a.m., Glidden 540

Instructor: Dr. Elaine M. Ross

Office Location: Glidden 591A

Office Hours: 10:45 a.m.—12:00 p.m. MWF, or by appointment

e-mail: [email protected]

Brief description of course: This course is a continuation of the two-year music theory sequence begun

in the freshman year. Emphasis will be placed on a review of advanced chromatic harmony, formal

designs in tonal music focusing on the predominant vocal and instrumental forms of the common practice

period, and on 20th- and 21

st-century post-tonal harmonic, melodic, rhythmic, and formal developments.

Required Materials:

• Laitz, Steven G. The Complete Musician, 3rd Edition (Oxford University Press, 2012).

• the accompanying workbook to the above.

• Burkhart Anthology for Musical Analysis With Post-Modern Update, 7th edition.

• Supplemental Material posted on Blackboard

• Staff Paper


•be familiar with tonal harmony through Chapter 24 of the text.

•analyze the formal characteristics of examples of sonata and/or rondo structures and/or variation

forms in an academic paper (Chapters 25-27 and supplemental material).

•discuss and analyze examples of invention and fugue and be conversant with the terminology

applied to those forms (supplemental material).

•know the common rhythmic, harmonic, melodic, and structural developments of tonal music of

the early 20th century, and analyze examples from that style period using appropriate

terminology, including examples of Impressionism by composers such as Debussy and Ravel.

•know the terminology pertaining to and compositional techniques employed in non-tonal music,

both serial and non-serial, of the early 20th century, and be able to analyze representative

examples.

•discuss some of the principal trends and issues involved in music since World War II and be able

to discuss those trends pertaining to musical examples from 1968 onward.

Grading:

Quizzes (2) 15%

Midterm 20%

Final Exam 25%

Analysis Project/Paper 10%

Short Composition Projects (2) 10%

Assignments/HW 20%

Grading Scale:

A = 93–100

A- = 90–92

B+ = 87–89

B = 83–86

B- = 80–82

C+ = 77–79

C = 73–76

C- = 70–72

D+ = 67–69

D = 63–66

D- = 60–62

F = 0–59

2

Important Dates January 16: Last day to add a spring class without instructor's approval

January 19: M L King Day: No Classes

January 23: Last day to add (with instructor's approval); last day to drop a class without a W

Feb. 28: Spring Break begins

March 9: Classes Resume

March 27: Last day to withdraw (WP/WF) from a class

April 24: Last day of classes

April 27 – May 1 Final Exam Week

The final exam for Section 101 is scheduled: Friday, May 1st, 1:00-3:00 p.m.

Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments,

announcements, and so on. You are expected to have and use an OU email account, and check

Blackboard and your OU account regularly.

Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in addition to

the maximum will lower your final grade by a portion of a letter (A to A-, etc.). In addition, no make-up

work will be allowed for unexcused absences. An absence is considered excused only if it is approved

ahead of the by the instructor, or if it is documented (e.g. medical, family emergency). Habitual lateness

will affect your grade (3 tardies = 1 unexcused absence). With the exception of medical/family

emergencies, all assignments are due ON TIME!




distracting to others, the mere fact that you are eating in class means you are not completely focused

on the given topic/activity/discussion, etc. Class time is limited and your utmost attention is

necessary at all time.

3. Absolutely no cellphones are to be visible in the classroom. Turn them off and put them away or do

not bring them at all.

4. Theory classes do not usually require excessive note-taking in the traditional sense. Therefore, there

is no need for any laptops in class. However, this is at the discretion of the instructor.


including worksheets, handouts, and textbooks. Failure to do so will result in a tardy as you will need

to get the material(s). If this happens more than once, it will result in an unexcused absence.

In the event of a major campus emergency, course requirements, deadlines and grading percentages

are subject to changes that may be necessitated by a revised quarter calendar or other circumstances

beyond the instructor’s control. All changes will be posted on Blackboard.

Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or any

other form of academic dishonesty, will result in automatically failing the course and may be referred to

student judiciaries.

Special Needs or Disabilities: Students with documented special needs or a disability may request

special services. The student should contact the instructor within the first two weeks of the academic

session for making special needs arrangements. If you are not yet registered as a student with a disability,

please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker

University Center.

Tutoring: As soon as you feel you do not understand a concept, need more practice, or are falling behind,

see your instructor for additional help, recommendations for tutors, etc. Also, attend the free tutoring

provided by the School of Music (see posters in Glidden Hall).

3


Week 1: 1-12, 1-14, 1-16 Review of advanced chromatic harmony Post-Romantic Techniques

Week 2: 1-21, 1-23 Review Binary/Ternary Form Variation Form

Weeks 3 - 5: 1-26, 1-28, 1-30, 2-2, 2-4, 2-6, 2-9, 2-11 The Sonata and sonata form of the late 18th and early 19th centuries. Includes rondo and sonata-rondo form. Sonata essay/analysis assignment given. Quiz 1: Wednesday, February 11th.

Weeks 5 - 7: 2-13, 2-16, 2-18, 2-20, 2-23 Invention, and Fugue. Midterm Exam: Wednesday, February 25th & Friday, February 27th

Week 8: 3-9, 3-11, 3-13 Debussy, Ravel and contemporaries. Modes and other scales Sonata essays due: Wednesday, March 11.

Week 9: 3-16, 3-18, 3-20 Debussy, Ravel and contemporaries Compositional Techniques Other Vertical Sonorities

Week 10: 3-23, 3-25, 3-27 Bartok and contemporaries Rhythmic Techniques/Devices/Golden Mean/Ratio Set Theory: Interval Classes and Interval Vectors

Week 11: 3-30, 4-1, 4-3 Set Theory Mod 12/Normal Order/Inversions/Prime Form/Classification

Quiz 2: Friday, April 3.

Week 12: 4-6, 4-8, 4-10 Composition Project 2 due Monday, April 6th .

Applications of Set Theory Schoenberg, Berg, Webern, etc. 12-tone Technique

Week 13: 4-13, 4-15, 4-17 12-tone Technique Other Innovative/Experimental Techniques/Composers

Week 14: 4-20, 4-22, 4-27 Other 20th/21st Century Innovative/Experimental Techniques/Composers

Composition Project 2 due Friday, April 27th .

Final Exam Week: Section 101: Friday, May 1, 1:00—3:00 PM

* The course schedule may change at the discretion of the instructor. You will be notified of all changes.


Ohio University, Course Schedule And Syllabus Music 2030: Dictation & Sight Singing III

Fall Semester 2014

Class Number: 6642 Section: 100 Time & location: T-Th, 10:30 – 11:25 a.m. , Glidden Hall - 540 Instructor: Dr. Elaine M. Ross


Office Hours: MW – 10:45 a.m. -12:00 p.m.; TTh – 11:30 a.m. – 12:30 p.m.



Music 2030 is part of a two-year course of study designed to increase the music student’s aural abilities and insight in the areas of pitch and rhythmic relationships and to develop accuracy associating notation with the sound the notation represents. In this quarter, work will emphasize notating and singing melodies of 4-20 measures which include tonicization of all scale degrees and modulation to closely related keys; harmonic successions including 7th chords, modal mixture, and chromatic approaches to V; recognition of isolated triads and seventh chords, identifying soprano and bass factors in all tertian chords; notating dictated rhythmic patterns in compound and simple meters which may include syncopation and/or borrowed rhythms and performing such rhythms; developing the ability to discuss with accuracy and insight the aural characteristics of musical examples. Required Materials:

• Berkowitz, Fontrier, and Kraft. A New Approach to Sight Singing. Norton, 5th ed. • Kazez, Daniel. Rhythm Reading. Norton, 2nd Edition • Barbara Wallace. Developing Aural Skills, volume III. Edition: 1st. Publisher: Kees Academic Press

• Blombach, Ann. MacGAMUT 6 (software) • a music notebook or staff paper, either 5" by 7" or 8 1/2" by 11", and pencils

• an OAK id & password to access materials posted on Blackboard • a metronome Note: All of these texts will be used throughout the two-year aural skills core.

Expected Competencies: Rhythmic: Ability to accurately notate and perform rhythmic patterns from simple, compound and asymmetrical meters. Accurately notate and perform patterns involving ties, borrowed rhythms, and syncopation. Performance and notation of rhythmic examples in isolation and in the context of musical examples. Error detection. Melodic: Notation of diatonic 4–16 bar examples, which may include chromatic embellishing tones, mixture, and modulation. Recognition of melodic principles in examples from the repertoire, ability to discuss in terms of structure, phrasing, chromatic content, modulation and scale patterns.


Singing: Ability to sing melodies of increasing complexity and length. Recognition of melodic principles in examples from the repertoire; ability to discuss in terms of structure, phrasing, chromatic content, modulation and scale patterns; error detection; and sight reading. Students will prepare exercises and excerpts for in-class evaluation. Students

will be prepared to sing solos, duets, or ensembles as assigned by the instructor. This course will

use fixed do solfege. While many systems exist, and there are positives and negatives with each

system, it is important to choose and focus upon one system so the primary purposes of “training

the ear” and enhancing structural understanding can be achieved. Singing is essential to

“training the ear.” It allows us to internalize, audiate, and recognize aurally on a more cognitive

level. Singing enhances one’s ability to transfer concepts to their own instrument and become

higher level listeners. If you cannot sing it, you cannot hear it, therefore you cannot play it at the

highest possible level.

Harmonic: Successfully identify triads and seventh for type/quality and position.

Review of diatonic progressions, and dictation of progressions including secondary dominants, the Neapolitan, mixture, and augmented sixth chords. Notation of soprano and bass in four-part harmony. Identification of cadential patterns, harmonic progressions, and phrase structure as they are presented in examples from music literature. Recognition and notation of modulations to closely related keys. Grading: Musicianship: 2 Quizzes: 15% 2 Exams (Midterm & Final): 25% TOTAL: 40%

Dictation:

4 Quizzes: 40% Assignments (Wallace) 10% MacGamut Levels: 10% TOTAL: 60% Grading Scale:

A+ 97-100 A 93-96 A- 90-92 B+ 87-89 B 83-86 B- 80-82 C+ 77-79 C 73-76 C- 70-72

NOTE: The prerequisite for Music 2030 is a grade of C or higher in Music 1040. You must receive a grade of C or higher in Music 2030 to continue to Music 2040.

Important Dates August 29: Last day to add a fall class without instructor's approval September 1: Labor Day: No Classes September 5: Last day to add (with instructor's approval); last day to drop a class

without a W


Oct. 3: Fall Semester Reading Day: No Classes Oct. 31: Last day to withdraw (WP/WF) from a class Nov. 11: Veterans Day: No Classes Nov. 26: Thanksgiving Break begins: No Classes Dec. 1: Classes Resume Dec. 6: Last day of classes Dec. 8 – 13 Final exam period

The final exam for this class is scheduled for Tuesday, Dec. 9th 10:10 a.m. – 12:10 p.m.

Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments, announcements, and so on. You are expected to have and use an OU email account, and check Blackboard regularly. Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in



excused only if it is approved ahead of time by the instructor, or if it is documented (e.g.

medical, family emergency). Habitual lateness will affect your grade (3 tardies = 1 unexcused

absence).











of the instructor.




absence.

In the event of a major campus emergency, course requirements, deadlines and grading

percentages are subject to changes that may be necessitated by a revised quarter calendar or

other circumstances beyond the instructor’s control. All changes will be posted on

Blackboard.

Stretching your limits: “Settling” for less than you are capable of accomplishing is not viewed favorably by the instructor. All students are expected to work toward the highest level they can achieve. Skills developed in this course will be utilized throughout one’s professional career.


Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or any other form of academic dishonesty, will result in automatically failing the course and may be referred to student judiciaries. Special Needs or Disabilities: Students with documented special needs or a disability may request special services. The student should contact the instructor within the first two weeks of the academic session for making special needs arrangements. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center. Tutoring: Singing and dictation are skills that take practice. As soon as you feel you do not understand a concept, need more practice, or are falling behind, see your instructor for additional help, recommendations for tutors, etc. Also, attend the free tutoring provided by the School of Music (see posters in Glidden Hall).



Melodies** Sing & Play Rhythm (Kazez) Wallace (dictation) Week 1 (8/26, 28) 238, 239, 244, 245–248, 36, 38 Kazez, Chap. 9 Unit 1 252 Week 2 (9/2, 4) 254–257, 259–263 39, 40 Kazez, Chap. 9 Unit 1 MacGAMUT start-up file verification required Week 3 (9/9, 11) 264–269, 288–290 41, 42 Kazez, Chap. 9 Unit 1 Week 4 (9/16, 18) 292–300 43, 45 Kazez, Chap. 9 Unit 2 MG#1 - Intervals – Levels 10-11; Chords - Levels 7-8; Rhythm – Level 11; Melodic – Levels 13; Harmonic – Levels 8-9 Dictation Quiz #1 Week 5 (9/23, 25) 301–309 44 Kazez, Chap. 9 Unit 2

Musicianship Quiz #1 Week 6 (9/30, 10/2) 310–318 46a, 46b Kazez, Chap. 10 Unit 2

Week 7 (10/7, 9) 270–272, and 48a, 48b Kazez, Chap. 10 Unit 2 duets 102, 103, 125, and 126 (Chapter 3)

MG#2 - Intervals – Levels 12; Chords- Levels 9-10-11; Rhythm – Level 12; Melodic – Levels 14; Harmonic – Levels 10-11 Dictation Quiz #2

Week 8 (10/14, 16) Musicianship Midterm (cumulative: prepare materials from weeks 1-7)

Week 9 (10/21, 23) 321–327 50a, 50b Kazez, Chap. 11 Unit 3 Week 10 (10/28, 30) 273-275 51 Kazez, Chap. 11 Unit 3 Duet 133 (Chapter 3)

*This schedule may be changed at the discretion of the instructor; you will be informed of all changes in class and/or via email or Blackboard.

Melodies** Sing & Play Rhythm (Kazez) Wallace (dictation) Week 11 (11/4, 6) 328–335 52 Kazez, Chap. 11 Unit 3

MG#3 - Chords - Levels 12-13; Rhythm – Level 13; Melodic – Levels 15; Harmonic – Levels 13-14 Dictation Quiz #3

Week 12 (11/13) 336–342 53, 54 Kazez, Chap. 12 Unit 3 Musicianship Quiz #2 Week 13 (11/18, 20) 343–349 55a, 55b Kazez, Chap. 12 Unit 4 Week 14 (11/25) 350–357 57 Kazez, Chap. 12 Unit 4 Week 15 (12/2, 4) 358–363 58 Kazez, Chap. 12 Unit 4 MG#4: Chords - Levels 14-15; Rhythm – Level 14;

Melodic – Levels 16-17; Harmonic – Levels 15-16 Dictation Quiz #4

The Musicianship Final will be scheduled individually during finals week on the day of the scheduled final exam, Tuesday, December 9th, 10:10 a.m. – 12:10 p.m.

**All melodies are from Berkowitz, Chapter 1, unless otherwise noted.


Ohio University, Course Schedule And Syllabus Music 2040: Dictation & Sight Singing IV


Class Number: 4435 Section: 100 Time & location: T-Th, 10:30 a.m.–11:25 a.m., Glidden Hall 540 Instructor: Dr. Elaine M. Ross


Office Hours: MW – 10:45 a.m. -12:00 p.m.; TTh – 10:00 a.m. – 10:30 a.m.



Music 2040 is part of a two-year course of study designed to increase the music student’s aural abilities and insight in the areas of pitch and rhythmic relationships and to develop accuracy associating notation with the sound the notation represents. In this semester, work will emphasize notating and singing melodies of 4-20 measures which include increased usage of chromatic embellishment and modulation; harmonic successions including inverted 7th chords, recognition of isolated triads and seventh chords, identifying soprano and bass factors in triads and 7th chords; notating dictated rhythmic patterns in compound and simple meters which may include syncopation and/or borrowed rhythms; performing such rhythms; and developing the ability to discuss with accuracy and insight the formal, melodic, harmonic, and rhythmic characteristics of selected musical examples.

Required Materials:


• Blombach, Ann. MacGAMUT 6 (software) • Wallace, Barbara. Developing Aural Skills, Volume IV

• a music notebook or staff paper, 8 1/2" by 11", and pencils • an OAK id & password to access materials posted on Blackboard • a metronome


Rhythmic: Ability to accurately notate and perform rhythmic patterns from simple,

compound and asymmetrical meters. Accurately notate and perform increasingly complicated

patterns involving ties, borrowed rhythms, cross rhythms, syncopation, asymmetrical meters,

changing meters, cross-‐rhythms and tempo modulations. Performance and notation of rhythmic

examples in isolation and in the context of musical examples. Ability to recognize and notate

rhythms incorporating the same. Ability to identify and perform specific metronome tempi

within a specific range of accuracy. Error detection. Some rhythmic improvisation drill.


Melodic: Notation of increasingly difficult examples that will include increased

chromaticism and modulation to more remote keys. Ability to notate and perform melodies

which incorporate modal and other collections employed in early 20th

-century and post-

‐tonal music. Recognition of melodic principles in examples from the repertoire, ability to

discuss in terms of structure, cadences, phrasing, chromatic content, modulation and scale

patterns. Ability to sing melodies of increasing complexity and length. Error detection.

Sight reading. Some melodic improvisation drills given rhythmic/harmonic background.

Harmonic: Notation of soprano and bass in four-part harmony, and ability to

identify/recognize harmonic successions which incorporate chromatic chords including the N6,

augmented 6 sonorities, secondary function, and modulation to distant keys. Identification of

cadential patterns, phrase structure, small and large forms, and harmonic progressions as they are

presented in examples from music literature. Ability to recognize some pitch collections

common in 20th‐century music, including modes, whole-‐tone, octatonic, and non-‐ functional

diatonicism; ability to identify altered harmonies, extended tertian sonorities, non-tertian

harmony.

Grading: Musicianship: 2 Quizzes: 15% 2 Exams (Midterm & Final): 25% TOTAL: 40%

Dictation:

4 Quizzes: 40% Assignments 10% MacGamut Levels (4): 10% TOTAL: 60% Grading Scale:

A+ 97-100 A 93-96 A- 90-92 B+ 87-89 B 83-86 B- 80-82 C+ 77-79 C 73-76 C- 70-72

Etc.

Important Dates 1/16: Last day to add a class without instructor's approval 1/19: Martin Luther King, Jr. Day: No Classes

1/23: Last day to drop a class without a WP/WF; last day to add a class with instructor's permission

3/2-3/7: Spring Break 3/27: Last day to drop a class with a WP/WF 4/25: Last day of classes 4/27-5/1 Final exams period


The final exam for this class is scheduled for Tues., April 28th 10:10 a.m.-12:10 p.m. Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments, announcements, and so on. You are expected to have and use an OU email account, and check Blackboard regularly. Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in



excused only if it is approved ahead of the by the instructor, or if it is documented (e.g. medical,

family emergency). Habitual lateness will affect your grade (3 tardies = 1 unexcused absence).











of the instructor.




absence.

In the event of a major campus emergency, course requirements, deadlines and grading percentages are subject to changes that may be necessitated by a revised quarter calendar or other circumstances beyond the instructor’s control. All changes will be posted on Blackboard. Stretching your limits: “Settling” for less than you are capable of accomplishing is not viewed favorably by the instructor. All students are expected to work toward the highest level they can achieve. Skills developed in this course will be utilized throughout one’s professional career. Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or any other form of academic dishonesty, will result in automatically failing the assignment/exam or the course, and may be referred to student judiciaries, which can impose additional sanctions. Students may appeal academic sanctions through the grade appeal process. Special Needs or Disabilities: Students with documented special needs or a disability may request accommodations based on the impact of a disability. The student should contact the instructor within the first two weeks of the academic session for making special needs


arrangements, and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services. Tutoring: Singing and dictation are skills that take practice. As soon as you feel you do not understand a concept, need more practice, or are falling behind, see your instructor for additional help, recommendations for individual tutors, etc. Also, attend the free tutoring provided by the School of Music (see posters in Glidden Hall)



Melodies** Rhythm (Kazez, Berkowitz Chapter II) Wallace (dictation) Week 1 (1/14, 16) 365, 366, 367, 369 Kazez, Chap. 13 Unit 1 Ear Training: Review of NCT’s, Suspensions, Aug. 6th chords Melodic dictation: review of chromatic tones, modulation to closely related keys Harmonic dictation: review of mixture, Neapolitans, and augmented sixth chords Week 2 (1/21, 23) 370-372 Kazez, Chap. 13 Unit 1 Ear Training: Chromatic Mediants Aural Identification/Diagram of Forms Melodic dictation: review continued Harmonic dictation: review as above, review of modulation to closely-related keys Week 3 (1/28, 30) 373-376 Kazez, Chap. 13 Unit 1 Dictation Quiz #1

MACGAMUT #1 DUE: Required Levels: You should master the following levels in the "Aural Skills" section of MacGAMUT: Rhythmic dictation: level 15; Melodic dictation: level 16-17; Harmonic Dictation, Level 14-15.

Week 4 (2/4, 6) 443, 444, 446, 448 Kazez, Chap. 14 Unit 2 Ear Training: Chromatic Mediants – Extended Dominants Aural Identification/Diagram of Forms Melodic dictation: modulation to remote keys, asymmetrical meters Harmonic dictation: Extended chords, especially V9;

Musicianship Quiz #1 Week 5 (2/11, 13) 378-383 Kazez, Chap. 14 Unit 2 Ear Training: Chromatic Mediants – Extended Dominants Aural Identification/Diagram of Forms Melodic dictation: modulation to remote keys, asymmetrical meters Harmonic dictation: Extended chords, especially V9, cto7 chords, deceptive resolution of secondary dominants; Week 6 (2/18, 20) 384-387 Kazez, Chap. 14 Unit 2 Ear Training: Chromatic Mediants – Extended Dominants Aural Identification/Diagram of Forms Melodic dictation: modulation to remote keys, asymmetrical meters

Harmonic dictation: Extended chords, especially V9, cto7 chords, deceptive resolution of secondary dominants; enharmonic modulations; Dictation Quiz #2 MACGAMUT #2 DUE: Required Levels: You should master the following levels in the "Aural Skills" section of MacGAMUT:

Rhythmic dictation: level 16; Melodic dictation: level 18-19; Harmonic Dictation, Level 16.


Melodies** Rhythm (Kazez) Wallace (dictation) Week 7 (2/25, 27) 389-393 –– –– Unit 2

Musicianship Midterm (cumulative: prepare materials from weeks 1-6) Week 8 (3/11, 13) 276-281 Kazez, Chap. 15 Unit 3 Ear Training: Modes, Extended chords, Chromatic mediants Melodic dictation: modes, review of modulations Harmonic dictation: review of all chromatic harmony; aural identification of form Week 9 (3/18, 20) 282-287 Kazez, Chap. 15 Unit 3 Ear Training: Modes, Pentatonic scales, Extended chords, Chromatic mediants

Melodic dictation: modes, asymmetric and mixed meter Harmonic dictation: review of all chromatic harmony; aural identification of form

Week 10 (3/25, 27) 395, 396, 400, 403 Kazez, Chap. 15 Unit 3

Ear Training: Modes, Pentatonic scales, Other Vertical Sonorities Melodic dictation: modes, asymmetric and mixed meter

Harmonic dictation: review of all chromatic harmony; aural identification of form Dictation Quiz #3 MACGAMUT #3 DUE Required Levels: You should master the following levels in the "Aural Skills" section of MacGAMUT: Scales: level 8-21;

Rhythmic dictation: level 17; Melodic dictation: level 20-21. Week 11 (4/1, 3) 406, 408, 410, 415 Kazez, Chap. 16 Unit 3

Musicianship Quiz #2 Week 12 (4/8, 10) 420, 423, 431, 440 Kazez, Chap. 16 Unit 3 Ear Training: Modes, Pentatonic scales, Other Vertical Sonorities, Other Compositional Techniques

Melodic dictation: asymmetric and mixed meter, rapidly changing tonal centers Harmonic dictation: review of all chromatic harmony, modal progressions Week 13 (4/15, 17) 449, 451, 452, 454 Kazez, Chap. 16 Unit 4 Ear Training: Modes, Pentatonic scales, Other Vertical Sonorities, Other Compositional Techniques

Melodic dictation: asymmetric and mixed meter, pentatonic, whole tone, octatonic melodies Harmonic dictation: review of all chromatic harmony, modal progressions, ID of secundal, quartal, quintal, split-third, and polytonal harmonies ID of styles: Neoclassicism, Primitivism, Impressionism, Minimalisam, etc.


Week 14 (4/22, 24) 458, 463, 464, 478 Kazez, Chap. 16 Unit 4

Dictation Quiz #4 MACGAMUT #4 DUE You should master the following level in the "Aural Skills" section: Scales: level 22-26;Melodic dictation: level 22-23.

The Musicianship Final will be scheduled individually during finals week on the day of the scheduled final exam.

**All melodies are from Berkowitz, Chapter 1, unless otherwise noted.

1

PSYCHOLOGICAL FOUNDATIONS OF MUSIC Fall 2015 Mus 3820/5820 2 Credit Hours MW 8:35 – 9:30 a.m. This class will be frequently utilize ‘flip’ classroom model, in addition to traditional lecture. Experientials, discussions, and synthesis of materials will happen during class time. Required readings as well as related media (videos, recorded music, etc.) for weekly topics will happen outside of class time as prep for the class time experiences. Professor: Brent E. Beeson, MS, MT-BC Office: 551A Glidden Hall Phone: (540) 808-9672 (cell) Office Hours: Posted on office door and By Appointment [email protected] Course Description: This course is designed to explore the psychological foundation of music from multiple theoretical perspectives in music therapy. Focus topics will include the physical properties of sound/acoustics, physiological perception and cognition of music, human developmental influences on and interactions with music, theories addressing the structural elements and influence of music on behavior, the social, emotional, and cultural meanings of music, and research methods in music therapy will be reviewed. Both clinical and research questions related to the topics covered will be formulated by each student, and students will create a research study proposal that would help answer one specific question. Learner Objectives: Undergraduate students:

• Students will review and understand some of the psycho-socio-physiological aspects of human behavior as they pertain to music.

• Students will be familiar with theories of music therapy, recent trends, and the influence of music therapy on human behavior.

• Students will understand the fundamentals of acoustics and physical responses to music.

• Students will demonstrate basic understanding of quantitative and qualitative research methodology and apply this knowledge to creating a research proposal.

Additional Objectives for Graduate Students

• Graduate students only will be required to present to the class a critical analysis of one research study related to their research proposal

2

REQUIRED TEXTS: Psychology of Music: From Sound to Significance Authors: Siu-Lan Tan, Peter Pfordresher, and Rom Harre Year: 2010 ISBN: 978-1-84169-868-7 Publisher: Psychology Press Recommended Research Resource: Research Design: Qualitative, quantitative, and mixed methods approaches (3rd edition) Author: John Creswell Year: 2009 ISBN: 978-1-4129-6557-6 Publisher: Sage Suggested TEXTS related to topics covered in class: Dileo C. (1999). Music Therapy & Medicine: Theoretical and Clinical Applications. Silver Spring, MD: American Music Therapy Association, Inc. Meadows A. (2011). Developments in Music Therapy Practice: Case Study Perspectives. Gilsum, NH: Barcelona Publishers. Jourdain, R. (1997). Music, The Brain, and Ecstacy: How music captures our imagination. New York, NY: HarperCollins. Farnsworth, P.S. (1969). The Social Psychology of Music (2nd Ed.). Ames: Iowa State University Press Kaplan, M. (1990). The Arts: A Social Perspective. Rutherford, NJ: Fairleigh Dickinson University Press Merriam, A.P. (1964) The Anthropology of Music (n.p.) Northwestern University Press Weber, M. (1958). The rational and Social Functions of Music (D. Martindale, J. Riedel, & G. Neuwirth (trans. & eds.). (n.p.) Southern Illinois University Press.

3

STUDENT EXPECTATIONS: 1. Read texts and other readings assigned for understanding. Take notes on readings

as needed. 2. Complete all out-of-class assignments including watching and taking notes from

recorded lectures, videos, music, etc. 3. Come to all classes prepared to discuss readings and out-of-class assignments. 4. Synthesize readings, out-of-class assignments and lectures, in class discussion and

experiences in order to create ongoing clinical and research questions and the primary research question for a research proposal.

5. Write a proposal for a research study. 6. Present on your research proposal to class.

7. Graduate Students Only: In addition to the research proposal, graduate students

will present a critical analysis of one research study related to their research topic. 8. Graduate Students: Graduate students will be required to demonstrate additional

academic depth by conducting and reporting on supplemental literature reviews to support research discussions for classes

Attendance and Deadline Expectations for Class:

• Class attendance is mandatory unless prior approval has been given. In the case of illness, please consult university policies.

• If you must miss due to illness or emergency, you MUST submit to the professor documentation verifying the reason for your absence within 1 WEEK OF ABSENCE. Only 1 class absence (for any reason) will be permitted. For each additional absence, your final class grade will be affected.

• Assignments are due during class time and will be considered late any time thereafter. If absent, assignments should be turned in ahead of time or the day the assignment is due through email.

GRADE CRITERIA: Course assignments related to the class topics are to be completed in a scholarly manner as indicated on rubrics given and/or from expectation given in class and/or from information provided in out of class materials. A = Assignment completed based on expectations given. Grade given 100 B = Assignment completed but not all expectation met. Grade given 89 C = Assignment completed but most expectations not met. Grade given 79 F = Assignment not turned in. Grade given 0

4

Percentage for Assignments: Research Proposal: 20% Final Presentation: 15% Mid-term Exam: 15% Preparation for Class/Participation in Class Discussions: 25% Class assignments (clinical/research questions and experiential assignments): 25% Grading Scale: 90-100 A 80-89 B 70-79 C 60-69 D 0-59 F Accommodation Statement: Any student who suspects s/he may need an accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services. Academic Misconduct: The instructor may impose the appropriate grade penalty and/or file a formal disciplinary referral with the Office of Community Standards and Student Responsibility. If the instructor accuses you of misconduct and takes action, one or both of the following may occur: 1. A grade penalty, such as an F, may be imposed on the project or in the course. 2. A formal student conduct referral may be filed with the Office of Community Standards and Student Responsibility. See the following link for further information: http://www.ohio.edu/communitystandards/academic/students.cfm


Ohio University, Course Schedule and Syllabus Music 4070/5070: Counterpoint I

Fall Semester 2015 Class Number: 12737/12738 Section: 100 Time & location: MWF 11:50-12:45 PM, Glidden 540 Instructor: Dr. Ciro Scotto Office: Glidden 591B Office Hours: MWF – 10:45 a.m. -11:45 p.m. E-mail: [email protected] General description of course (4070/Undergraduate and 5070/Graduate): This course is a study of sixteenth century scared modal counterpoint. This course provides students with an understanding of contrapuntal principles through a survey of compositional techniques and styles from 16th Century composers incorporating analysis of important literature, composition through contrapuntal techniques, identification of techniques and terminology associated with composers and theorists, and performance of original works. Supplemental Study for 5070: In addition to the acquisition of technical skills composing sixteenth century sacred modal counterpoint, graduate students will do source reading, readings from later theorist on sixteenth century counterpoint, analysis of compositions, and write two ten page papers. The subjects of the papers can either be a detailed analysis of a composition or several works by a composer, or a discussion and evaluation of theoretical subject, such as the treatment of dissonance. Source readings will be assigned from the following texts: The Art of Counterpoint (Part Three of Le Istitutioni harmoniche, 1558) by Gisoseffo Zarlino The Study of Counterpoint from Johann Joseph Fux’s Gradus Ad Parnassum, translated and edited by Alfred Mann Preliminary Exercises in Counter-Point by Arnold Schoenberg Counterpoint by Heinrich Schenker Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century, by Knud Jeppesen. Required Materials:

Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint, Waveland Press, Inc. Expected Competencies: • Gain mastery at creating fluid musical contrapuntal textures • Recognize musical syntax, structural elements, and analyze music into more structural levels of

activity • Identify the various kinds of embellishments and incorporate these to produce a fluency of

melodic line • Analyze and compose 2, 3, and 4 voice counterpoint that coincide with given melodies

according to the rules of 16th Century counterpoint • Understand and incorporate terminology/techniques pertaining to melodic development, form,

structure, harmony, rhythm, and style • Identify composers/theorists and their significant contributions from a historical perspective • Be able to sing a melody while playing the other (counterpoint) at the keyboard

2

Grading (4070): Class Participation 10% Midterm and Final Terminology Quizzes 15% Final Composition 15%

2 Composition Projects (2) 20% Assignments/HW 40%

Grading (5070): Class Participation 5% Midterm and Final Terminology Quizzes 10% Final Composition 15%

2 Composition Projects (2) 10% Assignments/HW 30% 2 Analytical Papers 30%

Grading Scale:

A = 93–100 A- = 90–92 B+ = 87–89

B = 83–86 B- = 80–82 C+ = 77–79

C = 73–76 C- = 70–72 D+ = 67–69

D = 63–66 D- = 60–62 F = 0–59

Important Dates: August 28: Last day to add a fall class without instructor's approval September 4: Last day to add (with instructor's approval); last day to drop a class without

a W September 7: Labor Day: No Classes Oct. 2: Fall Semester Reading Day: No Classes Oct. 30: Last day to withdraw (WP/WF) from a class Nov. 11: Veterans Day: No Classes Nov. 25: Thanksgiving Break begins: No Classes Nov. 30: Classes Resume Dec. 5: Last day of classes Dec. 7–11 Final exam period The final exam for this class is scheduled for Friday, December 9th, 10:10 AM Blackboard: Changes to the course schedule will be posted on Blackboard, as will online assignments, announcements, and so on. You are expected to have and use an OU email account, and check Blackboard regularly. Class Attendance: You are allowed a maximum of two unexcused absences. Each absence in addition to the maximum will lower your final grade by a portion of a letter (A to A-, etc.). In addition, no make-up work will be allowed for unexcused absences. An absence is considered excused only if it is approved ahead of time by the instructor, or if it is documented (e.g. medical, family emergency). Habitual lateness will affect your grade (3 tardies = 1 unexcused absence). With the exception of medical/family emergencies, all assignments are due ON TIME! Additional Classroom policies: 1. Once class has started, there should be no reason for students to leave the classroom. 2. No food in the classrooms (Beverages are acceptable). Regardless of whether or not you are

distracting to others, the mere fact that you are eating in class means you are not completely focused on the given topic/activity/discussion, etc. Class time is limited and your utmost attention is necessary at all time.


3. Absolutely no cellphones are to be visible in the classroom. Turn them off and put them away or do not bring them at all.

4. Theory classes do not usually require excessive note-taking in the traditional sense. Therefore, there is no need for any laptops in class. However, this is at the discretion of the instructor.

5. Students must be fully prepared for class. Students must bring all required materials to class including worksheets, handouts, and textbooks. Failure to do so will result in a tardy as you will need to get the material(s). If this happens more than once, it will result in an unexcused absence. In the event of a major campus emergency, course requirements, deadlines and grading percentages are subject to changes that may be necessitated by a revised quarter calendar or other circumstances beyond the instructor’s control. All changes will be posted on Blackboard.

Plagiarism and Academic Dishonesty: Duplicating another's work on an exam or assignment, or any other form of academic dishonesty, will result in automatically failing the course and may be referred to student judiciaries. Special Needs or Disabilities: Students with documented special needs or a disability may request special services. The student should contact the instructor within the first two weeks of the academic session for making special needs arrangements. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center. Tutoring: As soon as you feel you do not understand a concept, need more practice, or are falling behind, see your instructor for additional help, recommendations for tutors, etc. Also, attend the free tutoring provided by the School of Music (see posters in Glidden Hall). Tentative Course Schedule* Week 1 8-‐24, 8-‐26, 8-‐28 Ch. 1 -‐ Introduction

Weeks 2 8-‐31, 9-‐2, 9-‐4, Ch. 2 – White note melodies

Week 3 9-‐7(No Class-‐Labor Day), 9-‐9, 9-‐11 Ch. 3 – White note two-‐voice texture

Weeks 4 9-‐14, 9-‐16, 9-‐18, Ch. 3 – Points of imitation with white notes; Ch. 4 -‐ -‐Black notes

Weeks 5 9-‐21, 9-‐23, 9-‐25 Chs. 4-‐5 – Free two-‐voice counterpoint, with and without imitation

Week 6 9-‐28, 9-‐30, 10-‐2(No Class-‐Reading Day) Ch. 6 – Double Counterpoint and Canonic Structures

Composition #1: Due Monday, 10/5

Week 7 10-‐5, 10-‐7, 10-‐9 Ch. 6-‐7 – Compositional Structure, interior cadences, two voices

Week 8 10-‐12, 10-‐14, 10-‐16 Ch. 8 – Three voice texture with white note

Midterm Terminology Quiz: Wednesday, 10-‐14

Weeks 9 10-‐19, 10-‐21, 10-‐23 Ch. 9 – Cadences in three voices


Week 10 10-‐26, 10-‐28, 10-‐30 Chs. 10-‐11 – Three Voice texture with Black notes

Week 11 11-‐2, 11-‐4, 11-‐6 Chs. 11-‐12 – Three Voices—Paraphrase technique

Week 12 11-‐9, 11-‐11(No Class-‐Veterans Day), 11-‐13 Ch. 13 – Four-‐Voice Texture

Composition #2: Due Monday, 11-‐16

Week 13 11-‐16, 11-‐18, 11-‐20 Chs. 13-‐14 – Familiar Style, Imitation in four-‐voice texture

Week 14 11-‐23, 11-‐25 Ch. 14 – Cantus Firmus Technique

Week 15 11-‐30, 12-‐2, 12-‐4 Ch. 15 – Four Voice analysis/Composition

Final Terminology Quiz: Friday, 12-‐4

Final Project: Due during exam time

The final exam for this class is scheduled for Friday, December 9th, 8:00 – 10:00 a.m. * The course schedule may be changed at the discretion of the instructor. You will be notified of all changes.

MUSIC 4071/5071 Counterpoint II


COURSE SCHEDULE AND SYLLABUS

Class number: MUS 4071: 11797 MUS 5071: 11798 Time & location: 11:50 AM to 12:45 PM MWF, room 550. Instructor: Allyn Reilly Office location: Glidden 591D Office Hours 10:00—11:40 AM M-W-F, or by appointment. E-mail address: [email protected] Brief description of course (Undergraduate and Graduate): Music 407B/507B, Counterpoint II, is a semester-long survey of the techniques of writing

counterpoint in the style of J. S. Bach and his contemporaries. The course will progress from simple first species counterpoint in two voices to fugal writing in three voices or more.

Brief description of course (Graduate):

Besides surveying the techniques of writing counterpoint in the style of J. S. Bach, graduate students will engage with source treatises, pedagogical materials, and analytical writings about 18th Century counterpoint. Two papers are required in addition to counterpoint projects.

Required materials (Graduate and Undergraduate): 1) Gauldin, Robert. A Practical Approach to Eighteenth-Century Counterpoint Revised Edition

(Prospect Heights, IL: Waveland Press, 2013, 1988). ISBN # 978-14-7860470-9. 2) Bach, J. S. Keyboard Music (New York: Dover Press, 1970). ISBN # 0-486-22360-4. Needed

here are the two- and three-part inventions, the English and French Suites, and the Partitas, for keyboard performers who already possess their own copies.

3) Bach, das Wohltemperierte Klavier, vols. I and II (any edition will do; recommended for non-keyboard players is the Dover edition, ISBN [10]: 0486245322.

Required materials (Graduate)

1) Bach, J. S. The Art of the Fugue (New York: Belwin Mills)

Reading List (Graduate)

1) Bach, Karl Philipp Emanuel. Versuch über die wahre Art das Klavier zu spielen, Berlin, 1753, 1762, trans. William Mitchell, New York: W. W. Norton and Co., Inc., 1949. 2) Kirnberger, Johann Phillipp. Gründsätze des Generalbasses, als erste Linien zur Komposition. Berlin, 1781. 3) Schenker, Heinrich. Counterpoint (Kontrapunkt), Books I and II. Trans. John Rothgeb and Jürgen Thym. New York: Schirmer Books, 1987. 4) Salzer, Felix, and Schachter, Carl. Counterpoint in Composition. New York: McGraw-Hill Book Co., 1969. 5) Berry, Wallace. “J. S. Bach’s Fugue in D# minor (WTC 1, No. 8): A naïve approach to linear analysis.” In Theory Only, vol. 2/10 (Jan. 1977), pp. 4-7. 6) Larson, Steve. “J. S. Bach’s Two-Part Invention in C Major.” In Theory Only, Vol. 7/1 (May 983), pp. 31-45. 7) McIrvine, Edward C. “Form and Tonality in J. S. Bach’s Settings of Jesu, der du meine Seele.” Indiana Theory Review, Vol. 5/1 (Fall 1981), pp. 1-22. 8) Neumeyer, David. “The Two Versions of J. S. Bach’s A-minor Invention [BWV 784].” Indiana Theory review, Vol. 4/2 (1981), pp. 69-99. 9) Schachter, Carl. “Bach’s Fugue in Bb Major, Well-Tempered Clavier Book I, No. XXI.” Music Forum, Vo. 3 (1973), pp. 239-67.

Grading (Undergraduate): Assignments: 15% Project I (2-voice Chorale Prelude): 10% Project II (2-voice dance movement in binary form): 10% Midterm Exam: 15% Project III (2-voice invention): 15% Project IV (3-voice fugue): 15% Final Exam: 20% TOTAL 100%

Grading (Graduate): Assignments: 15% Project I (2-voice Chorale Prelude): 10% Project II (2-voice dance movement in binary form): 10% Midterm Analytical Paper: 15% Project III (2-voice invention): 15% Project IV (3-voice fugue): 15% Final Paper: 20% TOTAL 100% Expected Competencies:

By the end of the semester, the student will be expected to be able to: -write effective two- and three-voice counterpoint in the style of the late Baroque. -use, in his or her writing, imitative techniques of the period.

-write in typical two- and three-voice forms, such as the invention, chorale prelude, dance movements, and fugue.

-demonstrate a factual knowledge of the melodic, contrapuntal, rhythmic, and formal techniques of the period, including canon, fugue, imitative techniques, and the like.

Attendance Policy: Class attendance is expected; each student is responsible for all information imparted in the

classroom. It is expected that students will contact the instructor in the event of an unavoidable absence. Late assignments and projects will not be accepted and quizzes or exams missed will count as zero unless prior arrangements are made with the instructor.

Important Dates:

January 17: Last day to add a spring class without instructor's approval

January 20: M L King Day: No Classes

January 24: Last day to add (with instructor's approval); last day to drop a class without a W

March 1: Spring Break begins: No Classes until Monday, Mar. 10

March 28: Last day to withdraw (WP/WF) from a class

April 26: Last day of classes

Blackboard:

Changes to the course schedule will be posted on Blackboard, as will online assignments, announcements, and so on. You are expected to have and use an OU email account, and check Blackboard and your OU account regularly.

Plagiarism and Academic Dishonesty:

Duplicating another's work on an exam or assignment, or any other form of academic dishonesty, will result in automatically failing the course and may be referred to student judiciaries.

Special Needs or Disabilities:

Students with documented special needs or a disability may request special services. The student should contact the instructor within the first two weeks of the academic session for making special needs arrangements. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center.

Course Schedule:

Week 1: Chapter 1; review of figured bass, harmonic function, cadential types, secondary function, modulation, etc. Begin Chapter 2.

Week 2: Chapters 2, 3, and 4; melodic structure, pedagogical foundations; begin 1:1 writing in 2 voices.

Week 3: Chapters 4 and 5, 1:1 and 2:1 counterpoint in 2 voices.

Week 4: Chapter 6: Further diminutions; 2-voice chorale preludes, assign Project I.

Week 5: Project I due (2-vce chorale prelude). Chapter 7; free counterpoint, simple 2-reprise forms.

Week 6: Continuation of 2-reprise simple binary form; Project II underway (dance movement in 2 voices). Further techniques of diminution (Chapter 8).

Week 7: Project II completion; Chapter 9, real imitation and double counterpoint.

Week 8: Chapters 9 and 10, 2-voice canon and invention.

Week 9: Project III, 2-voice invention.

Week 10: Project III due; Chapter 11, 1:1 and 2:1 counterpoint in 3 voices.

Week 11: Chapter 12, further diminutions in 3 voices; Chapter 13, chromaticism.

Week 12: Chapter 15, double counterpoint; Chapter 16, canonic writing.

Week 13: Chapter 17, fugue in 3 voices; begin Project IV (fugue).

Week 14: continuation of fugue.

Final exam; completion of Project IV. The final exam is scheduled for Wednesday, April 30, at 10:10 AM. The final paper is due at the same time.

Ohio University Literature of the Orchestra MUS 4213/5213

Spring 2014 Instructor: Steven Huang Office: Music Building 497B Phone: 593-4240 Email: [email protected] Meeting Hours: 9-9.55 T Th Office Hours:TBA Description: A survey of the Western orchestral repertoire from the early Baroque through the twentieth century, with a focus on style, historicism, aesthetics, and analysis. Course Objectives: Students shall gain a comprehensive understanding of musical trends and styles represented by the major composers in orchestral and symphonic repertoire. They will be able to discern unique attributes and stylistic tendencies of specific composers, and to distinguish composers’ works by ear and by score. Course Requirements: Regular class attendance Papers Midterm Final Exam Required Text: The Symphony Orchestra and its Instruments, 1993 ed. or later Sven Kruckenberg Crescent/Random House, 1993 (or 2002) ISBN: 0-517-05175-3 Required Listening: All listenings are available on reserve, or shared through iTunes shared

playlist function See course schedule below Required Reading: All readings are available on reserve. See course schedule below Midterm/Final Exam: Brief essays and excerpt recognition Midterm on THURSDAY, FEBRUARY 27, 9am Final Exam on THURSDAY, MAY 1 at 8:00 a.m. Evaluation: Attendance and participation: 20% Program Note 1 (overture) 5% DUE TH, FEB 13 Program Note 2 (concerto) 10% DUE TH, MAR 13 Program Note 3 (symphonic) 15% DUE TH, APR 17 All optional rewrites: DUE FR, APR 25 Midterm 20% Final Exam: 30% Extra Credit: +10% Program Notes: Each student should prepare 3 papers simulating “program notes” for an orchestra concert. Selection of repertoire is left to the student, but should make sense as a 1½ to 2½ hour concert . Students will discuss aspects including composer’s biography (if necessary), history of the composition, formal and orchestrational elements, and general aesthetic considerations. Please speak with me regarding your topic before you start writing.


Spring 2014 All program notes should be double spaced with standard, 1-inch margins in Times 12-point, and should be submitted as Word documents, either through Blackboard or as an e-mail attachment. All papers can be resubmitted once for a higher grade, up until the last day of the class. Late papers will be penalized by ½ grade lower for first week; 1 grade lower for second week. Papers submitted two weeks late will not be able to receive a grade higher than a C. Program Note 1 should be between 2 - 3 pages. The topic is an overture of your choice. Program Note 2 should be between 3 - 5 pages. The topic is a concerto of your choice. Program Note 3 should be between 6 - 8 pages. The topic is a symphony or other large work of your choice. Midterm and Final Exam: Both will include listening identification, quote discussion from the readings, and free response. The Midterm will cover material through Week 4/Beethoven; The Final will be comprehensive. Both tests will be “open syllabus”—you will be provided with the list of works below. Only the boldfaced pieces will be tested in the listening section. Extra Credit: Students may attend an orchestral concert (not pops) at the Cincinnati, Columbus, or Ohio Valley Symphony, and write a 4-5 page review of the concert. Reviews must be written in a journalistic style, including pertinent background information regarding the repertoire and/or performers. Students must turn in a copy of their program, along with a copy of their ticket stub, with the paper. GRADUATE STUDENTS: Will meet on a biweekly basis for seminar discussion of additional works. Graduate students should be prepared to present and discuss one piece each of their choice, as well as present a short, one-page outline of their discussion. Time and length to be determined. As the seminar discussion is meant as a practicum, evaluation will be solely based on complete/incomplete.


Spring 2014 Week 1 & 2: Origins and the High Baroque Orchestra Reading: Kruckenberg, pp. 13-37

-Peyser, Joan, ed. The Orchestra: Origins and Transformations. Scribners, New York. 1986. “The Consolidation of the Main Elements of the Orchestra: 1470-1768” by Robert L. Weaver. pp. 1-14 (thru “The Addition of Colla Parte Winds”). ML 1200 .O75 1986.

Listening: Vivaldi, Le quattro stagioni, “Primavera”, CD 1702 J., S. Bach, Brandenburg Concerto #5 CD 3935, v. 12, Disc 3 J. S. Bach, Orchestra Suite No. 3 in D Major CD 3935, vol. 12, Disc 8 Monteverdi, Il Combattimento di Tancredi e Clorinda, CD 4136 Corelli, Concerti, Op. 6 No. 8, “Christmas” CD 4961

Week 3: Birth of the Symphony; First Viennese School, Part 1: Haydn and Mozart Reading: Kruckenberg, pp. 38-52

-From Groves, 2001 edl.: “Symphony” entry, vol. 24, pp. 812-816 (thru “precursors”), pp. 819-830. -Robbins Landon, C. The Mozart Compendium. Schirmer, New York. 1990. pp. 255-258. ML 410 .M9 M6995 1990.

Listening: Mozart, Symphony No. 29 CD 942, Disc 7 Haydn, Symphony No. 104, “London”, CD 539 v. 8, Disc 4, tracks 5-8 Haydn, Symphony No. 60, “Il Distratto”, CD 539 vol. 5, Disc 1 Haydn, Symphony No. 94, “Surprise”, CD 539 vol. 7

Week 4 & 5: First Viennese School, Part 2: Mozart and Beethoven

Reading: -Cooper, Barry, ed., The Beethoven Compendium. Borders, Ann Arbor. 1991. pp. 169-172 (Heiligenstadt Testament). On reserve, private copy of instructor.

Listening: Mozart, Symphony No. 41, “Jupiter” CD 942, vol. 3, Disc 11 Beethoven, Symphony No. 3, “Eroica” CD 1764

Mozart, Symphony No. 40 CD 942, vol. 3, Disc 11 Beethoven, Overture to “Coriolan” CD 4956, vol. 32

Beethoven, Symphonies No. 1, 5 CD 089; CD 164 Assignment: PROGRAM NOTE #1 DUE THURSDAY, FEB. 13, 2014


Spring 2014 Week 6: Beethoven the Romantic, and Berlioz the Pioneer Reading: Kruckenberg, pp. 53-59

-Berlioz, Hector. Memoirs. Newman, E., trans. Dover, New York. 1966. pp. 66, 91-93 (regarding Harriet Smithson). ML 410. B5 A243 1966. -Hoffman, E. T. A. Musical Writings: Kreisleriana, The Poet and Composer, Music Criticism. Charlton, David., ed. Cambridge UP, New York. 1989. pp. 96-103 (Beethoven’s Instrumental Music). ML 196 .H7 1989. -Tovey, Donald Francis. Essays in Musical Analysis, vol. 2. Oxford, London. 1935. “Beethoven: Ninth Symphony”, pp. 35-45 (subchapter about the Finale). MT 90. T6 E8 vol. II

Listening: Beethoven, Symphony No. 6, “Pastoral” CD 164 Berlioz, Symphonie fantastique CD 1888 Beethoven, Symphony No. 9, “Choral” CD 162 Week 7 & 8: The Romantic Symphonists Reading: Kruckenberg, pp. 60-67

-Plantinga, Leon. Schumann as Critic. Da Capo, New York. 1976. pp. 235-250, pp. 263-267 (Schumann’s views of contemporaneous composers). ML 410 .S4 P6 1976.

Listening: Mendelssohn, Symphony No. 3, “Scottish” CD 3428, Disc 1 Schumann, Symphony No. 3, “Rhenish” CD 5268 Schubert, Symphony No. 8, “Unfinished” CD 5249 Mendelssohn, Hebrides Overture CD 9105 Assignment: MIDTERM THURSDAY, FEBRUARY 27 SPRING BREAK Week 9: Brahms, the Romantic Classicist; Wagner, Liszt, and their Circle

Reading: -Burbidge, Peter, and Sutton, Richard, eds. The Wagner Companion. Cambridge UP, New York. 1979. pp. 15-33 (Richard Wagner: Man and Artist). ML 410 .W13 W34x.

-Hanslick, Eduard. Music Criticisms, 1846-1899. Pleasants, H., trans. Penguin, Baltimore.1950. pp. 53-57 (Liszt’s Symphonic Poems); pp. 157-159 (Brahms’s Symphony No. 2); pp. 207-209 (Wagner’s Death); pp. 214-227 (Tristan und Isolde). ML 60 H2043.

Listening: Brahms, Symphony No. 1, CD 6219 Brahms, Concerto for Violin and Orchestra CD 4086 Brahms, Symphony No. 2 CD 6217 Assignment: PROGRAM NOTE #2 DUE, THURSDAY, MAR. 13, 2014


Spring 2014 Week 10 & 11: Nationalism and the Russian Tradition Reading: Kruckenberg, pp. 68-75

-Russ, Michael. Musorgsky, Pictures at an Exhibition. Cambridge UP, New York 1992. pp. 1-5 (“Pictures at an Exhibition and 19th Century Music, thru “Genre” subchapter), and plates between pp. 49 and 50. ML 410 .M97 R9 1992 -Jackson, Timothy L. Tchaikovsky, Symphony No. 6 (Pathetique).Cambridge UP, New York. 1999. pp. 36-73 (The ‘not-so-secret’ program—a hypothesis). ML 410 .C4 J33 1999.

Listening: Tchaikovsky, Symphony No. 6 CD 6709 no.93 Tchaikovsky, Symphony No. 4 CD 1468, vol. 1

Rimsky-Korsakov, “Russian Easter Overture” CD 3468 Sibelius, Symphony No. 2, CD 881

Dvorak, Symphony No. 9, “From the New World” CD 693 Week 12: French (after Berlioz)

Reading: -Baron Adolf de Meyer. L’Apres-midi d’une Faune: Vaslav Nijinsky, 1912. Dance Horizons, New York. 1983. pp. 39-48 (Mallarmé’s original poem, with Huxley’s translation). GV 1790 .A3 A67 1983. -Boulez, Pierre. Notes on an Apprenticeship. Knopf, New York. 1968. pp. 334-357 (Claude Debussy, focusing on last five pages). ML 60 .B796 R43

Listening: Ravel, La valse CD 3932 Debussy, Prelude to “L’Apres-midi d’une faune” CD 1235

Debussy, Jeux CD 1180, vol. 1 Debussy, La Mer CD 1235

Week 13: Fin de siecle late Romanticism and Modernism

Reading: -Ross, Alex. “The Last Emperor: Richard Strauss.” The New Yorker, Dec. 20, 1999. A copy is available on reserve, or on the web at http://www.therestisnoise.com/2004/04/richard_strauss.html

Listening: Mahler, Symphony No. 1 CD 3469 R. Strauss, Don Quixote CD 5572 vol. 7, no. 1 R. Strauss, Don Juan CD 1830

Bruckner, Symphony No. 4, “Romantic” CD 1526

Assignment: PROGRAM NOTE #3 DUE THURSDAY, APRIL 17, 2014


Spring 2014 Week 14: The 20th Century Orchestra

Reading: Kruckenberg, pp. 82-87 -Stravinsky, Igor. Poetics of Music in Six Lessons. Knodel, A., and Dahl, I., trans. Vintage, New York. 1956. pp. 3-22(“Getting Acquainted”). ML 410 S932 A12 1956.

Listening: Bartok, Music for Strings, Celesta, and Percussion CD 3825 Stravinsky, Le sacre du printemps CD 2089 Messiaen, Turangalîla Symphony CD 2794

Stravinsky, L’histoire du soldat CD 2089 Copland, “Appalachian Spring” Suite for 13 Instruments, CD 4202 Stravinsky, L’Oiseau de feu CD 2089 Prokofiev, Symphony No. 1 “Classical” CD 8816 Shostakovich, Symphony No. 5 CD 5212 Bold denotes required listening; non-bold denotes additional listening presented in class. Other references (not on reserve): -Tovey, Donald Francis. Symphonies and Other Orchestral Works. New York: Oxford University Press, 1989 [orig. publ. 1935-39].

Detailed analyses of orchestra works selected from the standard repertoire. MT 125 T69 1989

-www.cso.org/programnotes

Sample program notes from the Chicago Symphony Orchestra - http://imslp.org/wiki/Main_Page

The International Music Score Library Project is an ongoing project seeking to create a virtual library containing all public domain musical scores. Several scores to the repertoire in this class can be found at this site.

Disability Statement Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. If you are not yet registered as a student with a disability, please contact the Office of Disability Services at 740-593-2620 or visit the office in 348 Baker University Center.

1

MUSIC 4280/5280 Jazz History Time: Tuesday: 7:00–8:50 PM Location: Robert Glidden Hall, Room 476 Instructor: Dr. Garrett Field, e-mail: [email protected] Office: 31 S. Court Street, Lower Level 068 (#055) Office Hours: Tuesdays and Thursdays 10–12 What is this course about? This course is about (1) the fundamentals of jazz and the (2) history of its musical styles. For graduate students, the class is also about (3) how jazz musicians improvise and (4) how scholars attempt to study jazz improvisation. What will I do in this class? 1. Identify fundamental musical features of jazz 2. Analyze these features in recordings and a live performance 3. Explain how musical style in jazz changed during the twentieth century 4. Explore what jazz can teach us about American history 5. Conduct research and make a Power Point presentation based on findings As a graduate student, what will I do in this class? The five activities listed above, plus: 6. Write clearly and effectively about jazz improvisation and interaction 7. Synthesize readings and make coherent arguments 8. Assess strengths and weaknesses of scholars’ attempts to study improvisation What textbook/recordings are required? Jazz by Scott DeVeaux and Gary Giddins. 2009. New York: W.W. Norton & Company The Norton Jazz Recordings: 4 Compact Discs for use with Jazz The textbook and recordings are available new, used, or for rent at two campus bookstores: College Book Store and Follett’s Bookstore. What are the additional required books for graduate students? Thinking in Jazz: The Infinite Art of Improvisation. Paul Berliner. 1994. Chicago: The University of Chicago Press. ISBN: 0226043819 Saying Something: Jazz Improvisation and Interaction. Ingrid Monson. 1996. Chicago: The University of Chicago Press. ISBN: 9780226534787 These books are also available at College Book Store and Follett’s Bookstore.

2

What are the main assignments for the class? 1. Research presentation 2. Analysis of a live jazz performance

Graduate students also have these main assignments: 3. Ten discussion board posts 4. Two Midterm Essays 5. Two Final Essays

What is the research necessary for the research presentation (for undergrads)? In the first week of class, students select one jazz musician on which to focus. Then s/he should follow these steps: Step 1: Study one library book or one article about the musician The student must use at least one book from the Music Library, or one article found on JSTOR (In class, Dr. Field will explain this in more detail.) The article must be longer than ten pages. Step 2: At YouTube, select one jazz performance (live or recorded in the studio) of the musician For example, if the student selects Miles Davis, s/he should first find a discography of Miles Davis on the Internet. Many of discographies of jazz musicians can be found on Wikipedia. Then the student must search for that album (or a track from that album) in the YouTube search box. Below, I selected Miles Davis’s album “Cookin’” After the advertisement, the top four results are:

3

The next step is to listen to one track from the album many times and create a Listening Guide like the Listening Guides found in Jazz. You will present this listening guide in your Power Point presentation. Step 3: create a Power Point presentation (8–10 minutes) The presentation has three parts:

1. Introduce your research a. What article or chapter from a book did you read? b. What piece of music did you select from YouTube?

2. Discuss the book or article you read a. What you discuss should be something unique that you found in the book or

article. Do NOT tell us basic information like the musician’s dates of birth/death. We can find such information in the textbook. Also, do NOT tell us something that can be found on the Internet or Wikipedia. What specifically does the book chapter discuss? What are the arguments found in the article and how does the author use evidence to support his/her argument? What are the strengths and weaknesses of the book chapter or article?

b. At least twice, the student must cite from the book or article in their Power Point slides.

4

3. Listening Guide a. The student must lead the class through the recording by presenting their own

listening guide. Students should use the textbook’s listening guides as a model. b. Students must use vocab learned from the textbook (ex. “strain,” “breaks,”

“cadence,” “call and response,” “double-time” etc.)

The Power Point presentation should last around 10 minutes. Students should practice their presentations to make sure it is within this time range. Unless students have a doctor’s note, those who miss their presentation automatically get a zero on the assignment. Finally, every student must upload their Power Point presentation (.ppt or .pptx) to the MUS 4280/5280 Jazz History folder at box.com before they present in class (Dr. Field will explain this in more detail). What is the research necessary for the research presentation (for grads)? Graduate students should follow the same general procedure above. However, they are expected to do more work. That is, they must cite from at least 6 different sources (article and/or books) in their presentation, and their listening guide must be more detailed than the undergraduate version, demonstrating that they have deeply understood the improvisation and interactions studied. For the listening guide, graduate students must transcribe and analyze at least three isolated musical moments. What is the analysis of a live jazz performance? All students must attend a jazz performance in Athens and write a report about it. Dr. Field will provide more information in class about this assignment. Graduate Students: How are discussion board posts graded? Correct length (500–600 words) 2 points Answer is sufficient 8 points

A “sufficient” answer will vary according to the question. Regardless of the question, graduate students must cite at least four times from the readings. Most of the prompts ask the students to relate the graduate-level reading to the weekly recordings analyzed in Jazz. For example, I might ask you to relate the issues pertaining to improvisation that Berliner discusses in Thinking in Jazz to Coleman Hawkin’s “Body and Soul” improvisation (Disc 2 Track 10). Responses are due Mondays by 9 PM. Responses submitted less than 24 hours after the deadline will be marked down two points. Responses submitted 24 hours past the deadline receive a 0. There are no makeups for discussion board posts. What are the exams in jazz history? Exams consist of 20 multiple-choice questions and 20 true/false questions. (Approximately 10 multiple-choice questions will be listening identification questions. You listen to an excerpt of a recording and identity the title of the composition, name of the composer or performer, or the compositional form.) Your lowest test score will be dropped. No makeup exams will be given

5

unless the student has an official note from a doctor. If you miss an exam, it will automatically become your dropped score. The final will not be cumulative. What are the midterm/final graduate essays? For the midterm and final, graduate students have one week to answer two essay questions. The two essay questions will require them to synthesize material from the readings and make a coherent argument. What is “participation”? All students should be prepared to: 1. Summarize the gist of the week’s chapter 2. Explain bolded concepts in the week’s chapter 3. Identify musical features in the recordings 4. Reflect on strengths and weaknesses of the readings 5. Ask questions to clarify concepts, or raise discussion questions Participation will be judged according to this rubric:

A Exemplary B Competent C Developing D Poor Attends class regularly and is always eager to participate by answering questions, raising thoughtful questions, asking for clarification, building on other’s ideas, synthesizing across readings, expanding the class’s perspective

Attends class regularly and sometimes contributes to the discussion in the aforementioned way

Attends class regularly but rarely contributes to the discussion in the aforementioned way

Attends class regularly but never contributes to the discussion in the aforementioned ways

Undergraduates: How will I be evaluated? Five exams (lowest score dropped) 160 points Analysis of live jazz performance 40 points Presentation 40 points Participation 20 points Graduates: How will I be evaluated? Five exams (lowest score dropped) 160 points Analysis of live jazz performance 40 points Presentation 40 points Participation 20 points Ten Discussion Board Posts 100 points Midterm Essays 50 points Final Essays 50 points What is the overall grading scheme? A=93.0+ (OU does not use A+) A-=90.0-92.99

6

B+=87.0-89.99 B=83.0-86.99 B-=80.0-82.99…

MUS 5280 SCHEDULE, SPRING 2016

1/12 Ch. 1 in Jazz: Musical Elements and Instruments

Grad Reading: Thinking in Jazz Chapters 1 and 2 1/19 Ch. 2 in Jazz: Jazz Form and Improvisation Grad Reading: Thinking in Jazz Chapters 3 and 4 Grad Prompt 1 1/26 Ch. 3 in Jazz: Roots of Jazz Exam 1 Grad Reading: Thinking in Jazz Chapters 5 and 6 Grad Prompt 2 2/2 Ch. 4 in Jazz: New Orleans Grad Reading: Thinking in Jazz Chapters 6 and 7 Grad Prompt 3 2/9 Ch. 5 in Jazz: New York in the 1920s Grad Reading: Thinking in Jazz Chapters 8 and 9 Grad Prompt 4

2/16 Ch. 6 in Jazz: Louis Armstrong Exam 2 Grad Reading: Thinking in Jazz Chapters 8 and 9 Grad Prompt 5 2/23 Ch.7 in Jazz: Swing Bands Grad Reading: Thinking in Jazz Chapters 10 and 11 Grad Prompt 6 3/1 Spring Break

7

3/8 Ch. 8 in Jazz: Count Basie and Duke Ellington Grad Reading: Thinking in Jazz Chapters 12 and 13 Grad Midterm Essays 3/15 Ch. 9 in Jazz: Swing Era Soloists Exam 3 Grad Reading: Thinking in Jazz Chapters 14 and 15 Grad Prompt 7 3/22 Ch. 10 in Jazz: Rhythm in Transition Grad Reading: Saying Something Intro and Chapter 1 Grad Prompt 8 3/29 Ch. 11 in Jazz: Bebop Grad Reading: Saying Something Chapters 2 and 3 Grad Prompt 9 4/5 Ch. 12 in Jazz: The 1950s: Cool Jazz and Hard Bop Exam 4 Grad Reading: Saying Something Chapters 4 and 5 Grad Prompt 10 4/12 Ch. 13 in Jazz: Jazz Composition in the 1950s Grad Reading: Saying Something Chapters 6 and coda 4/19 Ch. 14 in Jazz: The Modality of Miles Davis and John Coltrane Finals Week Exam 5

Grad Final Essays Academic Integrity Duplication of another’s work or other cheating results in failing the course and being referred to University Judiciaries for further disciplinary action. Special Accommodation Any student who suspects s/he may need an accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, s/he should contact the Office of Student Accessibility Services.

8

Classroom Etiquette Switch off electronic devices. You can use a computer if you are taking notes. All materials associated with this class and developed by the instructor are copyrighted in the name of Garrett Field on this date, September 24, 2015.

MUT 4902/5902 Special Topics in Post-Tonal Analysis Ohio University

Spring 2015 Professor Information, Course Schedule, and Syllabus

Professor: Dr. Ciro G. Scotto Office: MUS 591B email: [email protected]

Office Hours: T/TH 9:30-10:30 or by appointment

Course Info: Class Number: 10436 (undergraduate) 10437 (graduate) Section: 100 Credits: 3 Meeting Time: MWF 11:50-12:45 Location: Glidden Hall 550

Prerequisites: Grade of C- or better in Theory IV, MUS 2020.

Required Course Materials

Text (4070/5070): Introduction to Post-Tonal Theory by Joseph N. Straus Pearson Prentice Hall: ISBN 0-13-189890-6. MT40.S96 2005

Text (5070): Class Notes for Atonal Music Theory by Robert Morris Basic Atonal Theory by John Rahn

Journal Articles (5070):

Babbitt: “Since Schoenberg,” Perspectives of New Music, Vol. 12 No. 1 and 2 (1973-4).

Cohn, Richard: “Inversional Symmetry and Transpositional Combination in Bartók.” Music Theory Spectrum, Vol. 10 (1988): pp. 19–42.

Cohn, “Properties and generability of Transpositionally Invariant Sets.” Journal of Music Theory, Vol. 35 (1991), pp. 1-32.

Forte: “Sets and Non-sets in Schoenberg’s Atonal Music,” Perspectives of New Music, Vol. 11/1 (1972): 453-64

Hasty, Christopher: “Segmentation and Process in Post-Tonal Music,” Music Theory Spectrum, Vol. 3 (1981): 54-73.

Lewin: “A Theory of Segmental Association in Twelve-tone Music,” Perspectives of New Music, Vol. 1 No. 1.

___________ ”Transformational Techniques in Atonal and Other Music Theories.” Perspectives of New Music 21 (1982-83): p. 312-71.

___________ “Musical form and Transformation: 4 Analytic Essays. New Haven: Yale University Press, 1993, Chapter 3.

___________“A Tutorial on Klumpenhouwer Networks,” using the chorale in Schoenberg's Opus 11, No. 2. Journal of Music Theory Vol. 38, (1994): p. 79-101.

__________”Klumpenhouwer Networks and Some Isographies that Involve Them.” Music Theory Spectrum 12/1 (1990): p. 83-120.

Morris, Robert. “A Similarity Index for Pitch-Class Sets.” Perspectives of New Music Vol. 18/1 and 2 (1979-80): p. 445-460.

_____________”Equivalence and Similarity in Pitch and Their Interaction with PCSet Theory.” Journal of Music Theory Vol. 39 (1995): p. 207-43.

_____________“K, Kh, and Beyond,” in Music Theory in Concept and Practice (James M. Baker, David W. Beach and Jonathan W. Bernard, eds.) (Rochester, NY: University of Rochester Press, 1997)

Rahn: “How Do You Du (by Milton Babbitt)?” Perspectives of New Music, Vol. 14/2 and 15/1 (double issue, 1976): 61-80.

_____________ “Relating Sets.” Perspectives of New Music Vol. 18/1 and 2 (1979-80): p. 483-497.

Scotto,Ciro, “Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb” http://societymusictheory.org/mto/issues/mto.02.8.3/mto.02.8.3.scotto_frames.html

Straus, Joseph: “Voice Leading in Atonal Music.” Music Theory in Concept and Practice Rochester: University of Rochester Press, 1997: p. 237-273.

Notation Program: We will use the notation program Sibelius or Finale for all of our work. If you do not own a copy of either program, the music lab computers all have the program installed. If you have never used Sibelius, we will have a few training sessions.

Additional Materials: Manuscript paper or music staff paper, pencils, erasers (most important), and pencil sharpeners. If you prefer printing your own music paper, use a good music notation program, such as Sibelius or a web site, such as www.blanksheetmusic.net for free manuscript paper. I will give you extra credit for appropriate assignments completed using a notation program. Obtaining a three ring binder to store and organize the copious class handouts is a very good idea.

Interactive Study Guides:

E-mail: You must have an e-mail account. This will be our primary means of communication outside the classroom and office hours. If you have a question about course material or any other course related matter, you can always reach me by e-mail. I will also use e-mail to send important announcements to the entire class. If you use an e-mail address that is different than your USF address, send me a message at [email protected] with your preferred email address. You should check your email regularly for information pertaining to the class.

Blackboard: I will post all class notes and homework assignments on Blackboard. The Blackboard site for the class will contain additional required and supplementary materials. Students are responsible for knowing this material whether it is covered in class or not. I will also be posting grades on Blackboard.

Course Guidelines, Policies, and Grading

Course Objectives and Course Structure (4070/5070): This is a course designed to both introduce you to twentieth century Western Art Music and teach you the skills and techniques required to analyze this repertoire. Your text for the course provides some of the analytical tools needed to analyze twentieth century music. The lectures will focus on solidifying your understanding of the theoretical tools and applying those tools to specific compositions. The class is divided into four units: Unit I—Fundamentals (1/5—1/26): Since the force of functional tonality becomes much less apparent in the compositions in this unit, we will acquire new analytical tools as part of our attempt to understand how these compositions work. We will also examine how Twentieth-Century composers extended the techniques of romantic composers and of tonal music itself.

Unit II—Atonal Compositions (1/28—3/9): We will use the analytical tools acquired in the previous unit and learn some new techniques to helps us analyze compositions in the second atonal unit. These compositions no longer rely on functional tonality as their main organizing principle. As well as analyzing works, we will attempt to use our "reverse engineered" knowledge to create a short composition Unit III—Twelve-Tone Music (3/11—4/6): In this unit, we will learn about one of the most significant compositional developments in the twentieth century, twelve-tone or serial composition. We will examine the way composers used an ordering imposed on the twelve pitch classes to create structural relationship in their compositions. The concepts and techniques to be studied in this unit are the aggregate, twelve tone rows, order positions, 12 X 12 matrix, row names, basic row operations, row segments, subset structure, repeated notes, simultaneous occurrence of row forms, row linkage (secondary sets), invariance, combinatoriality, twelve-tone areas, and row partitions.

Unit IV-New Musical Spaces, Timbre, and Texture (4/8—4/15): The third unit of our selective exploration of the twentieth

century focuses on the works of composers, such as Carter, Crumb, and Schwantner, who continued to develop the techniques of atonal composition. That is, they continued to work with unordered collections. These composers also worked with timbre as a musical parameter in the same way that traditional composers worked with pitch. Many of these compositions contain extended instrumental techniques, such as multiphonics. We will also explore the influence of the developments in technology on compositional structures. Unit V—20th Century Tonality/Minimalism (4/20—4/22): In this unit, we will examine the works of composers who turned away from the complexities of serial and atonal composers (for example, Hindemith, Reich, and Glass). We will examine the way some composers continued the development of traditional tonality and incorporated elements from atonal music into this new hybrid music.

Supplemental (5070): Students registered for 5070 will do additional readings of source material specifically from journal articles. In addition, graduate students will write two papers, a shorter midterm paper of approximately 10 pages, and a longer final paper of approximately 20 pages. The papers can be analytical or theoretical in nature.

Attendance: It is essential that you attend each lecture.

1) An attendance sign-up sheet will be at the entrance to the class. You must sign this sheet as you enter the class. If you are late, you will not be able to sign the sheet. Therefore, being late is equivalent to being absent.

2) You must attend lectures to develop a command of the material because each lecture builds on the material presented in previous lectures. Missing a lecture can create a gap in your understanding of the material.

3) I understand the pressures of balancing academic and performing commitments. If you miss class, you are responsible for all material covered during lectures.

4) If you must miss class, please leave a message in my voice mail before the class meeting (813) 974-5430.

5) Furthermore, office hours with a TA or me will ONLY cover material from the current week. If you do not understand the lecture material, because you have not been attending lectures, you will have to hire a tutor to help you catch up.

6) Excused absences must be documented by either a physician or USF Student Services. Illness, religious observance, and family emergencies are all valid excuses for absence if they are documented.

7) Students who anticipate the necessity of being absent from class due to the observation of a major religious holiday must provide notice of the date(s) to the instructor, in writing, by the second class meeting. A poor attendance record (missing four or more lectures) is ground for failure.

Lectures: The lectures demonstrate how to apply the concepts we learn to music.

1) You must pay attention during class. Do not talk or text during class. Shut off or silence your cell phones before the start of class.

2) Students must read the assigned material for a lecture before attending the lecture. Come to class prepared with questions about the material.

3) Students are responsible for the content of the text whether the lecture addresses the material or not.

4) You are responsible for all the material presented in the lectures.

5) Have all handouts and musical examples with you at every lecture. Even though the course moves in a linear progression, material from previous lectures may be relevant to the current lecture.

6) Please number the measures of any scores given out in class. Pickup measures do not count in the numbering. First and second endings receive the same measure number. Add the letter A to first endings and B to second endings.

7) Come to class ready to participate. I like active classrooms. Although I enjoy hearing myself talk, I would enjoy interacting with you even more.

8) If you have any questions that were not covered during the lecture, or if you do not understand the material, make sure you come to an office hour. If you cannot make the office hour, send me an email to arrange a meeting.

Taping Lectures: I give my permission to tape my lectures and to sell notes or tapes of lectures.

Academic Integrity: Intellectual honesty is obligatory in this course. This means that you must never pass off the ideas or work of someone else as your own. A student found guilty of such an offense will automatically fail the course. The restrictions against plagiarism apply not only to exams and term papers, but also to daily assignments. Review the academic integrity policy at USF: http://www.ugs.usf.edu/catalogs/0405/adadap.htm and http://www.cte.usf.edu/plagiarism.htm.

Grading (4070): Assignments 40% Midterm Exam 15% Final Paper 20% Compositions/Quizzes 15% Attendance 10%

Grading (5070): Assignments 40% 1st Analysis Paper 15% Final Paper 20% Compositions/Quizzes 15% Attendance 10%

Grading Scale:

A+ (97-100) Grades in the A range represent truly excellent work, showing a high degree of mastery of the subject matter. This work is error-free (or nearly so), and displays musicality and creativity. Exceptionally high grade.

A (93-96)

A- (90-92)

B+ (87-89) Grades in the B range are given to work that shows good

to strong basic command of the material, with few errors. A high grade. B (83-86)

B- (80-83)

C+ (77-79) Typically, C work shows some understanding, and some

lapses in understanding of concepts. Work that falls in the C range generally contains errors that reveal misunderstandings or weak mastery of the material. A fair grade.

C (73-76)

C- (70-72)

D+ (67-69) Work that receives a grade of D is very weak, showing

poor understanding and little mastery. A low grade. D (63-66)

D- (60-62)

F (below 60) Unacceptably poor work. A very low grade.

0 Work not submitted

Grading Policy:

Incompletes: No incomplete course grades will be given unless extraordinary circumstances keep you from finishing the course.

Attendance: Each unexcused absence will result in a .5 deduction from your final grade. For example, if your final tally of homework, quizzes and exams yields 91 points, three absences will result in a 1.5-point deduction. Your grade will change from an A- to a B+.

Homework:

1) Incomplete assignments: if assignments are handed in partially complete, they will be graded as follows: Top grade for an assignment 3/4 complete: B Top grade for an assignment 1/2 complete: D- (1/2 to 3/4 complete: scaled accordingly.)

2) I will not accept late homework unless you were absent from class with a documented excuse.

3) Hand in all homework as you enter class. After you sign the attendance sheet, place your assignment in the homework pile.

4) Students cannot make-up a homework assignment.

5) No extra credit work substituting for assignments will be given.

6) If you believe an error occurred in the grading of your assignment, contact me by email to arrange a meeting.

Exams and Quizzes:

1) Quizzes and exams test a students understanding and level of skill acquisition.

2) The quizzes and exams cover material in the assigned readings, lectures, and homework.

3) I reserve the right to give a surprise quiz, if I feel the course material is not receiving the attention it deserves.

4) No make-up exams or quizzes will be given.

5) The dates for midterm exam and quizzes (except surprises quizzes) are listed in the course schedule. The final exam will be announced in class and on Blackboard.

6) The exams and quizzes may consist of short answers questions, multiple choice questions, analysis, and part writing.

7) If you believe an error occurred in the grading of you exam or quiz, contact me by email to arrange a meeting.

Exam Study Guide:

1) Take notes in class.

2) Use your notes to study for exams.

3) When reading your text, highlight important concepts and key words.

4) Review old assignments, especially assignments where you lost points for errors. Make sure you know how to correct those errors.

5) Do not do your homework 5 minutes before class. Acquiring musical knowledge is a slow and steady process. A little work every day is worth more than a marathon study session one day before an exam.

6) Ask questions in class.

7) Come to an office hour.

Semester Progress: I will post weekly progress reports on Blackboard. Your weekly progress consists of your attendance deductions (if any) plus your homework and exam grades. In other words, it will show you what your final grade would be if the semester ended in the current week. You will also receive a midterm grade progress report.

All reading assignments are preparation for the following lecture. For example, the reading for the 1/19 lecture is assigned on 1/14. You are responsible for all reading assignments. I may give a pop quiz on the reading assignments. Homework: the description of the assignments is very general. However, they will be similar to the assignments listed at the end of each chapter in the text. If you want to extra practice, do the assignments at the end of the chapter.

Course Schedule:

Week Day Topic Reading Assignment Due Date

Unit I-Fundamentals

1 M-1/5 Introduction Context, Expectation, Language, Interpretation. X-files, perception SB and Wherever I May Roam Stravinsky and Bach New Functions for Motives New Foundations for Musical Structure: Intervals

None None

W-1/7 Into the Twilight Liszt-- Bagatelle without Tonality New Functions for Motives New Foundations for Musical Structure: Motive and their Intervals Musical Syntax derived from motivic structure Form—derived from interval distribution rather than harmonic function Concepts: Informally Introduction to: Octave Equivalence, Enharmonic Equivalence, Pitch Class, Sets, Subsets, Inclusion.

None Composition Assignment I: Write an eight-measure phrase using the three dim7 chords as the source material. Create a quasi antecedent consequent phrase structure

1/12

2 M-1/12 Cont. None Analysis I Unstern 1/21 W-1/14 Theme from Webern’s Symphonie, Op.

21 and one variation. Theme: New Types of Intervals Concepts—Formal: Octave Equivalence, Pitch Class, Enharmonic Equivalence Integer Notation (mod 12) New Interval Notation Pitch intervals (ordered and unordered), Contour

Straus, Chap. 1

3 W-1/21 Cont. Theme: Introduction to Pitch-class

Handout Assignment on Intervals

1/26

Sets and Set Classes Interval Vector (not matrix method) Informal Introduction to Transposition and Inversion (Based on tonal transposition and inversion)

(Rahn) Exercises on integer notation Translate integer notation to pitch (two versions of same string of numbers) Mod 12 exercises

4 M-1/26

Cont. Analysis

Unit II Atonal Pitch-Class Set Theory

W-1/28 Voiles by Debussy (Aliens—foreshadowing, connection of non-adjacent points). Concepts: Trichordal Set Classes Interval Vector (matrix method) Transposition and inversion—new foundations for relating musical structure

Straus, Chap. 2

Composition Assignment II: Compose a four-measure phrase based on intervals as the source material. Analyze your phrase.

2/2

5 M-2/2 Voiles by Debussy Symmetrical Collections/Interval Cycles Form—derived from interval distribution rather than harmonic function

Analysis: Trichordal analysis of theme from Piano Variations

2/4

W-2/4 Concerto for Nine Instruments, Op. 24 by Webern, mm 1-8 Theme: more application of interval concepts Segmentation Continue Introduction to Sets—trichrods, tetrachords, and identification by interval vector.

Handout Assignment on Transposition and Inversion (Based on Webern Assignment)

2/9

6 M-2/9 Concerto for Nine Instruments, Op. 24 by Webern, mm 1-8 Concepts: Formal version of transposition and Inversion Pitch Transposition versus Pitch-class transposition Pitch and pitch class transposition Ordered and unordered sets Pitch and pitch class inversion, ordered and ordered inversion of sets, index

Webern Handout Analysis Assignment

2/16

number W-2/11

Music for Strings, Percussion, and Celeste (Fractals) Concepts: Interval Cycles as generators of form Transposition and inversion—new foundations for relating musical structure Analysis of Theme Concepts: More on segmentation, More on transposition and inversion, Introduction to transpositionally and inversionally symmetrical sets [0167], [0156]. (set classes that have fewer than 24 distinct forms)

Straus, Chap. 3

7 M-2/16 Cont. Composition Assignment III: Compose a theme that is at least 8 measures long that uses intervals and trichords to structure the theme. Theme must contain two examples of transposed or inverted set-classes. Provide and analysis of the theme.

2/18

W-2/18 III, Carter String Quartet no. 1, mm 1-8. Concepts: Z-relation, the trichord and tetrachordal set classes, subsets, Introduction to Normal Form-Comparing pitch-class sets.

Analysis II—set classes and set class relations (Sicut Umbra)

2/23

8 M-2/23 String Quartet, Op. 5, mov. IV, by Webern Or Mondestrunken Analysis of the piece Process in the piece Concepts: Pitch class sets—trichords and tetrachords

subsets Segmentation and analysis Common Tones under Tn and TnI.

W-2/25 Nacht from Pierrot Lunaire and Piano Piece no. 1 from Op. 11 Concepts: Set Class Algorithm Ccommon Tones under Inversion and Transposition.

Midterm Project 3/11

3/2-3/8

Spring Break

9 M-3/9 Altenberg Lieder, no. 2, by Alban Berg Application of concepts

Unit III 12-Tone Theory

W-3/11 Dallapicolla: Sicut Umbra, Movement III Webern: Symphony, Op. 21, Mov. II Concepts: Naming 12-tone Rows Producing a matrix Basic operation Subset structure Complement relation Using the 12-tone row to control subsets

Straus, Chap. 5

Handout Assignment on 12-tone rows: Create matrix for row Provide interval series for all four forms Find rows by name Subset content of row

3/16

10 M-3/16 Webern: Symphony, Op. 21, Mov. II Analysis of piece Concepts: 12-counting a piece

Analysis III: Find rows in Variation III of Op. 21 Mov. II.

3/23

W-3/18 Schoenberg, Op. 33a. Apply all concepts Theme: Invariance and centrist sets Concepts: Invariant sets as part of a row and their effect on row structure Webern: Symphony, Op. 21, Mov. 2, Var IV

11 M-3/23

Theme: Invariance and centrist sets Concepts: Invariant sets as part of a row and their effect on row structure Webern: Symphony, Op. 21, Mov. 2, Var IV

Analysis III Sicut Umbra by Dallapiccola, Mov. 1

3/30

W-3/25 Theme: Invariance continued Dallapiccola, Goethe Songs

Concepts: Creating invariance in 12-tone rows that do not contain invariant sets

12 M-3/30

Theme: Introduction to Hexachordal Combinatoriality—A special Type of Invariance Analysis: Babbitt, Three Compositions for Piano, Mov. I. Concepts: Hexachordal Combinatoriality

Invariance assignment

4/1

W-4/1 String Quartet no. 4, mm. 1-29, by Schoenberg Analysis Concepts: Hexachordal Combinatoriality

Composition IV: compose a 12-tone row that is capable of producing hexachordal combinatoriality and two types of invariance.

4/6

13 M-4/6 String Quartet no. 4 . Unit IV-Timbral Music W-4/8 Theme: Timbre as the generator of

structure Varese, Integral Carter, Eight Etudes and a Fantasy Theme: Basics of Sound Synthesis

Begin work on final project. Handout Final Paper Assignment Choose 1 of 4 pieces to analyze

14 M-4/13

Metallica—Enter Sandman

W-4/15 Theme: Extended Instrumental Techniques and their Relationship to Sets and Structure Crumb, Voice of the Whales

20th Century Tonality 15 M-4/20 Hindemith—Ludis Tonalis

Fugue No. 1 Concepts: Hindemith’s tonal system Series I and II Progenitor Tone Harmonic regions Chord Classification and its relation to pitch-class set theory

M-4/22 Philip Glass—Modern Love Waltz W-5/8 Final Project Due Due 12:00 PM

Introduction to Schenkerian Analysis MUS 5020

Class no. 10439 Syllabus and Course Schedule

Spring 2015 Instructor: Allyn D. Reilly Office: rm. 591D, Glidden Hall Telephone: 566-6476 (office); 740-818-5476 (cell) Email: [email protected] Office Hours: 1:00—2:00 MWF; 3:00-4:00 TTh Time & Location: 1:30—2:50 PM TTh, Glidden Hall rm. 540 Description of Course:

Introduction to the analytical technique pioneered by the work of Heinrich Schenker.

Required Materials: 1) Cadwallader, Allen, and David Gagné, Analysis of Tonal Music, 3rd edition

(Oxford: Oxford University Press, 2011), ISBN 9780199732470.

Workbook to the above. ISBN 9780199732487. Prerequisite:

Graduate standing, pass MUS 5000 or the First Part of the Graduate Theory Entrance Exam.


By the end of the semester, the successful student will be expected to be able to: •read a Schenkerian analytical graph accurately and be able to identify the various features included in such a graph with understanding and clarity. •graph a piece representative of common-practice tonality in a clear and accurate way, such that the structural features, techniques of prolongation and transformation, and other techniques are presented in a standard way. •grasp the concept of structural levels fundamental to this analytical technique such that he or she is fluent in articulating these levels in verbal and written analyses. •know the meaning of various terms used in this type of analysis in English and, where appropriate, the original German, so that he or she can read representative journal articles and books pertaining to Schenkerian analysis with understanding.

Grading: Assignments: 15% Quiz I: 15

mailto:[email protected]

Midterm Exam and Project: 20 Quiz II: 15 Participation: 5 Final Exam and Project: 30

Total: 100%

Classroom Policies: Attendance: Classroom attendance is expected; this is a graduate course.

Assignments will be expected in class on the day that they are due. Disabilities: Any student who suspects she or he may need an

accommodation based on the impact of a disability should contact the class instructor privately to discuss the student’s specific needs and provide written documentation from the Office of Student Accessibility Services. If the student is not yet registered as a student with a disability, she or he should contact the Office of Student Accessibility Services. Plagiarism: Each student is expected to do his or her own work. Copying another’s efforts is dishonest and may result in failing the course and/or being referred to the Office of Student Judiciaries.

Reserve List (subject to change): the following list is a repository of Schenker-related documents that the student will find of interest. There will be reading assignments from this list, particularly from Free Composition and Five Graphic Music Analyses. Beach, David, ed. Aspects of Schenkerian Theory (New Haven: Yale University Press, 1983). MT 6 A766 1983 Forte, Allen, and Gilbert, Stephen. Introduction to Schenkerian Analysis (New York: W. W. Norton, 1982). MT6.F642 I6 1982. Schachter, Karl, and Hedi Siegal, eds. Schenker Studies 2 (Cambridge: Cambridge University Press, 1999) MT6.S452 1999x. Schachter, Karl. Unfoldings: Essays in Schenkerian Theory and Analysis, (NY, Oxford: Oxford University Press, 1999). MT6/S2824 U6 1999 Schenker, Heinrich (tr. John Rothgeb). Counterpoint, 2 vols., (New York: Longman, 1986). MT 55 .S2413 1987 Bk. 1, 2. ______, (tr. Ernst Oster). Free Composition, 2 vols., (New York: Longman, 1979). MT40 .S29213 V. 1, 2. ______. Five Graphic Music Analyses, ed. Felix Salzer. New York: Dover, 1969. MT 140.S29 ______, The Masterwork in Music, 3 vols., ed. Wm. Drabkin (Cambridge: Cambridge University Press), 1994-1997). MT6. S2874 M413 Vols. I, II and III. ______. der Tonwille tr. Ian Bent, Oxford University Press, 2004-5; v. 1 and v. 2 MT6.S2874 T6513 2004 v. 1 and 2 Siegal, Hedi, ed. Schenker Studies (Cambridge, Cambridge University Press, 1990). MT6 . S457 1990.

Course Schedule (subject to adjustment as the semester progresses):

Unit 1 (Chapters 1, 2, and 3): 1/13, 1/15, 1/20, 1/22, 1/27, 1/29. This will contain an introduction, review of concepts of figured bass and counterpoint, and text, chapters 1-3. Quiz 1 projected on 1/29. Unit 2 (Chapters 4 through 7): 2/3, 2/5, 2/10, 2/12, 2/17, 2/19, 2/24, 2/26. Unit 2 will contain the basic principles of graphing technique, techniques of melodic prolongation, and basic elaborations of fundamental structure; text, chapters 4-7. Midterm, 2/26. Unit 3 (Chapters 8 through 10): 3/10, 3/12, 3/17, 3/19, 3/24, 3/26, 3/31. This section will contain analyses of simple sectional forms (one-part, binary, ternary, and rondo). Chapters 8-10 in text; Quiz II scheduled for 3/31. Unit 4 (Chapters 11 and 12): 4/2, 4/7, 4/9, 4/14, 4/16, 4/21, 4/23. Analysis of sonata forms and summary. The final exam is scheduled for Tuesday, April 28, at 12:20 p.m.

ohio university, course schedule and syllabus - music 1010 ... · • know and demonstrate basic...

Documents