MUS112: Music Theory
2
Description from the 2007-08 RMC Catalog:
Students are trained in more advanced melodic, harmonic,
and rhythmic aspects of music through hearing, playing, and
writing. Further ear training and sight singing of scales,
harmonies, and intricacies occurs.
Rationale:
Music around the world has as many, if not more, points in
common than it has points of difference; and while music
can have the most private meaning for each person, it can
also unite, filling each and every listener with a sense of
that shared experience that is beyond the power of mere
words. (Alan Blackwood)
The Music Theory sequence represents a continuum of
training in the understanding of musical architecture, the
education of the ear, the perception of musical symbolism,
the recognition of stylistic features, and the development
of aesthetic principles. Each section of the Music Theory
curriculum is built upon previously attained skills, and no
section should be taken out of sequence. Taken as a whole,
the four courses represented in this discipline provide a
sound theoretical background for students who major in
Music Education or Music Performance, but a student who
pursues any Music Theory at RMC will reap practical
benefits from these courses regardless of the level
subscribed.
The Music Theory courses integrate a wide variety of
musical learning experiences in each class session. The
understanding and analysis of music is coupled with
exercises in the tonal relationships of pitches (ear
training) and exercises in the temporal relationships of
pitches (rhythm). All the palpable elements of music,
intensity, frequency, texture, form and style are
approached through listening, analysis, performance and
creation. In addition, Music Theory students gain valuable
practical experience in simple keyboard skills, arranging
and transposing for instruments and voices, and composing
in limited but strictly defined forms.
Objectives:
Upon the completion of the Music Theory sequence, the
student will be able to:
1: Demonstrate the use of key signatures, meter, simple
diatonic harmony, and historically traditional styles of
music in theoretical examples
2: Demonstrate the use of chromatic harmony nonharmonic
tones, compound meters, modulation through the use of
chorale composition, musical analysis, digital synthesis,
and computer notation appropriate for an introduction to
Sixteenth and Eighteenth-Century Counterpoint
3: Use appropriate musical terms found in Italian, French
and German in discussion and analysis
4: Analyze aurally and visually complete musical structures
in a historical sequence including Bach fugues and works in
open score
5: Use the keyboard to realize common scales, triads and
chord progressions
6: Demonstrate the ability to identify common rhythms,
harmonies and melodies by listening to them
7: Complete a major project in the composition of a
Sonata-Allegro movement for piano
8: Demonstrate a knowledge of the physical attributes of
sound (acoustics)
9: Explain and demonstrate the commonly accepted principles
of twentieth-century musical techniques.
10. Arrange and transpose music appropriate for classroom
and performance needs
Attendance: Students are expected to attend every class
meeting, and are responsible for all material covered in
each class. Attendance will be recorded for each class
meeting. Students are allowed four unexcused absences in
the semester, subsequently, 3% will be subtracted from the
student’s final grade for each additional absence. Falling
asleep in class counts as an absence! Students are
encouraged to notify the instructor of expected absences,
especially those involving a graded assignment or
quiz/exam, prior to their occurrence so that appropriate
compensations can be made. The opportunity to make up
missed work is not automatically granted.
Missing/late classwork: Homework assignments will be
accepted after the due date, but at a 10% penalty per 24
hours late. Any exams or quizzes that are missed will
require written documentation of an excusable absence
(illness, death of a family member, school-related
function, incarceration, etc.) for a makeup to be offered.
Grading: All grades will be calculated using a 100-point
scale, with ten points per grade increment: A=90-100,
B=80=89, C=70-79, D=60-69, F<60. You will be provided a
comprehensive midterm grade report, but you may ask for one
at any time during the term.
30% Homework Assignments 15 @ 2% each (17 assignments, 2
drops)
20% Eartraining Quizzes 10 @ 2% each
15% Musicianship Exams 3 @ 5% each
25% Written Exams 5 @ 5% each
10% Final Exam (5% each for written & eartraining)
Other course policies: All other course policies follow
official College policy, where applicable. The instructor
reserves the right of discretion in all other course
matters, and to modify course policies and schedules as
needed during the semester.
Homework Assignments: These will primarily come from the
Workbook. It is best to think of the study of music theory
as similar to mathematics: thinking you know how to do
something, and actually being able to do something, are not
equivalent. Practice is vital, and because of how the
subject matter builds upon itself, homework is essential.
Eartraining/Musicianship Quizzes: For eartraining, you must
be able to hear and recognize musical structures, and use
the written theory you have learned to identify what you
hear. In general, what will happen on these quizzes is that
the instructor will play something on the piano, and you
notate it on the staff.
“Musicianship” lies at the crux of skills in written and
aural theory.
It is not enough to know without doing, nor
is it enough to do without knowing.
To that end, your
skills in comprehensive musicianship are groomed and
evaluated in this course.
Standards are established by
those of us who would be your peers upon your emergence
from this program: if you cannot perform to our standards
and expectations in a safe and clinical classroom
environment, there’s little chance you could “hack it”
under real-world demands. This is why evaluation of
musicianship is a crucial part of this course. Study of
music theory is more a means of developing vital skills
(specifically, the application of knowledge into action)
than it is surmounting of an academic hurdle.
That said, it
is our job to help you develop skills in musicianship, but
we can take you no further than you are willing to carry
yourself. We’d rather help you than hold you back, but our
response depends on your effort.
You will receive handouts
in class that detail the material covered on the
Musicianship quizzes, and the standards for grading your
performance on the quiz.
Class Schedule (tentative: this may change as the semester
progresses)
Wed 1/9 Review of Theory 1
Fri 1/11 Review of Theory 1
Mon 1/14 Chapter 11: The Dominant Seventh Chord
Tue 1/15 Chapter 11: The Dominant Seventh Chord; H-1
Wed 1/16 Chapter 11: The Dominant Seventh Chord; H-2
Fri 1/18 Chapter 11: The Dominant Seventh Chord; ET-1
Mon 1/21 NO CLASS – Rev. Martin Luther King, Jr. Holiday
Tue 1/22 Chapter 11: The Dominant Seventh Chord; H-3
Wed 1/23 Practice Exam
Fri 1/25 Written Exam 1
Mon 1/28 Chapter 12: The Leading-Tone Seventh Chords
Tue 1/29 Chapter 12: The Leading-Tone Seventh Chords
Wed 1/30 Chapter 12: The Leading-Tone Seventh Chords; H-4
Fri 2/1 Chapter 12: The Leading-Tone Seventh Chords; ET-2;
H-5
Mon 2/4 Chapter 12: The Leading-Tone Seventh Chords; H-6
Tue 2/5 Chapter 12: The Leading-Tone Seventh Chords
Wed 2/6 Practice Exam
Fri 2/8 Written Exam 2
Mon 2/11 Chapter 13: Nondominant Seventh Chords
Tue 2/12 Chapter 13: Nondominant Seventh Chords
Wed 2/13 Chapter 13: Nondominant Seventh Chords; H-7
Fri 2/15 Chapter 13: Nondominant Seventh Chords; ET-3
Mon 2/18 Musicianship Exam 1
Tue 2/19 Chapter 13: Nondominant Seventh Chords; H-8
Wed 2/20 Chapter 13: Nondominant Seventh Chords; H-9
Fri 2/22 Chapter 13: Nondominant Seventh Chords
Mon 2/25 Chapter 13: Nondominant Seventh Chords; ET-4
Tue 2/26 Chapter 13: Nondominant Seventh Chords
Wed 2/27 Practice Exam
Fri 2/29 Written Exam 3
SPRING BREAK!!!
Mon 3/10 Chapter 14: Modulation
Tue 3/11 Chapter 14: Modulation
Wed 3/12 Chapter 14: Modulation; ET-5
Fri 3/14 Chapter 14: Modulation; H-10
Mon 3/17 Chapter 14: Modulation
Tue 3/18 Chapter 14: Modulation; H-11
Wed 3/19 Musicianship Exam 2
Fri 3/21 NO CLASS – Good Friday
Mon 3/24 Chapter 14: Modulation; ET-6; H-12
Tue 3/25 Chapter 14: Modulation
Wed 3/26 Practice Exam
Fri 3/28 Written Exam 4
Mon 3/31 Chapter 15: Secondary Dominants and Leading-Tone
Chords
Tue 4/1 Chapter 15: Secondary Dominants and Leading-Tone
Chords
Wed 4/2 Chapter 15: Secondary Dominants and Leading-Tone
Chords; ET-7
Fri 4/4 Chapter 15: Secondary Dominants and Leading-Tone
Chords; H-13
Mon 4/7 Chapter 15: Secondary Dominants and Leading-Tone
Chords; H-14
Tue 4/8 Chapter 15: Secondary Dominants and Leading-Tone
Chords
Wed 4/9 Chapter 15: Secondary Dominants and Leading-Tone
Chords; ET-8
Wed 4/11 Chapter 15: Secondary Dominants and Leading-Tone
Chords; H-15
Mon 4/14 Musicianship Exam 3
Tue 4/15 Chapter 15: Secondary Dominants and Leading-Tone
Chords
Wed 4/16 Chapter 15: Secondary Dominants and Leading-Tone
Chords; ET-9
Fri 4/18 Chapter 15: Secondary Dominants and Leading-Tone
Chords; H-16
Mon 4/21 Chapter 15: Secondary Dominants and Leading-Tone
Chords; H-17
Tue 4/22 Chapter 15: Secondary Dominants and Leading-Tone
Chords
Wed 4/23 Chapter 15: Secondary Dominants and Leading-Tone
Chords; ET-10
Fri 4/25 Last Day of Class: Review for Final Exam
FINAL EXAM: Thursday, May 1, 7:45a-9:45a
State and National Standards Matrix:
INTASC Standards Montana Music Standards Course Objectives
#1 10.58.519 (1) (a) (viii) 2
#1 10.58.519 (1) (c ) (ii) 5, 10
#1 10.58.519 (1) (d) (i) 1, 2, 7
#1 10.58.519 (1) (d) (ii) 4
#1 10.58.519 (1) (e) (i) 6
#1 10.58.519 (1) (e) (ii) 1, 2, 3, 4, 7, 9
#1 10.58.519 (1) (e) (iii) 1, 2, 3, 4, 6
#1 10.58.519 (1) (e) (v) 2, 8