MUS211: Music Theory 3

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, 5% will be subtracted from the student’s final grade for each additional 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 the best possible 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.

30% Homework Assignments 15 @ 2% each (17 assignments, 2 drops)
30% Eartraining/Musicianship Quizzes 10 @ 3% each
30% Written Exams 5 @ 6% each
10% Final Exam (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, ou 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)

Mon 8/27 Introduction and Overview
Tue 8/28 Review of first-year theory
Wed 8/29 Chapter 4: Borrowed Chords
Fri 8/31 Chapter 4: Borrowed Chords; Homework 1 due

Mon 9/3 NO CLASS – Labor Day
Tue 9/4 Chapter 4: Borrowed Chords
Wed 9/5 Chapter 4: Borrowed Chords; Eartraining Quiz 1; Homework 2 due
Fri 9/7 Chapter 1: Late Renaissance Polyphony

Mon 9/10 Chapter 1: Late Renaissance Polyphony
Tue 9/11 Chapter 1: Late Renaissance Polyphony; Homework 3 due; Eartraining Quiz 2
Wed 9/12 Practice Exam
Fri 9/14 Written Exam 1

Mon 9/17 Chapter 5: Neapolitan 6th Chords
Tue 9/18 Chapter 5: Neapolitan 6th Chords
Wed 9/19 Chapter 5: Neapolitan 6th Chords; Homework 4 due
Fri 9/21 Chapter 5: Neapolitan 6th Chords; Homework 5 due

Mon 9/24 Chapter 5: Neapolitan 6th Chords; Homework 6 due; Eartraining Quiz 3
Tue 9/25 Chapter 5: Neapolitan 6th Chords
Wed 9/26 Practice Exam
Fri 9/28 Written Exam 2

Mon 10/1 Chapter 6: Augmented Sixth Chords
Tue 10/2 Chapter 6: Augmented Sixth Chords; Eartraining Quiz 4
Wed 10/3 Chapter 6: Augmented Sixth Chords; Homework 7 due
Fri 10/5 Chapter 6: Augmented Sixth Chords

Mon 10/8 Chapter 6: Augmented Sixth Chords; Homework 8 due
Tue 10/9 Chapter 6: Augmented Sixth Chords
Wed 10/10 Chapter 6: Augmented Sixth Chords; Homework 9 due
Fri 10/12 Chapter 6: Augmented Sixth Chords; Eartraining Quiz 5

Mon 10/15 Chapter 6: Augmented Sixth Chords
Tue 10/16 Practice Exam
Wed 10/17 Written Exam 3
Fri 10/19 Chapter 10: 9th, 11th, and 13th Chords

Mon 10/22 Chapter 10: 9th, 11th, and 13th Chords
Tue 10/23 Chapter 10: 9th, 11th, and 13th Chords; Eartraining Quiz 6
Wed 10/24 Chapter 10: 9th, 11th, and 13th Chords, Homework 10 due
Fri 10/25 NO CLASS – Midterm Break

Mon 10/29 Chapter 10: 9th, 11th, and 13th Chords
Tue 10/30 Chapter 10: 9th, 11th, and 13th Chords; Homework 11 due
Wed 10/31 Chapter 10: 9th, 11th, and 13th Chords
Fri 11/2 Chapter 10: 9th, 11th, and 13th Chords; Eartraining Quiz 7

Mon 11/5 Chapter 10: 9th, 11th, and 13th Chords; Homework 12 due
Tue 11/6 Chapter 10: 9th, 11th, and 13th Chords
Wed 11/7 Practice Exam
Fri 11/9 Written Exam 4

Mon 11/12 Chapter 12: Chromatic Mediants
Tue 11/13 Chapter 12: Chromatic Mediants; Homework 13 due
Wed 11/14 Chapter 12: Chromatic Mediants; Eartraining Quiz 8
Fri 11/16 NO CLASS – Dr. Hamm presents a paper at the College Music Society Conference in Salt Lake City

Mon 11/19 Chapter 12: Chromatic Mediants; Homework 14 due
Tue 11/20 Chapter 12: Chromatic Mediants
Wed 11/21 Chapter 12: Chromatic Mediants; Eartraining Quiz 9
Fri 11/23 NO CLASS – Thanksgiving Break

Mon 11/26 Chapter 12: Chromatic Mediants
Tue 11/27 Chapter 12: Chromatic Mediants; Homework 15 due
Wed 11/28 Practice Exam
Fri 11/30 Written Exam 5 (only on Chapters 5 and 6)

Mon 12/3 Chapter 11: Altered Dominants; Eartraining Quiz 10
Tue 12/4 Chapter 11: Altered Dominants; Homework 16 due
Wed 12/5 Chapter 11: Altered Dominants; Homework 17 due
Fri 12/7 Last Day of Class: Review for Final Exam

FINAL EXAM (Written & Eartraining): Wednesday, December 12, 2:30-4:30p


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
#1 10.58.519 (1) (f) (i) 1, 4