MUS212: Music Theory 4
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.
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.
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. 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. 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 Chapter 16 [Vol. I]: Binary Form & Chapter 17 [Vol. I]: Ternary Form
Fri 1/11 Chapter 16 [Vol. I]: Binary Form & Chapter 17 [Vol. I]: Ternary Form; H-1
Mon 1/14 Chapter 16 [Vol. I]: Binary Form & Chapter 17 [Vol. I]: Ternary Form; H-2
Wed 1/16 Chapter 16 [Vol. I]: Binary Form & Chapter 17 [Vol. I]: Ternary Form; H-3
Fri 1/18 Chapter 16 [Vol. I]: Binary Form & Chapter 17 [Vol. I]: Ternary Form; ET-1
Mon 1/21 NO CLASS – Rev. Martin Luther King, Jr. Holiday
Wed 1/23 Practice Exam
Fri 1/25 Written Exam 1
Mon 1/28 Chapter 8: Sonata Form & Chapter 9: Rondo Form
Wed 1/30 Chapter 8: Sonata Form & Chapter 9: Rondo Form; H-4
Fri 2/1 Chapter 8: Sonata Form & Chapter 9: Rondo Form; ET-2; H-5
Mon 2/4 Chapter 8: Sonata Form & Chapter 9: Rondo Form; H-6
Wed 2/6 Practice Exam
Fri 2/8 Written Exam 2
Mon 2/11 Chapter 3: Fugue
Wed 2/13 Chapter 7: Variation Technique
Fri 2/15 Chapter 13: The Romantic Period; ET-3; ; H-7
Mon 2/18 Musicianship Exam 1
Wed 2/20 Chapter 13: The Romantic Period; H-8
Fri 2/22 Chapter 13: The Romantic Period; H-9
Mon 2/25 Chapter 13: The Romantic Period; ET-4
Wed 2/27 Practice Exam
Fri 2/29 Written Exam 3
Mon 3/10 Chapter 14: Post-Romantic, Impressionistic, and Related Styles
Wed 3/12 Chapter 14: Post-Romantic, Impressionistic, and Related Styles; ET-5
Fri 3/14 Chapter 14: Post-Romantic, Impressionistic, and Related Styles; H-10
Mon 3/17 Chapter 14: Post-Romantic, Impressionistic, and Related Styles; H-11
Wed 3/19 Musicianship Exam 2
Fri 3/21 NO CLASS – Good Friday
Mon 3/24 Chapter 14: Post-Romantic, Impressionistic, and Related Styles; ET-6; H-12
Wed 3/26 Practice Exam
Fri 3/28 Written Exam 4
Mon 3/31 Chapter 15: The Contemporary Period
Wed 4/2 Chapter 15: The Contemporary Period; ET-7
Fri 4/4 Chapter 15: The Contemporary Period; H-13
Mon 4/7 Chapter 15: The Contemporary Period; H-14
Wed 4/9 Chapter 15: The Contemporary Period; ET-8
Wed 4/11 Chapters 16: Twelve-Tone Technique, and Music Since 1945; H-15
Mon 4/14 Musicianship Exam 3
Wed 4/16 Chapters 16: Twelve-Tone Technique, and Music Since 1945; ET-9
Fri 4/18 Chapters 16: Twelve-Tone Technique, and Music Since 1945; H-16
Mon 4/21 Chapters 16: Twelve-Tone Technique, and Music Since 1945; H-17
Wed 4/23 Chapters 16: Twelve-Tone Technique, and Music Since 1945; ET-10
Fri 4/25 Last Day of Class: Review for Final Exam
FINAL EXAM: Wednesday, April 30, 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