|
Click on the PDF icon to download a copy of the current course syllabus. You must have Adobe Reader 3.0 or above to read or print this document.
Course description A survey of elementary concepts in music theory: melodic, rhythmic and harmonic materials; musical structure and form; composition and analysis.
Russell, Armand & Allen Trubitt. The Shaping of Musical Elements. Vol. 1. New York: Schirmer, 1992. Russell, Armand & Allen Trubitt. The Shaping of Musical Elements Workbook. Vol. 1. New York: Schirmer, 1992. Mus 281 is both a lecture and laboratory course. Lecture materials are reinforced with hands-on-experience in class. Therefore, attendance and participation are essential in this course. Furthermore, Theory I follows the basic outline of the textbook, but the format and details are mine. Hence, being absent from class:
Mus 281 presumes a working knowledge of music fundamentals: staff notation, scales, intervals, chords, keys, melody and simple harmony. Without a mastery of music fundamentals, you'll have grave difficulty in this course. The materials of this course unfold as a continuum. Each concept or skill is built on a prior concept or skill. It is imperative to complete reading and workbook assignments on time. Otherwise, new materials will be hard to understand. Music manuscript paper (8.5" x 11"), a soft-lead pencil and your textbooks are required for class sessions. An instrument capable of harmony and melody (e.g., piano or guitar) is needed to help you complete music writing assignments at home. Use of professional music notation software, e.g., Finale or Composer's Mosaic, is required for projects. Finale NotePad is available for free download here. These are the skills and knowledge you should reap by semester's end:
To realize the course goals you must:
Each chapter of the workbook contains written and aural exercises to go with the text. We correct the homework in class (they're not graded): each student writes their homework on the board for class study and discussion. Music theory makes no sense without relating it to musical sounds. Don't merely write the answers in the workbook. Play each exercise so you can hear and feel it. You'll experience the practical application of theoretical concepts. Due dates are listed under the "Class Schedule." To help assess your progress and assign grades, two tests are given. Test materials consist of concepts, skills and vocabulary from the textbook, workbook and lectures. Exams are similar to the workbook exercises. See "Class Schedule" for test dates. To help assess your progress and assign grades, two composition and performance projects are assigned. Each project has two grades, one for technical merit (how well conditions of the assignment are met) and one for performance and presentation quality. If you are absent or refuse to perform, you'll receive a failing grade. Handwritten scores are not accepted (use a music notation processor). Detailed instructions will be given in class. See the "Class Schedule" for due dates. The tests, projects and performances are assigned points (0-100) and averaged together to form your preliminary course grade. This grade is adjusted for participation and attendance (see below). Grading standard: A, 90-100; B, 80-89; C, 70-79; D, 60-69; F, 0-59. The N grade is not given in this class. Late assignments are not accepted without arrangements made prior to the due date. For the course grade, your preliminary score is adjusted according to your attendance and participation (see "Attendance policy"). This is a laboratory course and thus regular attendance and participation is mandatory. If you don't come to class, you can't participate. Your preliminary score will be adjusted according to your attendance and participation records:
For grading purposes, four (4) tardies are considered equivalent to one absence (see "Attendance policy" above). |
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
This is an outline of the lesson sequence for courses with a Monday, Wednesday and Friday schedule. Download the PDF version for a course syllabus with assignment and due dates.
|
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
Books Benward, Bruce. Music in Theory and Practice. 2nd ed. 2 vols. Dubuque: Brown, 1977. Cooper, Paul. Perspectives in Music Theory. New York: Dodd, Mead & Co., 1973. Harvard Dictionary of Music. Willi Apel, ed. Cambridge: Belknap Press of Harvard University Press. Lynn, Theodore. Introductory Musicianship: A Workbook. San Diego: Jovanovich, 1988. McKay, Neil & Marian. Fundamentals of Western Music. Belmont: Wadsworth, 1986. New Groves Dictionary of Music and Musicians. 6th ed. 20 vols. London: MacMillian, 1980. Piston, Walter. Harmony. 5th ed. New York: Norton, 1987. Rastall, Richard. The Notation of Western Music. New York: St. Martin's Press, 1982. Rosecrans, Glen R. Music Notation Primer. New York: Passantino, 1979. Trubitt, Allen and Robert Hines. Ear Training and Sight-Singing. Book 1. New York: Schirmer, 1979. Westrup, J.A., & F. Harrison. The New Encyclopedia of Music. New York: Norton, 1976. |
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
 |
|