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MUTH M202 Theory

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MUTH M202 Theory MUTH M202-003 Theory III General Syllabus Fall, 2018 Instructor: Dr. Marcus St. Julien Office: CM 146 E mail: [email protected] or [email protected] Phone: 504-810-6780 Office Hours: by appointment. Class Meeting Times: Monday/Friday, 11:30 A.M.-12:20 P.M. and Tuesday/Thursday, 11:00 A.M.-12:15 P.M. Course Goals: This course extends the part-writing and analysis techniques of Bach chorale style to include standard devices of chromatic harmony, such as borrowed chords, Neapolitan sixth chords and augmented sixth chords, along with the study of melodic organization, binary forms and sonata form. Musicianship skills are focused on aural perception of materials in major and minor modes, including decorative chromaticism, such as chromatic neighbor tones, and harmonically functional chromaticism, such as secondary dominants, along with rhythmic materials including syncopation at the subdivision level, compound divisions of simple beats and simple divisions of compound beats. Expected Student Learning Outcomes: At the end of the semester, a student must be able to do the following: Demonstrate correct part-writing and analysis of standard devices of chromatic harmony, such as borrowed chords, Neapolitan sixth chords and augmented sixth chords. Demonstrate recognition of standard devices of melodic organization, such as phrase, period, double period [and sentence]. (I still don’t get the concept of “sentence” in music, incidentally!) Demonstrate recognition of various patterns of binary-form organization. Demonstrate the ability to parse pieces in sonata form into their constituent parts, such as exposition, development, recapitulation, first subject, transition and second group. Demonstrate the ability to identify points of modulation and areas of tonicization in binary-form and sonata-form compositions. Sing prepared melodies in major and minor modes that include decorative chromaticism, such as chromatic neighbor tones, and harmonically functional chromaticism, such as secondary dominants. Sing at sight melodies in major and minor modes that include decorative chromaticism, such as chromatic neighbor tones, and harmonically functional chromaticism, such as secondary dominants. Read a line of rhythm including syncopation at the subdivision level, compound divisions of simple beats and simple divisions of compound beats. Transcribe into musical notation from played musical examples: 1. ascending and descending intervals through an octave in size; 2. major- and minor-key melodies that include leaps in the diatonic triads as well as decorative and harmonically functional chromaticism; 3. chorale-style examples (soprano and bass only) including diatonic triads and seventh chords. Required Texts: Davidson, Jerry. Top 40 Ear Training Exercises. (A CD provided at cost through the University Bookstore) Horne, William. Rhythm Method, Volume II. (Provided at no cost) Horne, William. Theory III/IV Chromatic Harmony Handbook. (Provided at no cost) Ottman, Robert W., and Nancy Rogers. Music for Sight Singing, 9th edition. Boston: Pearson, 2013. (Available at the university bookstore, or online (CHEAPER ONLINE!). ISBN: 978-0-205-93833-9) 1 Types of assignments: Cognitive (written work), Music Reading (singing with Solfeggio and rhythm reading), Ear Training (writing down intervals, melodies and four-part chorale-style examples played for you). Order of material and manner of testing is at the instructor’s discretion. Calendar of Assignments: Dates Cognitive Musicianship Ear Training 8/20-24 Bach chorale style & part-writing Horne Rhythm ex. 49-51 review: MODULATION 8/27-31 Part-writing review cont’d: Ottman ex. 7.1-19 Top 40 no. 15 SECONDARY DOMINANTS 9/3 Labor Day Holiday 9/4-7 Part-writing review cont’d Horne Rhythm ex. 52-54 9/6 CLASS WILL END EARLY: Mass of the Holy Spirit 12:30 A.M. 9/10 NO CLASS: Rosh Hashanah Dr. Marcus in Temple ALL morning—OY! 9/11-14 Borrowed chords, Ottman ex. 7.20-33 Top 40 no. 16 Neapolitan Sixth chords 9/17-21 Neapolitan Sixth chords Horne Rhythm ex. 55-57 9/24-28 Augmented Sixth chords Ottman ex. 8.1-28 Top 40 no. 17 10/1-5 Aug. Sixth chords cont’d Horne Rhythm ex. 58-60 10/8-9 FALL BREAK Mid-Term Written Exam on Thursday, October 11 10/12 Intro to Melodic Structure Ottman ex. 9.1-19 The Phrase and Period 10/15-19 Melodic Structure cont’d: Horne Rhythm ex. 61-63 Top 40 no. 18 The Period and Sentence 10/22-26 Binary Form Ottman ex. 9.20-38 10/29-11/2 Binary Form cont’d Horne Rhythm ex. 64-66 Top 40 no. 19 11/5-9 Sonata Form Top 40 no. 20 11/12-16 Sonata Form cont’d Ottman ex. 13.1-17 11/15 INSTALLATION OF LOYOLA PRESIDENT TANIA TETLOW: 11:00 CLASSES CANCELLED 11/19-20 Sonata Form cont’d Horne Rhythm ex. 67-69 Top 40 no. 21 11/21-23 THANKSGIVING HOLIDAYS 11/26-30 Sonata Form cont’d Horne Rhythm ex. 70-72 Top 40 no. 22 12/3-7 Final Review Week Final Exams: Cognitive Exam: Tuesday, December 11, 11:30 A.M.-1:30 P.M. Musicianship Exam: Wednesday, December 12, in short, individual appointments. Grading: 50% Cognitive* 50% Musicianship and Ear Training* *A failing grade at the end of the semester in either the cognitive or the musicianship portion of the course will result in a failing grade for the entire course. 2 The written midterm exam will constitute 10% of the cognitive portion of the grade (or 5% of the final composite grade) and the written final exam will constitute 15% of the cognitive portion of the grade (or 7.5% of the final composite grade). The remaining 75% of the cognitive portion of the grade (or 37.5% of the final composite grade) is made up of quizzes and graded written homework assignments. The musicianship final exam will constitute 15% of the musicianship and ear training portion of the grade (or 7.5% of the final composite grade). The remaining 85% of the musicianship and ear training portion of the grade (or 42.5% of the final composite grade) is made up of graded assignments in musicianship and ear training. NOTE THAT THERE IS NO MID-TERM MUSICIANSHIP EXAM!!!!! Grades of 100 or 0 will be counted TWICE in the mid-term and semester grade averaging!!!! Statements Concerning Attendance, Absences Late or Delinquent Work The study of Music Theory involves in-class explanation of the material being studied which is not found in any of your printed text materials. There are also frequent quizzes, discussions, partner-paired activities and small group music-writing exercises. For example, you will have bi-weekly rhythm-drill quizzes in pairs: if your partner is not there, then you will end up being quizzed with another student with whom you have not practiced the exercises. Thus, our Theory class cannot succeed without your regular attendance: EVERYONE’S SUCCESS DEPENDS ON THEIR PRESENCE IN CLASS! For this reason, I have a strict attendance policy in my Music Theory classes as follows: After four (4) unexcused absences, your semester final grade goes down 3 POINTS PER DAY MISSED for each subsequent unexcused absence. MISSING MORE THAN 10 CLASSES FOR THE SEMESTER FOR ANY REASONS WILL RESULT IN A FAILING GRADE IN THE CLASS I WILL excuse you from class if you make a genuine effort to contact me before class begins by phone or e mail. Translation: sending word only through a friend or roommate is not enough. You yourself must also leave me a voice mail, text or e mail as well!!! I don’t have an office phone, so I’m giving you my cell phone number: 504-810-6780. Please respect my privacy, and do not abuse the privilege of having this number by sharing it with other students not in our class. My Loyola e mail address is [email protected] My home e mail address is [email protected] My office is Room 146, in the front bottom corner of the Music & Fine Arts building nearest to Calhoun Street, at the opposite end from the drink & snack machines. There is a drop box for messages and written assignments on the door. Grades of 100 or higher on written work will be counted twice; ALL GRADES OF 0 WILL BE COUNTED TWICE!!!!! Written homework assignments MUST be turned in on time: you have until 6:00 P.M. on the due day to turn them in. Late assignments will be marked and corrected, but the highest possible grade will go down one letter per day late. After 4 days, the grade will be 0. In-class quizzes missed due to unexcused absence or tardiness will receive a grade of 0. These may possibly be made up by special consideration of the instructor. If you receive NO grades of 0, your five lowest grades will be dropped at the end of the semester If you have received no more than ONE grade of 0, I will drop that grade plus your three lowest grades. Once you receive MORE THAN one grade of 0, ALL grades, including grades of 0, will be tabulated in your semester average. Statement Concerning Participation and Behavior Behavior respectful of the right of all students to participate in the class is expected. Consequently, students who exhibit noisy or disruptive behavior in class may expect a reprimand from the instructor. If, in the instructor’s judgment, a student’s behavior is habitually disruptive, this student may be referred to the Associate Dean for an appropriate intervention. 3 Statement concerning cheating and Plagiarism All academic work will be done by the student to whom it was assigned, without unauthorized data or help of any kind. A student who supplies another with such data or help is considered deserving of the same sanctions as the recipient.
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