Music Education Program

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California State University, East Bay

MUSIC EDUCATION PROGRAM

Music Subject Matter Preparation

Submitted by:

John Eros, Ph.D. Department of Music [email protected] 25800 Carlos Bee Blvd Hayward CA, 94542

Single Subject Matter Program Sponsor - Transmittal Cover Sheet

Mission Statement…………………………………………………………………………..5

Preconditions for the Approval of Subject Matter Programs in Music………………….….6

Degree Outline…………………………………………………………………….………..7

Category I: Standards Common to All Single Subject Matter Preparation Programs….9

Standard 1 Program Design Standard 2 Program Resources and Support

Category II: Program Standards……………………………………………………….14

Standard 3 Artistic Perception Standard 4 Creative Expression Standard 5 Historical and Cultural Foundations Standard 6 Aesthetic Valuing Standard 7 Connections, Relationships and Applications Standard 8 Music Teaching and Learning

Matrix for Standards………………………………………………………………..……..21

Matrix for Subject Matter Requirements……………………………………………....….27

Course Syllabi…………………………………………………………………………….39

Representative Music Major Courses

MUS 1027 Sight Singing I MUS 1028 Sight Singing II MUS 1029 Sight Singing III MUS 2027 Sight Singing IV MUS 2028 Sight Singing V MUS 2029 Sight Singing VI MUS 1031 Music Theory I MUS 1032 Music Theory II MUS 1033 Music Theory III MUS 2031 Music Theory IV MUS 2032 Music Theory V MUS 2033 Music Theory VI MUS 1155 Music Through the Ages MUS 1314 Basic Piano I MUS 1315 Basic Piano II MUS 1316 Basic Piano III

2 MUS 1642 Applied Clarinet MUS 1660 Applied Percussion (representative of applied study) MUS 3051 Form and Analysis MUS 3061 Counterpoint I MUS 3062 Counterpoint II MUS 3155 Literature and Analysis I MUS 3156 Literature and Analysis II MUS 3157 Literature and Analysis III MUS 3504 East Bay Singers MUS 3510 Jazz Orchestra MUS 3511 Wind Symphony MUS 3531 Chamber Winds (representative chamber ensemble) MUS 3536 African Drumming Ensemble

Depth and Breadth Courses (Music Education Sequence)

MUS 2321 Basic Voice MUS 2331 Basic Violin and Viola MUS 2332 Basic Cello and Bass MUS 2341 Basic Clarinet MUS 2342 Basic Double Reeds MUS 2343 Basic Flute and Saxophone MUS 2355 Basic Brass (High) MUS 2356 Basic Brass (Low) MUS 2361 Basic Percussion MUS 2371 Basic Guitar

MUS 2410 Foundations of Music Education MUS 3014 World Music and Culture MUS 3095 Technology for Music Education MUS 3370 Basic Conducting MUS 3380 Choral Conducting MUS 3390 Instrumental Conducting MUS 4435 Seminar in Public School Instrumental Teaching Techniques MUS 4440 Seminar in Public School Choral Teaching Techniques MUS 4445 Seminar in Public School Elementary Classroom Teaching Techniques MUS 4490 Senior Project in Music Education

CV of Program Coordinator………………………………………………………………..164

Biographies of Faculty Members Contributing to the Music Education Program……...….171

Advising Materials……………………………………………………………….…………179

Catalog Course Descriptions……………………………………………………………..….180

Music Major Description – University Catalog……………………………………………...185

Representative Supporting Materials…………………………………………………………186

Peer Teaching Lesson Reflection School Observation Form Arirang Arrangement Analytical Paper: Ich Grolle Nicht Stravinsky Composition Assignment Senior Project in Music Education Paper on Homosexuality in Music Education Concert Program (Mt. Eden High School) Concert Program (CSUEB Wind Symphony and Dance Ensemble) Orff Arrangement of “Boil ‘em Cabbage Down” Vocal Improvisation Activity Annotated Bibliography Assignment Original Commission for the CSUEB Wind Symphony

Program Assessment Materials

Music Department Exit Survey Music Education Program Exit Survey Music Education Program Exit Interview Protocol

Mission Statement

It is the mission of the music education faculty at California State University, East Bay to prepare musicians of the finest caliber to be successful music teachers in today’s K-12 schools. We seek to accomplish this through a thorough program of study, including both a core of music courses and a rigorous sequence of music education courses, designed to prepare our students to teach a variety of students in a variety of settings. In addition to courses in music history and theory, individual applied study on an instrument, and performance in small and large musical ensembles, music education students are required to complete work both inside and outside the classroom as part of their music education studies. Today’s California schools present a variety of challenges, so we seek to develop students with the knowledge, ability, and perhaps more importantly, resolve to succeed, and to serve California’s students.

Preconditions for the Approval of Subject Matter Programs in Music

To be approved by the Commission, a Subject Matter Program in Music must comply with the following preconditions.

(1) Each Program of Subject Matter Preparation for the Single Subject Teaching Credential in Music shall include (a) a minimum of 30 semester units (or 45 quarter units) of core coursework in music subjects and related subjects that are commonly taught in departmentalized classes in California public schools, and (b) a minimum of 15 semester units (or 22 quarter units) of coursework that provides extended study of the subject. These two requirements are elaborated in Preconditions 2 and 3 below.

(2) The core of the program shall include coursework in (or directly related to) subjects that are commonly taught in departmentalized classes of music and related subjects in the public schools, including general music, music theory, music history, ensemble performance, and applied instrumental or vocal music.

(3) Extended studies (breadth, depth, perspective, concentrations) in the program shall be designed to supplement the core of the program.

In addition to describing how a program meets each standard of program quality in this handbook, the program document by an institution shall include the course titles, unit designations, catalog descriptions and syllabi of all courses in the program that are used to meet the standards. Program documents must include a matrix chart that identifies which courses meet which standards.

Institutions may determine whether the standards are addressed through one or more courses for each commonly taught subject or courses offering integrated study of these subjects. Institutions may also define the program in terms of required or elective coursework. However, elective options must all meet the standards. Coursework offered by any appropriate department(s) of a regionally accredited institution may satisfy the preconditions and standards in this handbook. Programs may use general education courses in meeting the standards.

BACHELOR OF ARTS IN MUSIC (SINGLE SUBJECT WAIVER)

The CSUEB program leading to a Bachelor of Arts degree with a single Subject Matter Waiver in Music consists of a minimum of 126 quarter units.

Core Curriculum (87 units)

Freshman Year (28 Units) • Music Theory I, II, III • Sight Singing I, II, III • Basic Piano I, II, III • Music through the Ages • Applied lessons • Large ensemble performance (East Bay Singers, Wind Symphony, Jazz Orchestra) • Performance benchmarks: Level 10 • Recital attendance

Sophomore Year (21 units) • Music Theory IV, V, VI • Sight Singing IV, V, VI • Applied lessons • Large ensemble performance (East Bay Singers, Wind Symphony, Jazz Orchestra) • Performance benchmarks: Level 20 and performance • Recital attendance

Junior Year (16 units) • Form and Analysis or Counterpoint I or Counterpoint II • Chamber Ensemble (three quarters) • Applied lessons • Large ensemble performance (East Bay Singers, Wind Symphony, Jazz Orchestra) • Performance benchmarks: Level 30 and a junior recital • Recital attendance

Senior Year (22 units) • Music Literature and Analysis I, II, III • Chamber Ensemble (at least one quarter) • Applied lessons • Large ensemble performance (East Bay Singers, Wind Symphony, Jazz Orchestra) • Performance benchmarks: Level 40 and a senior recital • Recital attendance

Breadth and Perspective Courses (39 quarter units)

Music Education Concentration

Mandatory Courses • MUS 2410: Foundations of Music Education • MUS 4435: Seminar in Public School Instrumental Teaching Techniques • MUS 4440: Seminar in Public School Choral Teaching Techniques • MUS 4445: Seminar in Elementary Classroom Teaching Techniques • MUS 3014: World Music and Culture • MUS 3095: Technology for Music Education • MUS 4900: Senior Project in Music Education

Conducting Courses • MUS 3370: Basic Conducting • MUS 3380: Choral Conducting • MUS 3390: Instrumental Conducting

Instrumental and Vocal Techniques Students are required to select courses in all instrument families outside of their own. • MUS 2321: Basic Voice • MUS 2331: Basic Violin and Viola • MUS 2332: Basic Cello and Bass • MUS 2341: Basic Clarinet • MUS 2342: Basic Double Reeds • MUS 2343: Basic Flute and Saxophone • MUS 2355: Basic Brass (high) • MUS 2356: Basic Brass (low) • MUS 2361: Basic Percussion

Guitar (credit by examination or 1 unit) • MUS 2371: Basic Guitar

California State University – East Bay Music Department SUBJECT MATTER PREPARATION PROGRAM IN MUSIC Bachelor of Arts, MUSIC EDUCATION Concentration

CSUEB Music Education Program

Standards of Quality and Effectiveness

Category I: Standards Common to All Single Subject Matter Programs

Standard 1: Program Design

Subject matter programs are based on an explicit statement expressing the purpose, design, and expected outcomes of the program. The program curriculum builds on the K-12 State-adopted academic content standards, with student outcomes and assessments aligned to the subject matter requirements. The program provides prospective teachers with conceptual knowledge of the subject matter, develops academic literacy and discipline-based fluency, addresses issues of equity and diversity, and exposes prospective teachers to a variety of learning experiences appropriate for the discipline.

Response

Overview:

The CSUEB Music Education Program is part of the CSUEB Department of Music of the College of Letters, Arts, and Social Sciences (CLASS). The program aspires to provide an education for the whole student through combining performance with scholarship in a culturally-diverse academic setting in which the students may be made aware of a broad range of career options and given the tools to succeed in those various situations upon completion of the program. The music education program at CSUEB has a long history of developing and placing excellent music educators in P-12 schools in the Bay Area and in the state of California. The department reaffirmed its commitment to music education in 2009 with the appointment of the department’s first-ever specialist in music education, professor John Eros. Moreover, the department is composed of dedicated faculty that is both highly active in their respective fields and, as their students can attest, highly invested in their students’ musical and academic success. The purpose of the music major program at CSUEB is to provide students with a thorough and rigorous education in music, preparing them to succeed as music educators in the diverse world of California’s K-12 schools. The program includes the study of musical theory, history, and

9 performance in individual and group settings. Through requiring students to be both specialized in their areas, and prepared to teach a variety of musical disciplines, the music education seeks to prepare students who have both the training and the versatility to sustain lifelong careers in music education.

Design CSUEB seeks to develop musicians and teachers of the highest caliber. The program provides students with a rigorous four-year sequence of courses that give them the opportunity to achieve a high level of success in written and aural theory, history, and performance. Students study in a variety of settings including traditional classroom, applied studio, rehearsal hall, performance hall, and the “real world” of California’s schools. At the core of the program is the development of musicianship. Students take a two-year sequence of music theory (MUS 1031, 1032, 1033, 2031, 2032, and 2033), as well as a two-year sequence of sight singing (MUS 1027, 1028, 1029, 2027, 2028, and 2029). They take a sequence of musical history courses, as well as literature and analysis. Students study their primary or instrument or voice for four years, including periodic jury assessments and culminating recital performances, as well as performing in large and chamber ensembles. Music education students receive one year of conducting experience (MUS 3770, 3380, and 3390) Within the music education sequence, students are required to study the performance and pedagogy of the basic wind, string, and percussion instruments through brass techniques (MUS 2355, 2356), woodwind techniques (MUS 2341, 2342, 2343), string techniques (MUS 2331, 2332), and percussion techniques (MUS 2361). We are currently exploring the prospect of including a service learning component in these courses. Rather than having students. Basic vocal pedagogy is developed through choral methods (MUS 4440) and through a performance requirement of one quarter in a choral ensemble. As a means of preparing our students for a variety of musical teaching settings, rather than specializing in choral, general, or instrumental music, our students take a yearlong sequence of pedagogy courses focused on general (MUS 4445), instrumental (MUS 4435), and choral music teaching techniques (MUS 4440). Given the ever-changing role of technology in today’s music education world, music education students also receive training in music technology (MUS 3095). Finally, music education faculty is aware that music teacher preparation requires students to spend time outside of the academy. Numerous music education courses (MUS 2410, 4435, 4440, and 4445) require observation, critical reflection, and teaching experiences in the public schools. Moreover, it is important to maintain an ongoing dialogue with music teachers in the field, and as such students receive guest presentations from area music educators at the elementary, middle, and high school levels. These opportunities allow the students to interact with those who will become their students and colleagues at the conclusion of their programs.

Desired Outcomes

The music education program at CSUEB strives to prepare well-rounded musician-teachers, capable of being successful in a variety of settings. Although it is not possible to prepare students for every possible scenario given the diversity of ethnicities, cultures, levels, situations, and disciplines that today’s reflects, it is our objective to provide students with the tools necessary to adapt and succeed. Students are expected to provide evidence of meeting the following objectives: 1. Individual and group performance on a primary instrument or voice in a variety of settings 2. Knowledge of written and aural Western musical theory 3. Knowledge and understanding of western music history, in addition to world music 4. A basic level of performance on and knowledge of the pedagogy of the basic wind, brass, string, and percussion instruments.

10 5. Competence in basic conducting technique, as well as techniques more specific for instrumental choral ensembles 6. The ability to read and study a musical score, including knowledge of instrument transpositions 7. A knowledge of instrumental, choral, and general teaching techniques, including composition and improvisation 8. Knowledge of national and California standards for music teaching and use them in planning lessons and curricula 9. Familiarity with current uses of technology in music education including a knowledge of copyright law

Successful completion of the program of this program will prepare the students to pursue and receive a single subject credential in music. As evidenced by the large number of excellent music educators in the Bay Area who are CSUEB alumni, CSUEB is capable of providing an excellent musical education to its students. Of the 5 most recent credential graduates, all 15 are employed as school music teachers.

Comprehensive Preparation

The music education sequence, including the music major core, is composed of the 127 units as follows:

• 28 units of music theory • 18 units of applied study • 16 units of ensemble performance • 16 units of music history • 6 units of sight singing • 3 units of piano • 9 units of conducting • 9 units of teaching techniques • 10 units of basic techniques (i.e. basic flute, basic brass, etc.) • 4 units of world music • 3 units of music technology • 1 unit of senior project in music education

Standard 2: Program Resources and Support

The program sponsor allocates resources to support effective program coordination, which includes advising students, facilitating collaboration among stakeholders, and overseeing program review. Ongoing review processes use assessments of the prospective teachers and a variety of data such as input from stakeholders and other appropriate measurements for review and evaluation of the subject matter program. Response

As is well known, in the state of California, these are uncertain times for higher education from a funding standpoint. However, the department and college have provided funding for Dr. Eros, coordinator of music education, to attend and present at state, regional, and national conferences. This past September (2011), the program provided funding for the coordinator of music education to attend and present at a national music education conference (the Symposium on Music Teacher Education in Greensboro, NC). The department has provided funding for Dr. Eros to attend the 2011 and 2013 Symposia on Music Teacher Education in Greensboro, NC, where he has presented research. The department has also funded Dr. Eros’s visits to California Music Educators Association (CMEA) state and regional conferences. Dr. Eros is a frequent presenter at regional and national conferences on music education, as indicated on his CV. The department also funded Dr. Eros to complete Kodály certification in July of 2012. Dr.Eros’s professional development has been supported by university and department funding, but he has not received release time for professional development. The coordinator of music education meets with music education students on a regular basis to provide advisement towards the completion of the program. Factors involved are: - Articulating the student’s precise musical and educational interests - Assessing the student’s musical background and teaching experiences - Planning an appropriate sequence of courses to allow the student to complete the program in a timely manner - Assisting junior college transfer students with their particular scenarios - Leading an informational meeting on the music education program and sequence during the early weeks of the quarter - Serving as faculty advisor for the CSUEB collegiate chapter of the National Association for Music Education (NAfME) This advising is considered service to the department and, as such, part of the duties of Dr. Eros’s position. He does not receive release time for the advising, although it is counted towards university retention, promotion, and tenure (RTP). Additionally, other music education faculty members, who are experienced public school teachers, provide feedback to students and function as advisors through formal and informal discussion. Dr. Buddy James, director of choral activities, is an experienced public school choir director and is also in frequent contact with numerous Bay Area choral educators. The music education faculty maintains an ongoing dialogue with area K-12 music educators. Area K-12 music educators frequently present guest lectures to methods classes, serve as guest conductors with student ensembles, present joint concerts with CSUEB ensembles, and work with CSUEB to host CMEA festivals on campus. These experiences facilitate dialogue between university faculty and their K-12 colleagues, providing opportunities for input into the program.

12 Many of these teachers later host student observers, and some also serve as master teachers for credential candidates. A sample program, from a joint concert with the Mt. Eden High School (Hayward, CA) band and orchestra is attached. The groups are directed by CSUEB alumni Kevin Cato and E. Ronnie Cato. Mr. Kevin Cato has served as a master teacher several times in the past. Mr. Bryan Holbrook, band director at Hayward High School in the Hayward Unified School District guest conducted the CSUEB Wind Symphony this past academic year. In addition to periodic formal and informal formative assessments, all students have a summative experience through the completion of a senior project in music education (MUS 4900). The senior project is a comprehensive portfolio that documents the student’s work over the course of their entire preparation program and serves as a summative assessment of the student’s work. The portfolio includes sample course work (lessons plans, papers, etc.), a resume, performance programs (including recital programs), etc. A sample table of contents and list of criteria are included. This document serves not only as an assessment tool for the student, but as a mechanism with which the music education faculty may review the program. Program assessment has become an area of focus this year, as the department instituted its first-ever exit survey at the conclusion of the 2012-2013 academic year. This survey was distributed via Survey Monkey to all graduating music majors (bachelor’s and master’s). A copy of the survey is included. It produced a great deal of concrete data regarding a large number of facets of the program. The survey data will be distributed to the faculty prior to the annual fall retreat (which takes place before the beginning of the academic year), so that the faculty can consider the survey results in shaping policy and procedure for the year. Data may be considered in more detail in the department’s curriculum committee. A music education student exit survey and exit interview will be implemented at the conclusion of the 2013-2014 academic year, when the subject matter preparation program (which runs on a two-year cycle) concludes. It is not practical to administer such an interview at the present time, as the current music education students have not completed the subject matter preparation program. A proposed music education student exit survey (which has been distributed to recent alumni for feedback) and exit survey interview protocol are attached. Finally, the program is measured through the visibility and success of its graduates, who serve as music educators in K-12 and higher education settings, and often hold regional and/or state offices, such as CSUEB alumnus Steven Hendee, band director at Castro Valley High School in Castro Valley, CA and immediate past-president of the Bay Section of CMEA. Even in the current difficult times, recent alumni have been successful in securing employment, such as CSUEB credential alumni Laura Muñana Carreon, director of choirs at Liberty High School in Brentwood, CA. Moreover, CSUEB alumni have played a direct role in music education at CSUEB, through presenting panel discussions. Dr. Eros has hosted panel discussions of CSUEB alumni who are experienced teachers as well as recent CSUEB graduates who are just entering the profession. Communication with area educators and administrators is an area of particular interest to Dr. Eros, who seeks to develop CSUEB’s relationship with East Bay and other Bay Area K-12 schools. This relationship has been strengthened in previous years by serving as a festival site for CMEA events, hosting workshops for area teachers, such as a recent workshop given by internationally- known music educator John Feierabend, and working with the Keep Music Rockin’ Foundation in San Leandro, CA.

13 Category II: Program Standards for Music

Standard 3: Artistic Perception: Aural Musicianship, Written Theory and Analysis

Prospective teachers in the program possess highly developed aural musicianship and aural analysis skills and have acquired knowledge of written music theory and analysis.

Response

Aural musicianship is cultivated throughout the program, within the core curriculum and within the student’s applied studies on their primary instrument/voice. Through a sequence of courses that is both broad and deep, students receive an education in musical theory from both a written and aural standpoint and develop analysis skills from studying a variety of musical material. Students develop the ability to analyze and critique their own performances in individual and ensemble settings. CSUEB students complete a core curriculum of two years of music theory courses (MUS 1031, 1032, 1033, 2031, 2032, and 2033) as well as a two-year sequence of sight singing courses (MUS 1027, 1028, 1029, 2027, 2028, and 2029). These courses contain both written and aural components. Music theory courses include the study of diatonic and chromatic melody and harmony, as well as 20th century techniques. Students write analytical papers on selected musical compositions, in which they provide harmonic/melodic analysis and also discuss the aesthetic qualities of the pieces (paper on Schumann’s Ich Grolle Nicht). In addition, students also frequently write compositions demonstrating their understanding of particular theoretical concepts (assignment on L’histoire du Soldat). Sight singing classes include individual and group performances, both prepared and at-sight, as well as rhythmic and melodic dictation, and simultaneous voice/piano performance (sing and play). The sight singing curriculum, recently expanded from one year to two years in length, uses components of the Kodály concept. In the upper division, students continue their theoretical study with courses in form and analysis (MUS 3051) and counterpoint (MUS 3061 and 3062). Students complete a one year sequence of Literature and Analysis courses (MUS 3155, 3156, 3157), in which both Western and non-Western musics are studied. Students analyze works both visually and aurally and demonstrate their knowledge through tests and papers. Additionally, in their applied areas, students complete in-depth studies of various compositions specific to their primary instrument or voice. The department handbook provides a list of representative works, sorted according to instrument and level. All students give recital performances Students take four years of applied study. They are required to perform in a large ensemble, such as East Bay Singers or Wind Symphony, on their primary instrument during each quarter in which they receive lessons. They are also required to perform in four quarters of chamber ensembles, such as chamber winds or a variety of jazz combos. All performance endeavors require the development of excellent analysis and error-detection skills.

14 Standard 4: Creative Expression: Instrumental and Vocal Proficiency, Keyboard Skills, Sight Singing, Sight Reading, Conducting, Composing and Arranging and Improvising

Prospective teachers in the program perform expressively and skillfully on a primary instrument or voice and demonstrate basic proficiency in keyboard skills. Prospective teachers also demonstrate understanding of and skill in conducting techniques. Prospective teachers are able to sight sing, sight read, improvise, compose and arrange music.

Response

Students complete four years of applied study on their primary instrument or voice, including required regular juries (in order to proceed to the next level) and recitals at which they are assessed in terms of both technical accuracy and expressive performance. Juries are evaluated by the student’s primary applied teacher, as well as by other music faculty. Students are also required to perform in a large ensemble (such as MUS 3511 Wind Symphony) during each quarter of the program. They are also required to complete four quarters of performance in chamber ensembles (such as MUS 3531 Chamber Winds), directed by faculty. They must demonstrate their level of performance and preparation during individual lessons with their applied professors, as well as in ensemble rehearsals with ensembles directors. Through public performances, they must communicate their level of musicianship to both musically trained and non-musically trained audiences. Sample programs, for both individual and ensemble performances, are included. Students take one required year of keyboard (MUS 1314, 1315, and 1316), during which they are assessed on their piano proficiency. They are also assessed on piano proficiency in an authentic rehearsal context during MUS 4400 Choral Techniques. Students must also demonstrate keyboard skills in sight singing classes (MUS 1027, 1028, and 1029 and MUS 2027, 2028, and 2029), in which they must sing and accompany themselves, frequently in different clefs including C clefs, as well as singing and playing in canon. Students receive one year of conducting training, including basic conducting (MUS 3370) as well as specialized techniques in instrumental (MUS 3390) and choral conducting (MUS 3380). Students study basic conducting and score reading technique, as well as score study and transposition technique. Students are regularly assessed by faculty members who also direct instrumental and vocal ensembles. Students complete a two-year sequence in sight singing (recently expanded from a one-year sequence). The sight singing sequence, with an emphasis on the Kodály concept, has been developed by Dr. Eros, who is currently completing Kodály certification at Holy Names University in Oakland, CA. In these courses, students are regularly assessed on their sight singing and sight reading abilities in group and individual settings. Sight singing is also emphasized in written theory courses, in which students must regularly sing melodic lines as well as individual parts in SATB-style chorales. Students receive numerous opportunities to compose and arrange, specifically in music theory courses, where they are required to compose pieces to demonstrate their comprehension of specific theoretical concepts (see Stravinsky assignment), and in music education courses, where they are required to demonstrate their knowledge of pedagogically-appropriate instrumental arranging (MUS 4435) and arranging using Orff instruments and other classroom instruments (see Orff arrangement from MUS 4445). Students receive numerous opportunities for improvisation, through Jazz Orchestra (a big band) and an extensive offering of jazz combos. Improvisation is also specifically studied in MUS 4445 Seminar in Elementary General Methods, using Orff instruments, drones, and ostinati, as well as various classroom and body percussion (see vocal improvisation activity).

15 Standard 5: Historical and Cultural Foundations

Prospective teachers in the program demonstrate wide knowledge of Western and selected non- Western music and apply this knowledge to analyze musical works.

Response A wide knowledge of Western and selected non-Western music is developed during MUS 1155 Music Through the Ages, as well as a yearlong sequence of classes in Literature and Analysis (MUS 3155, 3156, and 3157) as well as one quarter of World Music (MUS 3014). Knowledge is demonstrated through exams, projects, and papers, including aural identification and analysis. Students study a wide variety of excellent examples of Western music throughout their music theory studies. They also develop knowledge of the repertoire for their specific primary voices and instruments, under the guidance of applied faculty. Students complete one quarter of World Music (MUS 3014) taught by Dr. Peter Marsh. Dr. Marsh, a specialist in the music of Mongolia and the horsehead fiddle, is an experienced ethnomusicologist. World music is also addressed in Foundations of Music Education (MUS 2410) and Seminar in General Techniques (MUS 4445), in which students study the importance, place, and use of world music in school curricula. In this sample assignment, a Korean-American student created a percussion accompaniment to a traditional Korean song. In addition to our myriad performance opportunities in Western-based ensembles, students also have performance opportunities in world music. The department recently purchased a set of African drums and has begun an African drum ensemble. Moreover, as residents of large metropolitan area, and given CSUEB’s location in the extremely diverse East Bay area, students have many opportunities to hear live non-western music, both on-campus via visiting groups and off- campus in a plethora of venues

16 Standard 6: Aesthetic Valuing

The subject matter program develops an understanding of aesthetic valuing in music. Prospective candidates have both broad and deep conceptual knowledge of the subject matter. They are able to respond to, analyze and critique performances and works of music, including their own.

Response

Students’ abilities to respond to, analyze, and critique performances and works of music are stressed and cultivated throughout the program, in both academic and performance settings. Students are required to make aesthetic judgments throughout the program. Moreover, students are able to use one another as resources for conversations regarding various musical repertoire and performances. Students’ knowledge and analyses of music are developed in music theory and well as music history courses. Students study representative compositions from specific time periods and compositional styles, and analyze them from a theoretical and historical standpoint. Students refine the ability to evaluate performances of their own and others’ music throughout the program, through performances in large and small ensembles as well as through individual applied instruction. Moreover, students frequently engage in spontaneous performances and rehearsals, as well as conversations, in which they discuss performances. Students complete four years of applied study (see sample applied studio syllabus) with CSUEB performance faculty, all of who are well-respected performers in the Bay Area, as well as at the national and international level. Students also refine their own performance through student-run sectionals (Wind Symphony) and through serving as section leaders. Students also frequently perform in their own ensembles. During a previous Wind Symphony concert, a student-led brass quartet began the concert with a performance of a work by Hindemith. Students learn how to select repertoire both through their applied lessons and through a number of music education and conducting courses. In the attached assignment, choral methods students must selected and analyze an excellent piece example of choral literature, prepare lesson plans, and present their piece (see literature project). Students also analyze works from an aesthetic view throughout the program. In the attached paper, a student analyzed a piece by Schumann from a technical and aesthetic point of view (see paper on Iche Grolle Nicht). The student provided a melodic and harmonic analysis and also discussed the aesthetic qualities of the piece.

17 Standard 7: Connections, Relations and Applications

The program develops an understanding of music connections, relationships and applications. Candidates understand the connections and relationships between music and the other arts as well as between music and other academic disciplines. The program develops familiarity with the broad range of career and lifelong learning opportunities available in the field of music, the media and the entertainment industries.

Response Students study the connections between music and other cultural disciplines in Literature and Analysis (MUS 3155, 3156, and 3157) and World Music (MUS 3014). In an effort to connect music to other fine arts, music education faculty and ensemble directors seek out opportunities to collaborate with other faculty members in the fine and performing arts. Recently, wind symphony conductor and instrumental music education specialist Dr. Wesley Broadnax collaborated with dance faculty member Professor Nina Haft on a performance of Danza de los Duendes (see program). Professor Haft created original choreography. This served as an example for the students to experience art collaboration from the performer’s standpoint, in collaborating with performers from a discipline outside of music, as well as to see how directors collaborate. The program also develops an understanding of connections through opportunities for students to perform in ensembles of different genres. Additionally, ensemble directors periodically direct ensembles outside of their primary areas of expertise meaning that, for example, the directors of choral and jazz activities conduct members of the wind symphony. As another example, on our final concert of the previous academic year, jazz performance faculty performed as soloists with the wind symphony, allowing students in the wind symphony to actively collaborate with CSUEB’s talented jazz faculty from within the traditional concert band medium (program). Students are made aware of the broad range of career possibilities in music via their interaction with faculty. The music faculty has extensive experience in a wide variety of occupations in the music field, including professional performers in a variety of styles, composers, researchers, music educators, and music and media technologists. Many members of the applied faculty have extensive freelance experience in jazz, classical, film, opera, and other genres. Foundations of Music Education (MUS 2410), given its early place in the curriculum, provides opportunities for students to learn about a variety of career options in music education. Also, many students choose to join the recently founded collegiate chapters of the National Association for Music Education (NAfME) and the American Choral Directors Association (ACDA). Students are also encouraged to make professional connections via attending music conferences and workshops. During this past spring quarter, all members of Elementary Techniques (MUS 4445) attended a workshop given by the Northern California chapter of the American Orff-Schulwerk Association (NCAOSA). The department recently purchased a full set of African percussion, including djembés and doun-douns, as part of offering an African Drumming Ensemble course. This gives all students the opportunity to perform on African instruments, and allows music education students the opportunity to study world music on authentic instruments within a music education context.

18 Standard 8: Music Teaching and Learning

The study and application of music teaching and learning techniques as related to general music classes, instrumental and choral performance are an integral component of each prospective teacher’s program of study. The program develops the prospective teacher’s familiarity with a broad range of repertoire and literature and the criteria to evaluate those materials for specific educational purposes. Prospective teachers also develop various strategies for planning and assessing music learning in general music and performance classes. Prospective teachers develop familiarity with the broad range of technology, acoustic principles and copyright law.

Response

Although overall musicianship is developed throughout the curriculum, the music education sequence speaks most directly to Standard 8 (MUS 2321, 2331, 2332, 2341, 2342, 2343, 2355, 2356, 2361, 2371; MUS 2410; MUS 3095, 3014, 3370, 3380, 3390; 4435, 4440, 4445, 4900). Although many students will bring primary expertise in only one or two areas, there is no “instrumental track” or “choral specialization” within the program. The program includes courses in elementary general music (MUS 4445), choral music (MUS 4440), and instrumental music (MUS 4435) teaching methods, as well as the recently-added Foundations of Music Education (MUS 2410) in which those and other disciplines in music education are discussed. Syllabi for all are included. All music education students must take all four courses. All music education students receive training in brass, woodwind, string, and percussion instruments (MUS 2331, 2332, 2341, 2342, 2343, 2355, 2356, and 2361), as well as in guitar (MUS 2371). These classes focus on both pedagogy and performance, and frequently require students to compile a resource file of materials. These courses are taught by both music education faculty and by applied faculty, of whom many have experience teaching K-12 age students. Dr. Eros coordinates these classes. He is both an experienced methods teacher and has published research on instrumental techniques courses. Regardless of primary instrument, all students are required to take all instrumental techniques classes because Dr. Eros (music education coordinator) believes that clarinet majors, for example, can benefit greatly from the study or review of basic pedagogy, as well as through what contributions they can make to the class itself. All students take MUS 2410 Foundations of Music Education, in which students are presented with an overview of the history of music education in the United States, as well as significant theories and philosophies of music teaching and learning, an overview of musical disciplines (i.e. band, choir) and methodologies (i.e. Orff, Kodály). Students also discuss issues related to cultural diversity and special needs, both highly relevant topics in today’s California schools. Instruction is experienced via lecture and discussion, small-group discussion, peer presentation and teaching, observation, and written papers and reflections. Emphasis is placed on students’ own reflections, as a journal is kept throughout the course, with periodic journal prompts. Discussions of diversity reach even into current discussion of gender (i.e. LGBT) issues in music education, as evidenced by a student paper on the issues related to sexuality in music education. Students receive training in vocal and choral pedagogy through MUS 3380 Choral Conducting, and MUS 4440 Seminar in Public School Choral Techniques, as well as through vocal ensembles that are open to all students. These courses include basic vocal pedagogy, choral warm- ups, and conducting, literature selection and knowledge of repertoire, score analysis, lesson and curricula development, and the development of assessment. In addition to the instrumental techniques classes mentioned above, students receive training in instrumental music education through MUS 3390 Instrumental Conducting and MUS 4435 Seminar in Public School Instrumental Techniques. In these courses, students study the issues

19 particular to instrumental conducting and music education, such as transposition, score reading and study, seating, and rehearsal techniques. Students also become familiar with a variety of music for elementary, middle, and high school instrumental ensembles. Finally, students gain experience arranging for young band through the completion of one of their final projects that is to create a short arrangement of a folk song suitable for elementary (grade five or six) band. As a means of providing students with a current authentic glimpse into today’s instrumental music education, guest lectures were presented by local middle school and high school band directors, also serving as a way for students to interact with area music educators. In MUS 4445, Seminar in Public School Elementary Music Techniques, students study various theories of learning and child development, as well as becoming familiar with the teaching approaches of Orff, Kodály, Gordon, and Dalcroze. Dr. Eros has been trained in Orff (level I), Gordon (Level I), and Kodály (level III). Students create and peer-teach lessons, including the use of the national state standards for music education, focusing on singing, movement, listening, composition/improvisation, and playing instruments. Students compose and improvise using body percussion and classroom instruments, culminating in an original composition or arrangement for Orff-based ensemble. Students also discuss and create assessments, such as rubrics. Prospective teachers must all complete a course in music education technology (MUS 3095). This includes state-of-the-art education in applications as well as equipment, and the acquisition of knowledge of copyright law. Finally students demonstrate the ability to use notation software in methods classes MUS 4435 and 4445, in which their final arrangements must be submitted using Finale, Sibelius, or a similar notation program (not hand-written). Students are required to review examples of educational literature (method books, text books, and internet/technology-based resources) and to present and share their findings with other students. They are also required to analyze excellent examples of choral and instrumental literature, chosen in consultation with the instructor. A sample project from MUS 4440, Choral Techniques, is included (choral project), as is an annotated bibliography project for MUS 4445, Elementary Techniques (bibliography). Students are also required to become familiar with the publications of numerous professional music education organizations, such as the Music Educators Journal, Teaching Music, and General Music Today, as well as the journals of AOSA (Orff) and OAKE (Kodály). Students must read and present reports on articles. Recognizing that music education training must be contextualized, field teaching and observation (observation form) is present throughout the music education curriculum. Students are required to make a certain number of observations in MUS 2410 Foundations of Music Education, MUS 4435 Instrumental Techniques, MUS 4440 Choral Techniques, and MUS 4445 General Techniques. Assessment is integrated throughout the program, including the core curriculum as well as electives and applied, in addition to the music courses. Students are assessed via exams, quizzes, and papers, as well as through composition. Students must complete periodic performance assessments in sight singing and keyboard classes, as well as throughout their applied studies, for which juries are required to progress to the next level of study. Within the conducting and music education classes, students are frequently videotaped and asked to assess themselves.

Course Matrix for Standards

Courses & 1 2 3 4 5 6 7 8 Standards MUS 1027, 1028, X X X 1029 Sightsinging I, II, III (3 units) MUS 1031, 1032, X X X X 1033 Music Theory I, II, III (12 units) MUS 1155 Music X X X X X Through the Ages (4 units) MUS 1314, 1315, X X 1316 Basic Piano (3 units) MUS 1610-1670 X X X X Applied Music (major performance media) (3 units) MUS 2027, 2028, X X X 2029 Sightsinging IV, V, VI (3 units) MUS 2031, X X X X 2032, 2033 Music Theory IV, V, VI (12 units) MUS 2610-2670 X X X X Applied Music (major performance media) (3 units) One of: Music X X X X X 3051, 3061, 3062 Form and Analysis; Counterpoint I, II (4 units) MUS 3155, 3156, X X X X X X X 3157 Music Literature and Analysis I, II, III (12 units) MUS 3501-05, X X X 3509-15 Music Performance Activities (12 units) MUS 3506 X X X Chamber Ensembles (4 units) MUS 3610-3670 X X X Applied Music

21 (major performance media) (6 units) MUS 4610-4670 X X X Applied Music (major performance media) (6 units)

Music Education Concentration

Course/ Standard 1 2 3 4 5 6 7 8 MUS 4435: X X X X X X Seminar in Public School Instrumental Teaching Techniques (3 units) MUS 4440: X X X X X X Seminar in Public School Choral Teaching Techniques (3 units) MUS 4445: X X X X X X Seminar in Elementary Classroom Teaching Techniques (3 units) MUS 3014: World X X X X X Music and Culture (4 units) MUS 3095: Music X X X Technology for Educators (3 units) MUS 4900: Senior X X X Project in Music Education (1-4 units) MUS 3370: Basic X X X Conducting (3 units) MUS 3380: X X X Choral Conducting (3 units) MUS 3390: X X X Instrumental Conducting (3 units) MUS 2410: X X X Foundations of Music Education

22 (4 units) MUS 2331: Basic X X Violin and Viola (1 unit) MUS 2332: Basic X X Cello and Bass (1 unit) MUS 2341: Basic X X Clarinet (1 unit) MUS 2342: Basic X X Double Reeds (1 unit) MUS 2343: Basic X X Flute and Saxophone (1 unit) MUS 2355: Basic X X Brass (high) (1 unit) MUS 2356: Basic X X Brass (low) (1 unit) MUS 2371 (Basic X X Guitar) (1 unit)

Subject Matter Requirements (SMRs - Domains 1 – 6)

Courses & 1.1 1.2 2.1 2.2 2.3 2.4 2.5 3.1 4.1 5.1 5.2 6.1 6.2 Standards MUS 1027, X X X 1028, 1029 Sightsinging I, II, III (3 units) MUS 1031, X X X X 1032, 1033 Music Theory I, II, III (12 units) MUS 1155 X X X X X X Music Through the Ages (4 units) MUS 1314, X X X 1315, 1316 Basic Piano Class I, II, III (3 units) MUS 1610-1670 X X Applied Music (major performance media) (3 units) MUS 2027, X X X 2028, 2029 Sightsinging IV, V, VI (3 units)

23 MUS 2031, X X X X 2032, 2033 Music Theory IV, V, VI (12 units) MUS 2610-2670 X X Applied Music (major performance media) (3 units) MUS 3501-05, X X 3509-15 Music Performance Activities (6 units) One of: Music X X X X X 3051, 3061, 3062 Form and Analysis; Counterpoint I, II (4 units) MUS 3155, X X X X X X 3156, 3157 Music Literature and Analysis I, II, III (12 units) MUS 3610- X X 3670 Applied Music (major performance media) (3 units) MUS 3501-05, X X 3509-15 Music Performance Activities MUS X X 3506 Chamber Ensembles (4 units) MUS 4610- X X 4670 Applied Music (major performance media) (3 units)

Music Education Courses

Standard 1.1 1.2 2.1 2.2 2.3 2.4 2.5 3.1 4.1 5.1 5.2 6.1 6.2 MUS 4435: X X X X X X X X Seminar in Public School Instrumental Teaching Techniques MUS 4440: X X X X X X X X Seminar in Public School

24 Choral Teaching Techniques MUS 4445: X X X X X X X Seminar in Elementary Classroom Teaching Techniques MUS 3014: X World Music and Culture MUS 3095: X X X Technology for Music Education MUS 4900: X Senior Project in Music Education MUS 3370: X X X X Basic Conducting MUS 3380: X X X X Choral Conducting MUS 3390: X X X X Instrumental Conducting MUS 2410: X Foundations of Music Education MUS 2331: X Basic Violin and Viola MUS 2332: X Basic Cello and Bass MUS 2341: X Basic Clarinet MUS 2342: X Basic Double Reeds MUS 2343: X Basic Flute and Saxophone MUS 2355: X Basic Brass (high) MUS 2356: X Basic Brass (low) Guitar X Proficiency examination or

25 MUS 2371 (Basic Guitar)

26 Music Subject Matter Requirements Matrix

Domains for Music Coursework, Assignments, Reviewers Comments Assessments Domain 1. Artistic Perception Aural musicianship skills are 1.1 Aural Musicianship developed in Music Theory a. Recognize errors in solo and ensemble courses (MUS 1031, 1032, 1033, performances (e.g., melodic, rhythmic, and 2031, 2032, 2033) and Sight harmonic, intonation, dynamic, Singing courses (MUS 1027, interpretational). 1028, 1029, and 2027, 2028, b. Transcribe aurally presented musical excerpts into melodic, harmonic, and 2029) as well as in the rhythmic notation. performance courses such as c. Analyze and describe the form, style, and ensembles and applied lessons. expressive elements of a musical example. These classes include written d. Recognize and describe cultural elements theory, as well as melodic, from diverse historical periods, genres, harmonic, and rhythmic dictation and styles of Western and non-Western and error-detection. Music history, music. as well as the study of western and e. Analyze and describe the use of musical non-western music takes place in elements in a given work (e.g., melody, Literature and Analysis (MUS harmony, rhythm, texture) that make it 3155, 3156, 3157) and unique, interesting, and expressive. Introduction to World Music (MUS 3014), in which students carefully consider diverse cultural contexts.

1.2 Written Theory and Analysis of Notation skills are developed in Western Music Music Theory (MUS 1031, 1032, a. Demonstrate the ability to read and notate 1033, and 2031, 2032, 2033) and music (e.g., use of notation in various Sight Singing courses (MUS 1027, clefs; key and time signatures; scales and 1028, 1029, and 2027, 2028, melodic elements; intervals, triads, and 2029), as well as in individual chords; figured bass; rhythm, meter, and applied instruction. tempo; dynamic and expressive symbols; Score reading skills are developed music terminology). in the conducting sequence (MUS b. Demonstrate the ability to read a full 3370, 3380, 3390), in the music instrumental and/or choral score and theory courses, and in the music describe how the elements of music (e.g., education sequence where students doublings, melody and accompaniment, must analyze pieces to create transpositions, orchestration) are used. lessons and units. c. Analyze and identify the form, style,

compositional devices, harmonic

progressions, and cadences in a score excerpt. Domain 2. Creative Expression 2.1 Instrumental and Vocal Proficiency Students develop individual a. Demonstrate competence on a primary performance and musicianship instrument or with voice by performing skills through individual applied individually and in ensembles with lessons and through performance appropriate expression and good in large and small ensembles.

27 musicianship skills (e.g., technical Skills are assessed on an ongoing accuracy, tone quality, intonation, basis during lessons, as well as articulation). through periodic lessons and juries b. Demonstrate sight-singing and sight- and concerts. Sight-reading is a common component of ensemble participation as well as individual study. Sight singing is addressed through a two year sequence (MUS 1027, 1028, 1029, and 2027, 2028, 2029).

28 Domains for Music Coursework, Assignments, Reviewers Comments Assessments reading skills. 2.2 Functional Keyboard Skills Keyboard skill is developed in a. Demonstrate functional keyboard MUS 1314, 1315, 1316. proficiency. Keyboard skill is also developed b. Demonstrate sight-reading proficiency. in sight singing courses, as well as in choral conducting (MUS 3380) and choral techniques (MUS 4440) 2.3 Conducting Basic conducting patterns are a. Understand and demonstrate basic used throughout the sight singing conducting patterns. sequence. Basic conducting skills, b. Understand and demonstrate cuing including cuing and expressive techniques. techniques, are developed and c. Understand and demonstrate techniques refined during the year-long for conducting expressively. conducting sequence of basic d. Interpret and analyze a choral or (MUS 3370), choral (MUS instrumental score (e.g., identifying 3380), and instrumental (MUS potential performance issues). 3390) conducting. These courses include score study and reading skills. Students are assessed on their in-class conducting of student ensembles. In choral methods (MUS 4440), students must provide a detailed analysis of a piece of choral music, including identifying potential trouble spots.

2.4 Composing and Arranging Composition is frequently used a. Recognize and understand compositional during the core theory sequence, techniques and textures (e.g., particularly during the second counterpoint, ostinato, melody and year where students are asked to countermelody, tone row). compose pieces that demonstrate b. Understand and demonstrate how to their comprehension of the arrange music (e.g., scoring techniques, theoretical concepts being transpositions, ranges) for voices and/or studied, such as in MUS 2033 various acoustic or digital/electronic where students compose a piece instruments. demonstrating techniques c. Understand and demonstrate how to (polymeter and ostinato) used in harmonize a given melody. Stravinsky’s L’histoire du Soldat, d. Understand and demonstrate, given including its instrumentation. specific parameters, how to create a Music education classes require melodic and/or rhythmic composition. students to arrange pieces for band (MUS 4435) and for Orff xylophone-based ensemble (MUS 4445). These assignments require them to know the ranges for given instruments, as well as to demonstrate knowledge of transpositions. Students study the harmonization

29 of melodies throughout the core theory curriculum, as well as in keyboard (MUS 1316). Frequently, they are required to sing their individual lines, as well as to sight-read the harmonizations in four voices.

2.5 Improvising MUS 4445 (General Techniques) a. Understand and demonstrate how to requires students to improvise on create melodic and rhythmic voice, body percussion and on improvisations. classroom pitched and unpitched b. Understand and demonstrate techniques instruments, such as Orff xylophones for improvising an accompaniment on and hand drums. Improvisation keyboard. activities typically include student accompaniment such as melodic and harmonic ostinati.

Domain 3. Historical and Cultural Foundations 3.1 Music History and Cultural Context This standard is met by Music a. Identify and describe stylistic differences Through the Ages (MUS 1155), (e.g., genres, media, social functions) in the Literature and Analysis course music from various cultures and sequence (MUS 3155, 56, 57) and historical periods. Introduction to World Music b. Analyze musical works from various (MUS 3014). MUS 3155, 3156, cultures and historical periods in terms of and 3157 consider musics from their form or genre, organizational the medieval period through the principles, historical and cultural context, present, while MUS 3014 use of the elements of music, use of addresses a variety of world expressive devices, and any unique musics. The various musical traditions (based on time periods, cultures, etc.) are compared and contrasted in terms of key musical and other distinguishing features.

30 Domains for Music Coursework, Assignments, Reviewers Comments Assessments features they possess. c. Understand the roles of musicians and composers in diverse cultures and historical periods. d. Identify the influences of diverse cultural and ethnic groups on music in California and the United States. e. Demonstrate knowledge of instruments from a variety of cultures and historical periods. f. Explain how music from various cultures and historical periods reflects social functions, changing ideas, and cultural values. Domain 4. Aesthetic Valuing 4.1 Critical Evaluation Throughout the program, students a. Know and apply criteria for evaluating develop their ability to critically the quality and effectiveness of musical evaluate music. From a performances, compositions, and performance standpoint, this takes arrangements. place in lessons, juries, ensemble b. Evaluate a performance, composition, rehearsals, and performance. arrangement, or improvisation by Students receive constant formal comparing it with an exemplary model. and informal feedback from c. Know and apply criteria for evaluating faculty and are expected to and assessing the quality and implement this feedback. Students effectiveness of one's own musical commonly audio and/or performance. videorecord their public performances. From an analytical standpoint, students evaluate music from a wide variety of time periods and genres through the music theory core curriculum (Theory I–VI), other theory courses. In Music Through the Ages (MUS 1155) and Music Literature and Analysis I-III, students evaluate a number of examples of excellent works of music.

Domain 5. Connections, Relationships, and Applications 5.1 Connections and Relationships In Music Literature and Analysis a. Recognize and describe ways of I-III, although the primary focus integrating arts disciplines. is on music, it is placed within the b. Understand how elements, artistic larger cultural context of the time processes, and organizational principles period to which it belongs, as are used in similar and distinctive ways evidenced by the final exam focus in the various arts. for the classical era (MUS 3156), c. Identify similarities and differences in in which the students are the meanings of common terms used in responsible for knowing

31 various arts and other subject areas. information on various authors d. Identify and explain ways in which the and artists, as well as the principles and subject matter of music Enlightenment itself. and various disciplines outside the arts are interrelated (e.g., acoustics). Within the performing ensembles, students experience the similarities and differences in the various arts, through performing music of different genres (i.e. large wind band vs. small Latin combo), as well as through collaboration with other arts faculty, such as the collaborative concert between the wind symphony and the dance ensemble.

5.2 Career Applications and Functions of It is a priority of the music faculty Music at CSUEB for the students to a. Identify a variety of careers and know a variety of career options, avocations in the field of music. including music education, in b. Explain ways in which music functions such courses as MUS 2410 in the media and entertainment industries Foundations of Music Education. (e.g., radio, television, Internet, As the majority of our performance faculty is composed of professional performing musicians in a wide variety of settings, students receive constant input and first-hand descriptions of their career options through interaction with faculty. Music in media is a strength at CSUEB, as a member of our music faculty, Dr. Rafael Hernandez, is also the director of the multimedia program.

Moreover, we have a student group, entitled Multimedia Music Box, that gives regular concerts of works intended for such media as TV and film. These events are open to all music students. MUS 2410 requires students to research and write a paper on why music should be included in the school. The instructions for this assignment include: “Make a list of five compelling reasons, with citations and data, for supporting music in the schools”

33 Domains for Music Coursework, Assignments, Reviewers Comments Assessments advertising, film, video, theatre). c. Know and apply current research to support the inclusion of music in the school curriculum. Domain 6. Music Methodology and Repertoire 6.1 Music Methodology Director of Music Education Dr. a. Demonstrate knowledge of techniques Eros has completed level III for developing aural perception skills and Kodály, level I Orff, and Level 1 for developing the ability to read and Gordon. In addition to music interpret music. education courses, he calls on this b. Demonstrate basic knowledge of various training throughout the music music learning approaches and theory (MUS 1031, 1032, 1033) methodologies (e.g., Orff Schulwerk, and sight singing (MUS 1027, Kodály, Dalcroze, Suzuki, and Gordon 1028, 1029, MUS 2027, 2028, Music Learning Theory). 2029) curriculum for such topics c. Demonstrate knowledge of basic as reading and inner hearing instrumental techniques. (perception). Students use d. Demonstrate knowledge of basic moveable-do solfa (Kodály). vocal/choral techniques. Also, basic instrument techniques e. Demonstrate basic knowledge of solfège classes, they learn simple songs methodologies. by rote on solfa before playing f. Demonstrate functional knowledge and them without notation (Gordon) skills in voice, keyboard, woodwinds, Students are presented with the brass, strings, guitar, and percussion. major music education g. Demonstrate knowledge of ensemble methodologies (Orff, Kodály, rehearsal techniques. Dalcroze, Suzuki, and Gordon) in h. Demonstrate knowledge of the effects of both MUS 2410 and MUS 4445. peer instruction, collaborative learning They are presented with the groups, lectures, demonstrations, and history and principles of each, discussions of musical performances on experience representative music learning. classroom activities (i.e. i. Identify strategies for sequencing music composing and improvising on activities and understand how music Orff instrument), compare and activities relate to student content contrast them, and utilize the standards. methodologies to craft and j. Demonstrate knowledge of specialized present lessons. music evaluation tools such as pencil-

and-paper critiques, videotaping, Students complete a sequence of audiotaping, portfolios, adjudication basic instrument techniques class forms, and rubrics. including winds, strings, brass, k. Demonstrate an understanding of the and percussion (MUS 2331, 2332, developmental stages of learning (i.e., 2341, 2342, 2343, MUS 2355, knowledge of the cognitive, physical, and 2356, and MUS 2361). MUS social development of students) in 4435 also makes use of secondary relation to music. instruments, giving student l. Recognize uses of technology as a tool in further opportunity to perform on creating, listening to, and studying music a secondary instrument. Students (e.g., CD-ROM, DVD, computers, also take the keyboard sequence Internet, synthesizers, MIDI, other (MUS 1314, 1315, 1316) described earlier in this

34 document.

Students both experience and utilize a variety of modalities throughout the music education sequence, including peer instruction (a regular fixture throughout all methods courses, MUS 4435, 4440, and 4445), often combined with collaborative learning as students prepare and present peer team teaching lessons. These modalities, as well as the more traditional lecture, demonstration, and discussion are both experienced and analyzed for their potential uses in future classroom teaching.

Students study the sequencing of musical activities throughout the preparation program. As an example, students study the Kodály method and its developmental sequence of pitch and rhythm concepts. Musical activities are framed by content standards throughout the program. Beginning in Foundations of Music Education (MUS 2410), students must familiarize themselves with the state and national standards and demonstrate how their lessons make use of the standards.

Students use and study a variety of summative and formative assessments. They create their own rubrics, and provide pencil- and-paper feedback to other students as part of the peer teaching process. Students are videotaped in conducting and methods classes (syllabus). Finally, portfolio assessment is used throughout the sequence, as evidenced by the final course notebooks that students must submit in numerous classes.

Stages of development are studied in MUS 2410 Foundations of

35 Music Education and MUS 4445 Seminar in Elementary Music Techniques. Students are required to self-assess their learning styles in MUS 4445.

Students complete a course on the use of technology in music education, in which all of these areas are addressed.

Equity, diversity, and access are discussed throughout the program in classes such as MUS 2410, 4435, and 4445, in which cultural diversity and special needs are discussed in relation to music education. CSUEB is a highly diverse campus, and the music education program represents this diversity. Between students’ own experiences and their experiences in local schools, a framework for discussing these topics is present.

36 Domains for Music Coursework, Assignments, Reviewers Comments Assessments digital/electronic technology). m. Understand strategies for facilitating equity, access, accommodation, and adaptation in learning music. 6.2 Repertoire and Literature for Core courses in music history and Listening, Performance, and Study world music (MUS 3014), a. Know and apply criteria and background combined with performance knowledge for selection of appropriate experience, provide students with music repertoire and literature from a deep knowledge of western and diverse cultures and historical periods for non-western musical literature. various developmental levels and Music methods classes focus applications in school and community students on appropriate repertoire settings. for particular situations, such as b. Demonstrate familiarity with historical using sol-mi songs (i.e. “Rain and contemporary works from various Rain”) for kindergarten or 1st grade musical traditions and diverse cultures. lessons. Folk material may also be c. Demonstrate familiarity with sequential, selected, such as Kodály’s developmental, and cultural factors used collections of Hungarian folk in selecting music literature for songs, to teach melodic and performance. rhythmic elements. d. Know and apply criteria for selection of music repertoire and literature to make As performers, students experience connections and enhance relationships a wide variety of repertoire. In a with other curricular areas. recent concert program, members e. Know copyright laws and legal of the wind symphony performed a consequences as they apply to the school program with music from a variety music program. of time periods, from Haydn through modern composers, including a newly composed piece dedicated to the ensemble.

Students are made aware of a number of important factors to consider when choosing material, as the study the selection of repertoire in MUS 4440 (choral techniques) and MUS 4435 (instrumental techniques), such as the issue of representing the various cultures present in a school, as well as the development of concert programming over the course of a year (i.e. the material programmed in the fall vs. the end of the year). Selection of material is also discussed in MUS 3390 (Instrumental Conducting) and MUS 3380 (Choral Conducting).

Students are made aware of music

37 copyright laws in MUS 3095 Music Technology. The role of copyright law in running a music program is discussed throughout the methods sequence

38 SYLLABI

Sight Singing I (MUS 1027, sec. 01)

California State University, East Bay

Schedule: MW 11:00 – 11:50 MB 1506 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: M 1:00 – 3:00; T 10:00 – 11:00 or by appointment

Materials (available at the bookstore): th o Text (Required): Music for Sight Singing, 8 Edition (Ottman & Rogers, 2010) o Note: You will use this text for Sight Singing I – VI (six quarters) o Blank staff paper/pencil - there a number of online sources, such as http://www.blanksheetmusic.net/ o Bring all materials to each class meeting

Primary Objective To develop the ability to perform melodies accurately, with correct pitch, rhythm, and phrasing on first sight.

Secondary Objectives: To develop the ability to: 1. Perform accurately, with proper pitch, rhythm, and phrasing, melodies in both treble and bass clefs 2. Accurately perform rhythms in simple and compound time 3. Take rhythmic and melodic dictation 4. Learn two, three, and four-beat conducting patterns and use them while performing 5. Perform an independent part while singing compositions for two or more voices

Course Format This is an active class. You may hear me call this class “aural skills.” That is because “singing” doesn’t cover everything that we will do - we will learn through active performance (including singing, rhythm performance, and movement). Don’t expect to sit in the back of the room and go unnoticed. Also, don’t be afraid to be wrong or make mistakes – it’s part of the process!

Co-requisites You should be enrolled concurrently in MUS 1031(Music Theory I) and MUS 1314 (Basic Piano I). See me with questions. Furthermore, this class will move quickly and is designed with music majors in mind. If you are not a music major (including music minors), this class might seem a bit fast.

Attendance Each class meeting builds progressively on all previous class meetings. As a skills-based course, you must be present in order to improve and succeed. Furthermore, you should expect to perform individually at every class. I do not accept, “I wasn’t here last time, so can I just sing next class?”

Punctuality Coming in late or leaving early is distracting to everyone, and is unfair to those who are on time. If you are more than 10 minutes late, I reserve the right to refuse admittance. Furthermore, if you are more than ten minutes late on more than two occasions, your final grade will be lowered one-half letter grade (i.e. B+ to B)

Food Please refrain from bringing food/drink to class.

Disruptive behavior and technology While it may seem obvious, students are not allowed to be disruptive in class or use any technology that would otherwise prove disruptive and distract from the learning environment in class. This includes but is not limited to: • Chatting during lecture • Text messaging • Web surfing • Allowing phone calls/messages to ring during class and/or answering those calls/messages • Listening to iPods, media players, and other devices during class I reserve the right to ask you to leave the class for any behavior I find disruptive.

Academic Honesty Students are required to read and understand the CSUEB statement on Academic Dishonesty. The Catalog's statement is on the WWW at http://www.csueastbay.edu/ecat/current/i-120grading.html#section12 . Violation of any of the standards will result in an F in this course and will be documented in the Academic Affairs Office.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Assessment • In class performance (this may be either pre-assigned or spontaneous): 40% • In-class written assignments (i.e. dictation): 40% • Midterm: 10% • Final: 10%

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Course Schedule by Topic

Week Primary Topics Text

Beginning (Chapter) on: 9/22 Introduction to course; Discussion of philosophy and approaches to aural 2 skills. Introduction to moveable-do solfegge and Curwen hand signs. You may have learned sight singing using a different system (fixed-do, numbers, moveable-la), but we will be using moveable-do. Treble and bass clefs 9/27 Continue solfegge practice, adding melodic dictation (using stick 2 notation initially) 10/4 2, 3, and 4-beat conducting patterns; Rhythms in simple time (beat 1 divided into multiples of two) and du-de rhythm syllable system; rhythmic dictation

40 10/11 Focus on the tonic triad in a given major key 3 10/18 Continuation of tonic triads and major keys 3 10/25 Midterm; There are two components: in-class written (10/25) and - individual performance (10/27). The individual performance component will take place at our room during regular class time on a first come/first serve basis. You will not be performing in front of the class (whew!) 11/1 Compound time (beat divided into multiples of 3); Add du-da-di 4 component to rhythm syllable vocabulary 11/8 Introduction to minor keys (forms of the minor scale); We will be using 5 do-based minor (there are other systems in use, such as la-based minor – some of you may have used that system, particularly if you had choir directors with Kodály backgrounds); Addition of me, le, and te syllables 11/15 Continuation of minor-based material 5 11/22 Introduction to the dominant (V) chord; 6 11/29 Continuation of dominant-based material; Written final on 12/1 6 12/8 Final Exam: Monday 12/8 11:00 AM – 12:50 PM; The final exam will -

consist of an individually scheduled performance of prepared material and sight singing

Activities Subject to Change At Any Time

Grading Scale for Performances and Exams A 95-100 A- 91-94 B+ 88-90 B 84-87 B- 81-83 C+ 78-80 C 74-77 C- 71-73 D 61-70 F 60 and below

Grading Scale for In-Class Dictations 4 – Outstanding work; one or two mistakes 3 – Good work; a few mistakes or blank spaces 2 – Incomplete; evidence of accuracy in the work that is submitted 1 – Some evidence of comprehension 0 – No evidence of comprehension

Activities: More specific activities (i.e. specific concepts or pieces to practice) will be given in class and posted on blackboard. It is your responsibility to know what is due for the following class. Activities are subject to change at any time

Elements of each class may include (but are not limited to): 1. Vocal warm-ups

41 2. Pitch patterns 3. Rhythm patterns 4. Singing (individual and group) 5. Movement 6. Dictation (rhythmic or melodic) 7. Ensemble Singing

In-Class Performance and Dictation: At times these will be for practice and at times I will either assess the performance or collect the dictation for a grade. You will be told if it is a graded activity. Be prepared to take rhythmic and/or melodic dictation in every class. Preparation: Be prepared to perform at every class. I do not accept excuses such as, “I didn’t get the assignment” or “I didn’t look at it – can I sing next time?” or “I’m in bad voice today – couldn’t we postpone?” Suggestions for Success 1. Practice a. Everyday. b. This is a performance-based class, with each class building on those that have come before. You cannot “cram” for individual performances. c. Find what is most difficult for you (particular intervals, etc.) so that you can give it particular focus 2. Prepare material for class a. If you aren’t prepared, everyone can tell. There is a big difference being not being prepared and making mistakes. 3. Practice with others a. Practicing with others in the class gives you additional opportunities for feedback, as well as being particularly good for dictation 4. Practice with a reference point for pitch a. piano, guitar, major instrument, tuning fork, etc. Make sure that you are holding to your intended pitch level, i.e. that you start and stop where you are supposed to. 5. Find what works best for you a. Ear training can be very individual – many students find their own unique strategies (“memorize do and compare prominent pitches to do”), philosophies (“listen all the way through and then listen for details”), reminders (“Hey Jude begins with a descending minor third”), etc. 6. Apps a. The world of apps can be very useful here – there are free apps for metronomes, tuning forks, etc. You may find these helpful. 7. Look for overlap a. between what we do in class and the rest of your studies (i.e. material you are studying in your lessons, ensemble music, etc.) 8. Ask for help – from the instructor, your peers, your applied teacher, etc.

Sight Singing II (MUS 1028, sec. 01)

California State University, East Bay

Schedule: MW 11:00 – 11:50 MB 1506 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: Monday 1:00 – 3:00, Tuesday 10:00 – 11:00, and by appointment

Materials (available at the bookstore): th o Text (Required): Music for Sight Singing, 7 Edition (Ottman & Rogers, 2007) o Note: You will use this text for Sight Singing I – VI (six quarters) o Pencil/eraser o Blank staff paper - there a number of online sources, such as http://www.blanksheetmusic.net/ o Bring all materials to each class meeting

Primary Objective To develop the ability to perform melodies accurately and independently, with correct pitch, rhythm, and phrasing on first sight.

Secondary Objectives: To develop the ability to: 6. Perform accurately, with proper pitch, rhythm, and phrasing, melodies in treble, bass, alto, and tenor clefs 7. Accurately perform rhythms in simple and compound time 8. Take rhythmic and melodic dictation 9. Learn two, three, and four-beat conducting patterns and use them while performing 10. Perform an independent part while singing compositions for two or more voices

Co-requisites You should be enrolled concurrently in MUS 1032 (Music Theory II) and MUS 1314 (Basic Piano I). See me with questions. Furthermore, this class will move quickly and is designed with music majors in mind. If you are not a music major (including music minors), this class might seem a bit fast.

Attendance Each class meeting builds progressively on all previous class meetings; As a skills-based course, you must be present in order to improve and succeed. Furthermore, many of our grades will be taken from in-class work, which you can’t make up if you aren’t here. You are allowed two unexcused absences. Further absences will result in your final grade being lowered one-half letter grade. Furthermore, each class this quarter is even more critical due to:

Faculty Furloughs As you may know, I am required to take six unpaid furlough days. Unfortunately, I teach five days a week, meaning that no matter when I take a day, at least one of my classes is canceled. Resultingly, each class becomes even more important. On furlough days, I strongly encourage you to form study groups and review together so that you will not lose momentum in your studies.

Punctuality Coming in late or leaving early is distracting to everyone. If you are more than 10 minutes late for class it will count as one-half unexcused absence.

Food Yes, it is almost lunchtime. However, bringing food/drink to class is distracting to everyone. Please refrain from bringing food/drink to class.

43 calls/messages • Listening to iPods, media players, and other devices during class I reserve the right to ask you to leave the class for any behavior I find disruptive.

Academic Honesty Students are required to read and understand the CSUEB statement on Academic Dishonesty. Violation of any of the standards will result in an F in this course and will be documented in the Academic Affairs Office. The Catalog's statement is on the WWW at http://www.csueastbay.edu/ecat/current/i-120grading.html#section12 .

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Assessment • In-class assignments (dictation, prepared exercises, sight singing, etc.): 70% • Participation: 10% • Midterm: 10% • Final: 10% • There will be no extra-credit work of any kind

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Course Schedule by Topic Week Primary Topics Text beginning: (Chapter) 1/4 Review of moveable-do Solfegge, conducting patterns, and Gordon 6 rhythm syllables (simple and compound); Review of dominant chord (continued) pitches; Intervals from the dominant triad 1/11 Continuation of dominant-based material 6 1/18 Introduction to C-clefs; sight singing in alto and tenor clefs 6/7 1/25 C clefs (alto and tenor) 7 2/1 Note: no class on 2/1 (furlough); Midterm exam (written component 2/8 Midterm exam (individual); Further diatonic intervals 8 2/15 Further diatonic intervals 8 2/22 Dominant seventh chord 8/9 3/1 No class on 3/3 (furlough) 9 3/8 The written component of the final exam will take place on 3/11 during 9 class time 3/15 Final exam individual performance, scheduled during our assigned final -

44 time

Elements of each class may include (but are not limited to): 8. Vocal warm-ups 9. Pitch patterns 10. Rhythm patterns 11. Singing (individual and group) 12. Movement 13. Dictation (rhythmic or melodic) 14. Ensemble Singing

Suggestions for Success 1. Practice a. This is a performance-based class, with each class building on those that have come before. You cannot “cram” for individual performances. b. Find what is most difficult for you (particular intervals, etc.) so that you can give it particular focus 2. Prepare material for class a. In addition to wasting time, If you aren’t prepared, everyone can tell. There is a big difference being not being prepared and making mistakes. 3. Practice with others a. Practicing with others in the class gives you additional opportunities for feedback, as well as being particularly good for dictation 4. Practice with a reference point for pitch a. piano, guitar, major instrument, tuning fork, etc. Make sure that you are holding to your intended pitch level, i.e. that you start and stop where you are supposed to. 5. Find what works best for you a. Ear training can be very individual – many students find their own unique strategies (“memorize do and compare prominent pitches to do”), philosophies (“listen all the way through and then listen for details”), reminders (“Hey Jude begins with a descending minor third”), etc. 6. Look for overlap a. between what we do in class and the rest of your studies (i.e. material you are studying in your lessons, ensemble music, etc.) 7. Ask for help – from the instructor, your peers, your applied teacher, etc.

Sight Singing III (MUS 1029, sec. 01) California State University, East Bay

Schedule: Monday/Wednesday 11:00 – 11:50 AM MB 2065 Instructor: Dr. John Eros

45 [email protected] (preferred) 510-885-3149 Office Hours: Monday 1:00 – 3:00, Tuesday 10:00 – 11:00, and by appointment

Materials: th o Text (Required): Music for Sight Singing, 7 Edition; Ottman & Rogers (2007) o Pencil/eraser o Blank staff paper - there a number of online sources, such as http://www.blanksheetmusic.net/ o Bring all materials to each class meeting

Co-requisites You should be enrolled concurrently in MUS 1033 (Music Theory III).

Attendance Each class meeting builds progressively on all previous class meetings, and there is a great deal of content in this course – missing classes will put you at a significant disadvantage. You are allowed two unexcused absences. Further unexcused absences will result in your final grade being lowered one-half letter grade (i.e. B+ to B) per unexcused absence. Absences may be excused if evidence of medical or other critical issues is presented, on a case-by-case basis. Furthermore, each class this quarter is even more critical due to:

Faculty Furloughs As you may know, I am required to take six unpaid furlough days per quarter. I teach five days a week, meaning that no matter when I take a day, at least one of my classes is canceled. We will lose two classes this quarter. Resultingly, each class becomes even more important. On furlough days, I strongly encourage you to form study groups and review together so that you will not lose momentum in your studies.

Punctuality Be here on time. Coming in late or leaving early is extremely distracting to everyone. If you are more than 10 minutes late for class it will count as an unexcused absence.

Food Bringing food/drink to class is distracting to everyone, and will not help your singing. As an exception, you may bring a bottle of water. Otherwise, refrain from bringing food/drink to class. I cannot replace espresso, but I will do my best to keep things moving.

46 • Allowing phone calls/messages to ring during class and/or answering those calls/messages • Listening to iPods, media players, and other devices during class I reserve the right to ask you to leave the class for any behavior I find disruptive.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Assessment • In-class assignments (dictation, prepared exercises, sight singing, etc.): 70% • Participation: 10% • Midterm: 10% • Final Exam: 10% • Failure to complete either the midterm or the final will result in a grade of F for the course

Grading Scale: A 94-100 A- 90-93 B+ 87-89 B 84-86 B- 80-83 C+ 77-79 C 74-76 C- 70-73 D 60-69 F 59 and below

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Course Schedule by Topic/Chapter March 29 Note: no class on Wednesday, March 31 (Cesar Chavez Day); Introduction to the course, review of conducting patterns and Gordon rhythm syllables April 5 Chapter 10; Subdivisions of the beat into four parts, in a variety of both simple and compound meters. Conducting; Rhythmic dictation April 12 Note: No class on Monday, April 12 (Faculty Furlough); Intervals from the tonic and dominant triad (Chapter 11) April 19 Note: No class on Monday, April 19 (Faculty Furlough); Intervals from the tonic and dominant triad (Chapter 11) April 26 Intervals from the tonic and dominant triad (Chapter 11) Midterm – written component/ individual performance (M); Individual performance, continued (W). Students who do not have their individual performances on Monday will perform on Wednesday. May 10 Further diatonic intervals (chapter 12) May 17 Addition of the tritone and the seventh (chapter 12) May 24 Continuation of chapter 12 material. Expect all forms of assessment during this period – melodic and rhythmic dictation, prepared material with conducting, and at-sight

47 performance of melody and rhythm May 31 Note: No class on Monday, May 31 (Memorial Day); Written exam on June 2 June 7 Final Exam (individually scheduled) TBA

Midterm and Final: The midterm and final will have both a written and an individual performance component

Elements of each class may include: 15. Warm-ups 16. Pitch patterns 17. Rhythm patterns 18. Individual/group singing of either new or prepared material 19. Movement 20. Dictation (one or two-part) 21. Ensemble Singing

In-Class Performance and Dictation: At times these will be for practice and at times I will either assess the performance or collect the dictation for a grade. Be prepared to take rhythmic and/or melodic dictation in every class. Preparation: Be prepared to perform at each meeting – this is an active class!

Suggestions for Success 8. Practice a. Practice every day. This course is critical to your development as a musician. b. This is a performance-based class, with each class building on those that have come before. You cannot “cram” for individual performances. c. Find what is most difficult for you (particular intervals, etc.) so that you can give it particular focus 9. Prepare material for class a. It’you aren’t prepared, everyone can tell. 10. Practice with others a. Practicing with others in the class gives you additional opportunities for feedback, as well as being particularly good for dictation 11. Practice with a reference point for pitch a. piano, guitar, major instrument, tuning fork, etc. Make sure that you are holding to your intended pitch level, i.e. that you start and stop where you are supposed to. 12. Find what works best for you a. Ear training can be very individual – many students find their own unique strategies (“memorize do and compare prominent pitches to do”), philosophies (“listen all the way through and then listen for details”), reminders (“Hey Jude begins with a descending minor third”), etc. 13. Look for overlap between what we do in class and the rest of your studies (i.e. material you are studying in your lessons, ensemble music, etc.) 14. Ask for help – from the instructor, your peers, your applied teacher, etc.

Sight Singing IV (MUS 2027, sec. 02) California State University, East Bay

Schedule: Tues/Thurs 9:00 – 9:50 AM MB 1521 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: M 12:30 – 2:30 or by appointment

Materials: th o Text (Required): Music for Sight Singing, 7 Edition; Ottman & Rogers (2007) o Note: You will use this text for Sight Singing IV – VI (all year) o Blank staff paper/pencil - there a number of online sources, such as http://www.blanksheetmusic.net/ o Bring all materials to each class meeting

Primary Objective: To develop the ability to perform melodies accurately, with correct pitch, rhythm, and phrasing on first sight. Secondary Objectives: To develop the ability to: 15. Perform an independent part while singing compositions for two or more voices 16. Perform accurately, with proper pitch, rhythm, and phrasing, melodies in treble, bass, and tenor clefs 17. Perform compositions containing modulations to V and other closely-related keys, demonstrating a knowledge of appropriate syllable usage 18. Perform one-and two-line rhythms in both simple and compound meters, including rhythms involving syncopation 19. Take rhythmic and melodic dictation, including two-part melodic dictation

Course Format This is an active class. Don’t expect to sit in the back of the room and go unnoticed. “Singing” doesn’t cover everything that we will do - we will learn through active performance (including singing, rhythm performance, and movement). I will do my best to use a variety of activities (games, drills, small groups, etc.). Don’t be afraid to be wrong – it is part of the process!

Co-requisites You should be enrolled concurrently in MUS 2031 (Music Theory IV). See me with questions. Furthermore, this class will move quickly and is designed with music majors in mind. If you are not a music major (including music minors), this class might seem a bit fast.

49 each class becomes even more important. On furlough days, I strongly encourage you to form study groups and review together so that you will not lose momentum in your studies.

Punctuality Do whatever you need to do to be here on time. Coming in late or leaving early is distracting to everyone. If you are more than 10 minutes late for class it will count as one-half unexcused absence.

Food Yes it is early. However, bringing food/drink to class is distracting to everyone, and will not help your singing. As an exception, you may bring a bottle of water. Otherwise, refrain from bringing food/drink to class. I cannot replace espresso, but I will do my best to keep things moving.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Assessment • In class performance (this may be either pre-assigned or spontaneous): 40% • In-class written assignments (i.e. dictation): 40% • Midterm: 10% • Final: 10% • Failure to complete either the mid term or the final will result in a grade of F • There will be no extra-credit work of any kind

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Course Schedule by Topic Week Primary Topics Text beginning: (Chapter) 9/24 Review moveable-do solfegge; Introduction to/review of Curwen hand 13 signs; Sight singing and dictation 9/29 Review chromatically-altered solfegge syllables and Curwen signs; 13 Introduction to du-de/du-da-di rhythm syllables for simple and

50 compound meters 10/6 The secondary dominant (V/V, V7/V); Modulation to the dominant; 13 Two-line dictation 10/13 Modulation to closely related keys 14 10/20 Modulation to closely related keys 14 10/27 Midterm; There are two components: in-class written Review (10/27) and individual performance (10/29). The individual performance component will take place at an individually scheduled time, by yourself. You will not be performing in front of the class (whew!) 11/3 Modulation to closely related keys, emphasis on duets 14 11/10 Syncopation; NOTE: no class on 11/12 (furlough day) 15 11/17 Sight singing with syncopation in simple and compound meters 15 11/24 NOTE: no class on 11/25 (furlough day) 15 12/1 Final Review; NOTE: no class on 12/3 (furlough day) 13-15 12/7 Final Exam: 12/10 Thursday 8:00 – 9:50; The final NA exam will follow the same format as the mid-term – one hour for the written, one hour for individual performances

Midterm and Final: The midterm and final will have both a written and a performance component

Elements of each class may include: 22. Warm-ups 23. Pitch patterns 24. Rhythm patterns 25. Singing (individual and group) 26. Movement 27. Dictation (one or two-part) 28. Ensemble Singing

Suggestions for Success 15. Practice a. This is a performance-based class, with each class building on those that have come before. You cannot “cram” for individual performances. b. Find what is most difficult for you (particular intervals, etc.) so that you can give it particular focus 16. Prepare material for class

51 a. If you aren’t prepared, everyone can tell. 17. Practice with others a. Practicing with others in the class gives you additional opportunities for feedback, as well as being particularly good for dictation 18. Practice with a reference point for pitch a. piano, guitar, major instrument, tuning fork, etc. Make sure that you are holding to your intended pitch level, i.e. that you start and stop where you are supposed to. 19. Find what works best for you a. Ear training can be very individual – many students find their own unique strategies (“memorize do and compare prominent pitches to do”), philosophies (“listen all the way through and then listen for details”), reminders (“Hey Jude begins with a descending minor third”), etc. 20. Look for overlap between what we do in class and the rest of your studies (i.e. material you are studying in your lessons, ensemble music, etc.) 21. Ask for help – from the instructor, your peers, your applied teacher, etc.

Sight Singing V (MUS 2028, sec. 01) California State University, East Bay

Schedule: Monday/Wednesday 8:20 – 9:10 AM MB 1506 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: Monday 1:00 – 3:00, Tuesday 10:00 – 11:00, and by appointment

Materials: th o Text (Required): Music for Sight Singing, 7 Edition; Ottman & Rogers (2007) o Note: You will use this text for Sight Singing V – VI (the remainder of the year) o Pencil/eraser o Blank staff paper - there a number of online sources, such as http://www.blanksheetmusic.net/ o Bring all materials to each class meeting

52 24. Perform one-and two-line rhythms in both simple and compound meters, including the following rhythmic concepts: triplet/duplet division of the beat, small subdivisions of the beat, changing meters, hemiola, and polyrhythm 25. Take rhythmic and melodic dictation, including two-part melodic dictation

Co-requisites You should be enrolled concurrently in MUS 2032 (Music TheoryV).

Attendance Each class meeting builds progressively on all previous class meetings, and there is a great deal of content in this course – missing classes will put you at a significant disadvantage. You are allowed two unexcused absences. Further absences will result in your final grade being lowered one-half letter grade (i.e. B+ to B). Absences may be excused if evidence of medical or other critical issues is presented, on a case-by-case basis. Furthermore, each class this quarter is even more critical due to:

Punctuality Be here on time. Coming in late or leaving early is distracting to everyone. If you are more than 10 minutes late for class it will count as one-half unexcused absence.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

53 Assessment • In-class assignments (dictation, prepared exercises, sight singing, etc.): 70% • Participation: 10% • Midterm: 10% • Final: 10% • There will be no extra-credit work of any kind

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Course Schedule by Topic Week Topics Text (Chapter) beginning: 1/4 Review of Curwen hand signs and moveable-do Solfegge; 16 Triplet/duplet subdivisions 1/11 Increased emphasis on multi-part performance; Addition of quadruplets 16 and polyrhythm 1/18 No class on 1/18 (Martin Luther King Jr. Day); Review/introduction to 17 Gordon rhythm syllables. Introduction to changing meters; emphasis on Gordon rhythm syllables 1/25 Addition of hemiola 17 2/1 No class on 2/1 (furlough day); Midterm exam (written component Review 16 and 17 2/8 Midterm exam (individual component); Further subdivision of the beat 18 (32nd notes) 2/15 Continued further subdivision of the beat (32nd notes) 18 2/22 Further chromaticism; the Neapolitan 6th 19 3/1 No class on 3/3 (furlough); Remote modulation 19 3/8 The written component of the final exam will take place on 3/11 during Review 18 and class time 19 3/15 Final Exam (individually scheduled): Wednesday 8 – 9:50 -

Midterm and Final: The midterm and final will have both a written and an individual performance component

Elements of each class may include: 29. Warm-ups

54 30. Pitch patterns 31. Rhythm patterns 32. Individual/group singing of either new or prepared material 33. Movement 34. Dictation (one or two-part) 35. Ensemble Singing

Suggestions for Success 22. Practice a. This is a performance-based class, with each class building on those that have come before. You cannot “cram” for individual performances. b. Find what is most difficult for you (particular intervals, etc.) so that you can give it particular focus 23. Prepare material for class a. It’you aren’t prepared, everyone can tell. 24. Practice with others a. Practicing with others in the class gives you additional opportunities for feedback, as well as being particularly good for dictation 25. Practice with a reference point for pitch a. piano, guitar, major instrument, tuning fork, etc. Make sure that you are holding to your intended pitch level, i.e. that you start and stop where you are supposed to. 26. Find what works best for you a. Ear training can be very individual – many students find their own unique strategies (“memorize do and compare prominent pitches to do”), philosophies (“listen all the way through and then listen for details”), reminders (“Hey Jude begins with a descending minor third”), etc. 27. Look for overlap between what we do in class and the rest of your studies (i.e. material you are studying in your lessons, ensemble music, etc.) 28. Ask for help – from the instructor, your peers, your applied teacher, etc.

Sight Singing VI (MUS 2029, sec. 01) California State University, East Bay

Schedule: Monday/Wednesday 8:20 – 9:10 AM MB 1521 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149

55 Office Hours: Monday 1:00 – 3:00, Tuesday 10:00 – 11:00, and by appointment

Primary Objective: To develop the ability to perform melodies accurately and independently, with correct pitch, rhythm, and phrasing on first sight. Secondary Objectives: To develop the ability to: 26. Perform accurately, with proper pitch, rhythm, and phrasing, melodies in treble, bass, and tenor clefs 27. Perform an independent part while singing compositions for two or more voices 28. Perform compositions containing modulations to distantly-related keys, demonstrating a knowledge of appropriate syllable usage 29. Demonstrate conducting patterns for simple, compound, and mixed meters in various groupings and employ them while performing 30. Demonstrate knowledge of, differences between and ability to perform in all church modes 31. Demonstrate the ability to perform 20th Century material as represented in the text, including 20th century rhythmic concepts, extended tonal melodies, octatonic and whole-tone scales, and post-tonal and twelve-tone melodies 32. Take rhythmic and melodic dictation, including two-part melodic dictation

Co-requisites You should be enrolled concurrently in MUS 2033 (Music Theory VI).

Punctuality Be here on time. Coming in late or leaving early is a huge distraction to everyone. If you are more than 10 minutes late for class it will count as one-half unexcused absence.

Food Bringing food/drink to class is distracting to everyone, and will not help your singing. As an exception, you may bring a bottle of water. Otherwise, refrain from bringing food/drink to class.

56 • Text messaging • Web surfing • Allowing phone calls/messages to ring during class and/or answering those calls/messages • Listening to iPods, media players, and other devices during class I reserve the right to ask you to leave the class for any behavior I find disruptive.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Grading Scale: A 94-100 A- 90-93 B+ 87-89 B 84-86 B- 80-83 C+ 77-79 C 74-76 C- 70-73 D 60-69 F 59 and below

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Course Schedule by Topic Week Topics (chapter) beginning on: March 29 Introduction to course. Review of moveable-do Solfegge, Gordon rhythm syllables, and conducting patterns of two, three, four, and six beats. Note: no class on Wednesday, March 31 (Cesar Chavez Day) April 5 Review of chromatic Solfegge and patterns of whole/half steps; Introduction to modes as we will approach them in Sight Singing. Do always remains the tonal center and the pattern of whole and half steps is reflected by altered syllables. This is taking the pattern begun long ago with the different forms of the minor scale and extending it further. April 12 Note: No class on Monday, April 12 (Faculty Furlough); Modes (chapter 20) April 19 Note: No class on Monday, April 19 (Faculty Furlough); Modes (chapter 20) April 26 We will be performing the Renaissance material presented on pages 374 - 379 May 3 Midterm – written component/ individual performance (M); Individual performance, continued (W). Students who do not have their individual performances on Monday will perform on Wednesday.

57 May 10 20th Century Material (chapter 21); Emphasis on rhythm May 17 Emphasis on melody representing extensions of the tonal system May 24 Whole tone/octatonic scale; twelve-tone/ post-tonal melodies May 31 Note: No class on Monday, May 31 (Memorial Day); Written exam on June 2 June 7 Final Exam TBA

Midterm and Final: The midterm and final will have both a written and an individual performance component

Elements of each class may include: 36. Warm-ups 37. Pitch patterns 38. Rhythm patterns 39. Individual/group singing of either new or prepared material 40. Movement 41. Dictation (one or two-part) 42. Ensemble Singing

Suggestions for Success 29. Practice a. Practice every day. This course is critical to your development as a musician. b. This is a performance-based class, with each class building on those that have come before. You cannot “cram” for individual performances. c. Find what is most difficult for you (particular intervals, etc.) so that you can give it particular focus 30. Prepare material for class a. If you aren’t prepared, everyone can tell. 31. Practice with others a. Practicing with others in the class gives you additional opportunities for feedback, as well as being particularly good for dictation 32. Practice with a reference point for pitch a. piano, guitar, major instrument, tuning fork, etc. Make sure that you are holding to your intended pitch level, i.e. that you start and stop where you are supposed to. 33. Find what works best for you a. Ear training can be very individual – many students find their own unique strategies (“memorize do and compare prominent pitches to do”), philosophies (“listen all the way through and then listen for details”), reminders (“Hey Jude begins with a descending minor third”), etc. 34. Look for overlap between what we do in class and the rest of your studies (i.e. material you are studying in your lessons, ensemble music, etc.) 35. Ask for help – from the instructor, your peers, your applied teacher, etc.

Music Theory I (MUS 1031) California State University, East Bay

Schedule: MWF 9:20 – 10:30 MB 2089 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: M 1:00 – 3:00; T 10:00 – 11:00 or by appointment

Required Materials (currently available at the bookstore): th o Text: Tonal Harmony (With an Introduction to Twentieth-Century Music), 6 ed.; Kostka & Payne (2009) o Workbook for Tonal Harmony (Kostka & Payne) – packaged with the text o Note: You will use this text for Theory I - III o Blank staff paper/pencil - there a number of online sources, such as http://www.blanksheetmusic.net/ o Bring all materials to each class meeting

Course Objectives The primary objective of this course is to enable the student to develop a solid foundation in the basics of music theory. This includes the ability to: 1. Read and write: key signatures, treble and bass clefs, major and minor scale forms, triads, seventh chords, time signatures, and rhythmic notation in duple and triple meters 2. Determine chord quality, inversion, and relationship to different forms of diatonic scales 3. Aurally identify diatonic scales (major and all three minor forms), ascending and descending intervals (within one octave), and major, minor, augmented, and diminished triads 4. Realize figured bass in four voices

Course Format I don’t like to do stand-and-deliver lectures – I will do my best to use a variety of activities (games, drills, small groups, etc.). Be prepare to actively participate - you will sing in this class. I also highly encourage questions. Please speak up when something is unclear. Don’t be afraid to be wrong – when you have a question, ask!

Co-requisites You should be enrolled concurrently in MUS 1027 (Sight Singing I) and MUS 1314 (Basic Piano I). See me with questions. Furthermore, this class will move quickly and is designed with music majors in mind. If you are not a music major (including music minors), this class might be extremely difficult.

Attendance Each class meeting builds progressively on all previous class meetings, and there is a great deal of content in this course – missing classes will put you at a disadvantage.

Punctuality Coming in late or leaving early is distracting to everyone, and is unfair to those who are on time. Furthermore, quizzes will typically take place at the beginning of class and if you are late on a quiz day, you’re out of luck. If you are more than 10 minutes late, I reserve the right to refuse admittance.

Food Please refrain from bringing food/drink to class.

Assessment Tests: 30% (the lowest chapter test grade will be dropped) Quizzes: 30% Other Assignments: 30% (the lowest two homework grades will be dropped) Final: 10%

Assignments Assignments are due on the assigned date. I do not accept late work. Exceptions may be made, on a case-by-case basis, if there is a medically documented reason for the student missing a class.

Activities Additional activities will be given in class and posted on blackboard. It is your responsibility to know what is due for the following class. Because each class progresses differently, remember that the outline here can be considered more as guidelines rather than set in stone. Activities are subject to change at any time

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Week Chapter/Topics Beginning on: 9/22 Introduction to course and instructor; Chapter 1; Staff notation; treble and bass clef; whole and half steps; the major scale. Note: Chapter 1 contains a lot of material and is critical to everything else that we do – you should be crystal-clear on all of the material 9/27 Major scale continued; major key signatures; The circle of fifths; minor scales and key signatures; Scale degree names; Chapter 1, part 1 test 10/4 Intervals (major, minor, perfect, augmented, and diminished); Consonance and dissonance; Chapter 1, part 2 test 10/11 Chapter 2: durational systems; duple and triple meters; simple and compound subdivisions; time signatures; Note: In some ways, chapter 2 is like learning handwriting – you need to be precise with all notation 10/18 Chapter 2 continued; Chapter 2 test 10/25 Chapter 3; major, minor, diminished, and augmented triads; introduction to 7th chords 11/1 7th chords continued; inversions and inversion symbols 11/8 Figured bass (note the typo on p. 49); we will probably not cover lead-sheet symbols, but they are there as a reference; Chapter 3 test 11/15 Chapter 4; Diatonic chords in major keys; minor scale review; diatonic triads in minor;

60 Diatonic 7th chords in major 11/22 Diatonic 7th chords in minor; Note: No class on Friday (Thanksgiving) 11/29 Final Exam review 12/8 9 – 10:50 Final Exam

Activities Subject to Change At Any Time

Grading Scale for Chapter Tests and the Final Grade A 95-100 A- 91-94 B+ 88-90 B 84-87 B- 81-83 C+ 78-80 C 74-77 C- 71-73 D 61-70 F 60 and below

Grading Scale for Quizzes and Homework Assignments 4 – Outstanding work, demonstrating complete mastery of the assignment 3 – Good work, demonstrating comprehension of the material 2 – Satisfactory work, but with several problems 1 – Passing work, but showing significant problems 0 – Unacceptable work or work not submitted

Suggestions for Success 1. Collaborate: study and review the material with other students. Form study groups. HOWEVER – remember that your work must always be your own. 2. Find kindred spirits. If you have a question, chances are that several other people have the same question. For example, if reading bass clef is new to you, find a few other folks in the same place and quiz one another on bass clef. 3. The chapter summaries are quite good – make use of them. 4. If you have a question – ASK (in class, email, office hours, etc.)! 5. If you are finding it difficult to learn a new clef, add materials in other clefs to your practice routine on your major instrument (the sight singing text is one source). 6. There are a number of folks on campus who offer tutoring in music theory. If you believe that you would benefit from the extra help, seek those folks out. I have a couple of names. 7. There are a number of computer applications and websites that are good sources of practice materials, drills, etc. The following is a list of possible sites (I don’t endorse any of them nor do I receive compensation) • www.musictheory.net • emusictheory.com • www.teoria.com/index.html

Music Theory II (MUS 1032) California State University, East Bay

Schedule: MWF 9:20 – 10:30 MB 2089 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: Monday 1:00 – 3:00, Tuesday 10:00 – 11:00, and by appointment

Required Materials (currently available at the bookstore): th o Text: Tonal Harmony (With an Introduction to Twentieth-Century Music), 6 ed.; Kostka & Payne (2009) o Workbook for Tonal Harmony (Kostka & Payne) – packaged with the text . Note: when using the workbook, I recommend copying the pages and turning in the photocopies. If you would rather use the pages themselves, purchase a three-ring binder so that you can keep everything together. o Note: You will use this text for Theory I - VI o Blank staff paper - there a number of online sources, such as http://www.blanksheetmusic.net/ o Pencils and eraser o Bring all materials to each class meeting

Course Objectives The primary objective of this course is to enable the student to develop a solid foundation in the basics of music theory. This includes the ability to: 5. Read, write, analyze, and discuss music, with correct terminology and nomenclature, up to four voices 6. Read and write all forms of triads (root position and inversion), including various forms of the 6-4 chord 7. Compose first-species counterpoint 8. Identify and appropriately use various forms of nonchord tones 9. Identify chords, harmonic progressions, and cadential forms by ear (harmonic dictation) 10. Discuss and evaluate music, from an aesthetic and technical point of view

Format I believe in active, rather than passive, learning. This class will have a balance of large and small group activities. Students are encouraged to participate actively during lectures, through asking relevant questions and making relevant comments. There will also be a performance component, as we will perform melodies, bass lines, chorales, and other musical examples. Finally, expect small group activities – harmonization, drills, compositions, and performances.

Blackboard Blackboard will be used frequently in this course for purposes of posting assignments, announcements, study guides, etc. It is your responsibility to check Blackboard regularly and to be aware of any assignments or announcements, particularly if you miss class.

Co-requisites You should be enrolled concurrently in MUS 1028 and 1315.

62 evidence of medical or other critical issues is presented, on a case-by-case basis. Furthermore, each class this quarter is even more critical due to:

Faculty Furloughs As you may know, I am required to take six unpaid furlough days. As I teach five days a week, no matter when I take a day, at least one of my classes is canceled. We will lose three such classes this quarter. Resultingly, each class becomes even more important. On furlough days, I strongly encourage you to form study groups and review together so that you will not lose momentum in your studies.

Punctuality Coming in late or leaving early is distracting to everyone. If you are more than 10 minutes late for class it will count as one-half unexcused absence.

Food Yes, we meet early. However, bringing food/drink to class can also be distracting to everyone. Please refrain from bringing food/drink to class. I cannot replace espresso, but I will do my best to keep things moving.

Assessment 1. Midterm and Final exams: 10% each 2. Participation: 10% (reflected through participation in classroom discussion, small groups, and other activities) 3. Chapter tests: 30% (the lowest chapter test grade will be dropped) 4. Other assignments – 40% (the lowest two homework grades will be dropped) All assignments are due at the beginning of class on the assigned date. Late assignments are accepted although one point will be deducted for each day (not class meeting) late.

Activities Additional activities will be given in class and posted on blackboard. It is your responsibility to know what is due for the following class. Because each class progresses differently, remember that the outline here should be considered more a guideline rather than set in stone. Activities are subject to change at any time

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Class Outline The following table shows which chapters/topics will be covered during specific weeks of the quarter. Please note the dates on which class does not meet. Homework (which will be due the following class) will be assigned at the end of each class session. Assignments will be posted either in class or on Blackboard.

63 Week Topics/Material (days) beginning January 4 Chapter 7 (MWF) January 11 Chapter 7 test (M); Chapter 8 (WF) January 18 Note: No class on Monday, January18 (Martin Luther King Jr. Day); Chapter 8 (W); Chapter 8 test (F) January 25 Note: No class on Friday, January 29 (faculty furlough); Chapter 9 (MW) February 1 Note: no class on Monday, February 1 (faculty furlough); Chapter 9 (W); Chapter 9 Test (F) February 8 Monday, February 8: Midterm; Chapter 10 (WF) February 15 Chapter 10 (MW): Chapter 10 Test (F) February 22 Chapter 11 (MWF) March 1 Note: no class on March 3 (faculty furlough); Chapter 11 Test (M); Chapter 12 (F) March 8 Chapter 12 (M); Chapter 12 Test (W); Final review (F) March 15 Final Exam is scheduled for Monday 3/15 from 9:00 – 10:50

Activities Subject to Change At Any Time

Grading Scales

Tests/Exams/Final Grade Homework A 94-100 4 – Outstanding work, demonstrating complete A- 90-93 mastery and the ability to go beyond requirements B+ 87-89 3 – Good work, demonstrating comprehension of B 84-86 the material B- 80-83 2 – Passing work, but showing significant problems C+ 77-79 1 – Unsatisfactory work. Speak with the instructor C 74-76 immediately C- 70-73 0 – Work not submitted D 60-69 F 59 and below

Suggestions for Success 8. Play the text examples and your homework on the piano. You need to hear and perform this – it is more than black dots, lines, and spaces. 9. Collaborate: study, review, and perform (especially works for multiple voices) the material with other students. Form study groups. HOWEVER – remember that your work must always be your own. 10. Find kindred spirits. If you have a question, chances are that several other people have the same question. For example, if reading bass clef is new to you, find a few other folks in the same place and quiz one another on bass clef. 11. The chapter summaries are quite good – make use of them. 12. If you have a question – ASK (in class, email, office hours, etc.)! 13. There are a number of folks on campus who offer tutoring in music theory. If you believe that you would benefit from the extra help, seek those folks out. I have a couple of names.

64 Music Theory III (MUS 1033) California State University, East Bay

Schedule: MWF 9:20 – 10:30 MB 1521 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: Monday 1:00 – 3:00, Tuesday 10:00 – 11:00, and by appointment

Required Materials (currently available at the bookstore): th o Text: Tonal Harmony (With an Introduction to Twentieth-Century Music), 6 ed.; Kostka & Payne (2009) o Workbook for Tonal Harmony (Kostka & Payne) – packaged with the text . Note: when using the workbook, I recommend copying the pages and turning in the photocopies. If you would rather use the pages themselves, purchase a three-ring binder so that you can keep everything together. o Note: You will use this text for Theory I - VI o Blank staff paper - there a number of online sources, such as http://www.blanksheetmusic.net/ o Pencils and eraser o Bring all materials to each class meeting

Course Objectives The primary objective of this course is to enable the student to develop a solid foundation in the basics of music theory. This quarter focuses on seventh chords in particular, and will include an added emphasis on your own subjective analyses of music. Secondary objectives include the ability to: 11. Read, write, analyze, and discuss music, with correct terminology and nomenclature, for up to four voices. 12. Perform your voice part (SATB) during class performances of musical examples 13. Demonstrate an appropriate and accurate treatment of the dominant seventh chord in all inversions. 14. Identify and correctly employ all diatonic seventh chords in major and minor 15. Take harmonic dictation: Aurally identify chord quality, inversion, bass line, progression, and cadential forms. 16. Write an analytical paper on a composition chosen in consultation with the instructor. Your paper will focus on both the technical aspects (harmonic structure, form, phrasing, etc.) and on your own musical evaluation of the piece. 17. Discuss and evaluate music, from an aesthetic and technical point of view 18. Apply the principles and exercises studied in class to your major instrument or voice.

Format I believe in active, rather than passive, learning. This class will have a balance of large and small group activities. Students are encouraged to participate actively during lectures, through asking relevant questions and making relevant comments. There will be a performance component, as we will perform melodies, bass lines, chorales, and other musical examples. There will also be a dictation component, with a focus on harmony (rather than melody or rhythm as in Sight Singing). You may be asked to perform on your primary instrument or voice. Finally, expect small group activities – harmonization, drills, compositions, and performances.

Co-requisites You should be enrolled concurrently in MUS 1029 and 1316.

Attendance Each class meeting builds progressively on all previous class meetings, and there is a great deal of content in this course – missing classes will put you at a significant disadvantage. You are allowed two unexcused absences. Further absences will result in your final grade being lowered one-half letter grade (i.e. B+ to B). Absences may be excused if evidence of medical or other critical issues is presented, on a case-by-case basis. Furthermore, each class this quarter is even more critical due to:

Faculty Furloughs As you may know, I am required to take six unpaid furlough days. As I teach five days a week, no matter when I take a day, at least one of my classes is canceled. We will lose four such classes this quarter. Resultingly, each class becomes even more important. On furlough days, I strongly encourage you to form study groups and review together so that you will not lose momentum in your studies.

Punctuality Coming in late or leaving early is distracting to everyone. If you are more than 10 minutes late for class it will count as one-half unexcused absence.

Assessment 5. Midterm and Final exams: 10% each 6. Participation: 10% (reflected through participation in classroom discussion, small groups, and other activities) 7. Final Paper: 10% (failure to submit a final paper will result in an F for the course) 8. Chapter tests: 20% (the lowest chapter test grade will be dropped) 9. Other assignments (homework) – 40% (the lowest two homework grades will be dropped) All assignments are due at the beginning of class on the assigned date. Late assignments are accepted although one point will be deducted for each day (not class meeting) late.

Activities Additional activities will be given in class and posted on blackboard. It is your responsibility to know what is due for the following class. Because each class progresses differently, remember that the outline here should be considered more a guideline rather than set in stone. Activities are subject to change at any time

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if

66 you would need assistance in the event of an emergency, please contact me.

Week Topics/Material (days) beginning March 29 Note: no class on Wednesday, March 31 (Cesar Chavez Day) and Friday, April 2 (Faculty Furlough); Introduction to the course/ Chapter 12 (M) April 5 Chapter 12 (MWF) April 12 Note: No class on Monday, April 12 (Faculty Furlough); Chapter 12 Test (W); Chapter 13 (F) April 19 Note: No class on Monday, April 19 (Faculty Furlough); Chapter 13 (WF) April 26 Chapter 13 (M); Chapter 13 Test (W); Review (F) May 3 Midterm (M); Chapter 14 (WF) May 10 Chapter 14 (MW); Chapter 14 Test (F) May 17 Chapter 15 (MWF) May 24 Note: No class on Friday, May 28 (Faculty Furlough); Chapter 15 (M); Chapter 15 Test (W) May 31 Note: No class on Monday, May 31 (Memorial Day); Exam review (WF) June 7 Wednesday, 9 – 10:50

Activities Subject to Change At Any Time

Test/Homework Grading Scales

Suggestions for Success 1. Play the text examples and your homework on the piano. You need to hear and perform this – it is more than black dots, lines, and spaces. 2. Make connections between this course and the material/activities in sight singing, your applied lessons, ensembles, etc. This course does not occur in isolation – it is one piece in your overall development as a musician. 3. Collaborate: study, review, and perform (especially works for multiple voices) the material with other students. Form study groups. HOWEVER – remember that your work must always be your own.

67 4. Find kindred spirits. If you have a question, chances are that several other people have the same question. For example, if reading bass clef is new to you, find a few other folks in the same place and quiz one another on bass clef. 5. The chapter summaries are quite good – make use of them. 6. If you have a question – ASK (in class, email, office hours, etc.)! 7. There are a number of folks on campus who offer tutoring in music theory. If you believe that you would benefit from the extra help, seek those folks out. I have a couple of names.

Theory IV (Music 2031) Fall 2012 MWF 10:40–11:50, MB 1521 Dr. Jeffrey Miller

Office: MB 2094 Hours: M 2–3, T 5:30–6;30, W 1–2, or by appointment Phone: (510) 885-3126 Email: [email protected]

Required Text: Stefan Kostka & Dorothy Payne, Tonal Harmony (McGraw-Hill), Sixth or Seventh Edition, textbook plus workbook.

Course Description This course will continue the study of tonal harmony and voice leading and will cover Chapters 16–20 of the textbook, after a review of material from first-year theory (primarily the sections on sequences from Chapter 7, 6/4 chords from Chapter 9, and suspensions from Chapter 11). The expected learning outcomes of the course are mastery and understanding of secondary chords and of simple modulation.

Assignments and Examinations Almost all of the written work for this course will consist of harmonizing melodies, realizing figured basses, or composing short pieces. There may also be some short analysis assignments. Most assignments will be from the workbook, supplemented by some assignments I will write. There will be homework assignments given at most class meetings for completion by the following class; several, about one per chapter, will be given a letter grade. The ungraded assignments will be marked as satisfactory (S) or unsatisfactory (U). I will regard an assignment as satisfactory if it shows a basic level of mastery of the material assigned. Your grade on the percentage of the course represented by ungraded assignments will be reduced proportionately for every unsatisfactory assignment. Assignments must be on time, and will only be accepted late if you have an excused absence (see below). There will also be midterm and final exams, which may be in-class, take-home, or both. You are required to turn in your assignments printed or written on paper (not in digital format), and I expect your assignments to use clear and correct music notation. If your handwritten music notation is good, you may write your assignments by hand on music paper (there is downloadable music paper available from such sites as www.blanksheetmusic.net).

68 Learning and using a notation program such as Finale or Sibelius has great advantages, and I encourage you to do so. There is a free web-based notation program, Noteflight (noteflight.com), which will work well, and a downloadable open-source program, MuseScore (musescore.org), which has many of the same features as Finale or Sibelius. In addition to our written theory assignments, we will be doing some harmonic dictation so that you can learn to hear what you’re writing. This will mostly be for practice, but I might collect dictation or give short dictation quizzes. If so, these will count as the equivalent of an assignment in your course grade.

Theory IV, Dr. Miller, Fall 2012, P. 2

Blackboard Blackboard will be used frequently in this course for purposes of posting assignments, announcements, dictation practice examples, etc. It is your responsibility to check Blackboard regularly.

Grading Ungraded homework assignments: 35% Graded homework assignments: 30% Midterm and Final exams: 35%

The grading scale is a follows: A, 94-100; A-, 90-93; B+, 87-89; B, 84-86; B-, 80-83; C+, 77-79; C, 74-76; C-, 70-73; D+, 67-69; D, 60-66; F, 59 and below.

Attendance Attendance at all class sessions is required. I will allow two unexcused absences without penalty, but each unexcused absence after that will result in your grade being lowered by one increment (from a highest possible grade of A to A-, A- to B+, etc.). Upon your seventh unexcused absence (more than 20% of the course), you will fail the course. Additionally, if you are more than five minutes late, it will count as half an absence. Acceptable reasons for excused absences include illness (for which I have the right to ask for a doctor’s note) and department events such as ensemble tours and festivals (about which your ensemble director should inform me).

Disruptive behavior and technology Students are not allowed to be disruptive in class or use any technology that distracts from the learning environment in class. This includes, but is not limited to, chatting during lectures, text messaging, web surfing, allowing phone calls/messages to ring during class and/or answering those calls/messages, and listening to iPods, media players, and other devices during class. I reserve the right to ask you to leave the class for any behavior I find disruptive.

Please read the campus-wide common syllabus items posted on Blackboard concerning academic integrity, information for students with disabilities, and emergency procedures.

69 Theory V (Music 2032) Winter 2013 MWF 10:40–11:50, MB 2089 4 units

Instructor: Dr. Jeffrey Miller Office: MB 2094 Hours: M 1:30–2:30, W 2–3, F 8–9, or by appointment Phone: (510) 885-3126 Email: [email protected]

Required Text: Stefan Kostka & Dorothy Payne, Tonal Harmony (McGraw-Hill), Sixth Edition or Seventh Edition (sixth edition preferred), textbook plus workbook.

Course Description Theory V will continue the study of tonal harmony and voice leading from Theory IV, which is the prerequisite for this course. We will cover Chapters 21–27 (6th ed.) or 21–25 (7th ed.) in the textbook and, if time allows, we will also begin examining early 20th-century music (chapter 28/26). The expected learning outcomes of the course are mastery and understanding of the vocabulary of chromatic harmony and other advanced tonal procedures.

Assignments and Examinations Almost all of the written work for this course will consist of harmonizing melodies, realizing figured basses, or composing short pieces. There may also be some short analysis assignments. Most assignments will be from the workbook, supplemented by some assignments I will write. There will be homework assignments given at most class meetings for completion by the following class; some, approximately one per chapter, will be given a letter grade. The ungraded assignments will be marked as satisfactory (S) or unsatisfactory (U). I will regard an assignment as satisfactory if it shows a basic level of mastery of the material assigned. Your grade on the percentage of the course represented by ungraded assignments will be reduced proportionately for every unsatisfactory assignment. Assignments must be on time, and will only be accepted late if you have an excused absence (see below). There will also be midterm and final exams, which may be in-class, take-home, or both. You are required to turn in your assignments printed or written on paper (not emailed), and I expect your assignments to use clear and correct music notation. If your handwritten music notation is good, you may write your assignments by hand on music paper (there is downloadable music paper available from such sites as www.blanksheetmusic.net). Learning and using a notation program such as Finale or Sibelius has great advantages, and I encourage you to do so. There is a free online notation program, Noteflight (noteflight.com), which will be fine for most of what we do, but which has some limits. There is also a more advanced free program, Musescore (musescore.org) which has some good features.

Blackboard Blackboard will be used frequently in this course for purposes of posting the syllabus, assignments, announcements, dictation practice examples, etc. It is your responsibility to check Blackboard regularly.

70 Theory V, Dr. Miller, Winter 2013, P. 2

Grading Ungraded homework assignments: 35% Graded homework assignments: 30% Midterm and Final exams: 35%

The grading scale is a follows: A, 94-100; A-, 90-93; B+, 87-89; B, 84-86; B-, 80-83; C+, 77-79; C, 74-76; C-, 70-73; D+, 67-69; D, 60-66; F, 59 and below.

Attendance Attendance at all class sessions is required. I will allow two unexcused absences without penalty, but each unexcused absence after that will result in your grade being lowered by one increment (from a highest possible grade of A to A-, A- to B+, etc.). Upon your seventh unexcused absence (which is after you’ve missed 20% of the course), you will fail the course. Additionally, if you are more than five minutes late, it will count as half an absence. Acceptable reasons for excused absences include illness (for which I have the right to ask for a doctor’s note) and department performance obligations such as ensemble tours and festivals (about which your ensemble director should inform me).

Disruptive behavior and technology Students are not allowed to be disruptive in class or use any technology that distracts from the learning environment. This includes, but is not limited to, chatting during lectures, text messaging, web surfing, allowing phone calls/messages to ring during class and/or answering those calls/messages, and listening to iPods, media players, and other devices during class. I reserve the right to ask you to leave the class for any behavior I find inappropriate.

Academic Honesty By enrolling in this class the student agrees to uphold the standards of academic integrity described in the catalog at http://www.csueastbay.edu/ecat/current/i-120grading.html#section12.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Emergency information Information on what to do in an emergency situation may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm. Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.

Theory VI (Music 2033) Spring 2012 MWF 10:40–11:50, MB 2605 4 units

Instructor: Dr. Jeffrey Miller Office: MB 2094 Hours: M 2:30–3:30, W 1–2, F 8–9, or by appointment Phone: (510) 885-3126 Email: [email protected]

Required Text: Stefan Kostka & Dorothy Payne, Tonal Harmony (McGraw-Hill), Sixth Edition, textbook plus workbook.

Course Description This course will explore various 20th-century and contemporary musical styles and techniques. We will use chapters 28–30 of the textbook as a reference; we’ll also be looking at several examples of music not covered in the text or workbook. The expected learning outcomes of the course are mastery and understanding of the organization principles of concert music of the past 100 years.

Requirements Composition of several short pieces as well as some short analysis assignments in various twentieth-century and contemporary styles. All compositions must be correctly and legibly notated, either with a notation program or by hand. Please be aware than notating a piece of music involves not just writing the notes and rhythms, but also including tempi, dynamics, expression marks, etc. as well as being aware of the conventions of musical notation. Correct notation will be a factor in grading.

Final Project, consisting of a composition in one of the styles we’ll study later in the course.

Two listening identification exams, the second to be given during the scheduled final exam time.

Grading Assignments must be on time, and will only be accepted late if you have an excused absence. Exceptions to this will be made only for compelling reasons, and any late assignments I accept will be subject to having their grades lowered.

Compositions and analysis assignments 60% Final project 20% Listening exams: 20% The grading scale is a follows: A, 94-100; A-, 90-93; B+, 87-89; B, 84-86; B-, 80-83; C+, 77-79; C, 74-76; C-, 70-73; D+, 67-69; D, 60-66; F, 59 and below.

Blackboard Blackboard will be used frequently in this course for purposes of posting the syllabus, assignments, PDF copies of music, announcements, etc. There are also two listening players on Blackboard containing recordings of music we’re studying in class and listening to for the exams. It is your responsibility to check Blackboard regularly.

Attendance

72 Attendance at all class sessions is required. I will allow two unexcused absences without penalty, but each unexcused absence after that will result in your grade being lowered by one increment (from a highest possible grade of A to A-, A- to B+, etc.). Upon your seventh unexcused absence (upon missing 20% of the course), you will fail the course. Additionally, if you are more than five minutes late, it will count as half an absence. Acceptable reasons for excused absences include illness (for which I have the right to ask for a doctor’s note) and department performance obligations such as ensemble tours and festivals (about which your ensemble director should inform me).

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Emergency information Information on what to do in an emergency situation (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials, terrorist attack) may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm. Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.”

Music Through the Ages: A Survey of Art Music Traditions of the West

MUS1155 Spring Quarter 2010 TuTh 2:00-3.50 pm, Music & Business 2089

Professor Peter K. Marsh Office: Music & Business 2000 Office Hours: Wed., Fri. 1:00-3.00pm & by appointment Phone: (510) 885-3132 E-mail: [email protected]

Course Description:

73 This course is designed for first-year music majors participating in the GE Freshmen Cluster Program, but it is open to all students needing lower-level GE credit. It aims to help you develop your ability to recognize and describe the most important musical styles and genres practiced in Europe and America from the medieval period to the present. You will learn to place important composers, works, styles and genres in a historical time frame, to have a greater understanding of musical terminology, and to gain a deeper comprehension of the social and cultural worlds that have created and sustained Western music for the past two thousand years. You will also learn how to listen critically to works of music and to engage as an active listener in the musical dialogue with the composers and performers.

Required Materials:

Yudkin, Jeremy. Understanding Music, 6th ed. New York: Prentice Hall, 2010. (Audio examples will be posted on our course Blackboard page.)

Assignments and Projects: Our class meetings will focus both on investigating great music of the past like forensic scientists and on experiencing it as artists and lovers of music. Yudkin’s textbook will provide the launch pad for our lectures and in-class activities. It is imperative that you complete the assigned reading before coming to class. Because our class will consist of both music majors and non-music majors, the course assignments, projects, and evaluations will be oriented towards both groups. While music majors will be expected to employ their theoretical and analytical abilities in music, I expect everyone to develop their abilities to listen and think critically and to think historically.

Quizzes and exams: There will be a number of short quizzes given throughout this quarter to test your understanding of the terminology and concepts being taught in each section. They can include true/false or multiple-choice questions, listening identification questions, and short answer and short essay questions. The midterm and final exams will draw from our lectures, readings, and listening assignments for each half of the quarter.

Methods of Assessment: Your grade for this course will draw from the formal assessments, in-class activities and projects, and a series of journal assignments. You’ll also be asked to attend a concert of classical music and write a short report about your observations. Plagiarism and cheating will result in a grade of ‘F’ for that assignment and University policies on dishonest behavior will be followed.

74 Blackboard, Library Reserves: I will post our syllabus, announcements, course calendar, assignments, links to important websites, lecture notes, and other essential materials and resources on the course Blackboard site. Please make it a habit to refer to this site regularly. Important course materials will also be placed on Library Reserve for this class. You also need to regularly check your CSU campus email account, as bulk e-mails sent to the class will be the primary medium for communication of essential information (regarding assignments, tests, schedule modifications, etc.). You are responsible for checking mail received to your CSU account.

Attendance: Attendance will be taken at the beginning of each class. If you are not counted as present, you are absent. You are allowed three unexcused absences. Absences beyond this, as well as consistent late arrivals to class, will result in your final grade being lowered. I give makeup exams, quizzes, or other assignments only in very special situations. If you know of an event that will conflict with a class, please contact me far ahead of time.

Disabilities: It is the responsibility of students with disabilities and/or personal circumstances that may negatively affect their academic performance to inform me as early in the quarter as possible, preferably before the end of week two. Without timely prior notification, it may be difficult or impossible to adjust the due dates of assignments or other projects, to reschedule examinations or to make other accommodations.

Participation: I expect you to come to each class on time and prepared to answer questions and participate in class discussions. I ask that you please show respect for your classmates and their ideas, even if you disagree with them. And I ask that all electronic devices (mp3 players, cell phones, computers, etc.) be turned off for the duration of the class period.

The Final Exam will be given on Thursday, June 9th, 2:00-3:50pm

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Co u r s e S c h e d u l e (Subject to change)

WEEK ONE – INTRODUCTION Introduction to the study of music 3/29 Introductions

4/31 Ceasar Chavez Day – No Class

WEEK TWO – MEDIEVAL MUSIC Early European medieval music; Gregorian chant and music of the monastery and convent (Hildegard of Bingen); secular song; the rise of medieval polyphony (Perotinus), polyphonic secular music 4/5 Read: Yudkin, Chapters 1-3; Listen to recordings referenced in text

4/7 Read: Chapter 4, pp. 55-68; Listen: CD1/8, 9, 10, 11

WEEK THREE – RENAISSANCE MUSIC The Renaissance hymn, Mass (Deprez), motet (Palestrina), madrigal (Morley), and instrumental music (Susato) 4/12 Read: Chapter 5, pp. 70-76; Listen: CD1/12, 13

4/14 Read: Chapter 5, pp. 76-85; Listen: CD1/14, 15, 16, 17, 18

75 WEEK FOUR – BAROQUE MUSIC Characteristics of the Baroque period; Baroque opera (Monteverdi, Purcell); the late Baroque concerto; sacred and secular music of Bach and Handel 4/19 Read: Chapter 6, pp. 87-98; Listen: CD1/19, 20

4/21 Read: Chapter 6, pp. 98-113; Listen: CD1/21, 22, 23

WEEK FIVE – CLASSICAL MUSIC Characteristics of the Classical era; Classical musical genres; the centrality of Haydn & Mozart 4/26 Read: Chapter 7, pp. 115-129; Listen: CD2/1, 2

4/28 Read: Chapter 7, pp. 129-137; Listen: CD2/3

WEEK SIX – CLASSICAL MUSIC AND BEETHOVEN Beethoven’s life and music 5/3 Midterm Exam

5/5 Read: Chapter 8, pp. 139-157; Listen: CD2/4, 5-8

WEEK SEVEN – EARLY ROMANTIC MUSIC Characteristics of the Romantic era; the art song (Schubert); Romantic piano music (Mendelssohn, Chopin, Schumann); status of women composers 5/10 Read: Chapter 9, pp. 159-171; Listen: CD2/9

5/12 Read: Chapter 9, pp. 171-181; Listen: CD2/10, 11, 12

WEEK EIGHT – LATE ROMANTIC MUSIC Romantic opera (Verdi, Puccini); music and nationalism; Late-Romantic symphony (Brahms, Mahler) 5/17 Read: Chapter 10, pp. 183-197; Listen: CD2/13, 14

5/19 Read: Chapter 10, pp. 197-209; Listen: CD2/15, 3/1, 2

WEEK NINE – TWENTIETH CENTURY MUSIC Impressionism (Debussy), Primitivism (Stravinsky), Expressionism (Schoenberg); Schoenberg’s students (Berg, Webern) 5/24 Read: Chapter 11, pp. 211-226; Listen: CD3/3, 4, 5

5/26 Read: Chapter 11, pp. 226-236; Listen: CD3/6, 7, 8

WEEK TEN – TWENTIETH CENTURY MUSIC Pre-War Composers; American music (Ives, Copeland); Characteristics of Post-War Modernism and new directions in music 5/31 Read: Chapter 11, pp. 236-245; Listen: CD1/5, CD3/9, 10

6/2 Read: Chapter 11, pp. 246-257; Listen: CD3/11, 12, 13, 14, 15, 16 DUE: Concert Report

6/9 Final Exam, 2.00-3.50 pm

76 MUSIC 1316: BASIC PIANO III Section 2 SPRING QUARTER 2011

Tuesday/Thursday 11:00 - 11:50 a.m. Room MB 2081

Instructor: Misato Weber E-mail: [email protected] Office Hours: Tuesday 1-2 Room MB 2081

Texts: Celebration Series Piano Perspective Level 1 by Frederick Harris Basic Piano I-III Reader: available on Blackboard

Course Description: This course is designed for music majors and minors who have not passed the piano proficiency exam. It will teach you how to read and play music that includes harmonies. You’ll learn through the following types of assignments: Harmonize a given melody including augmented and diminished chords Minor scales (2 octaves) Chord progressions including transposing Four-part, chorale-style repertoire

Students are expected to practice and are evaluated on electronic keyboards.

Grading Policy: This is a laboratory/performance class, therefore, grades are Semiweekly assignment at the keyboard 70% Final examination at the keyboard 30% Grading will be based on: evidence of solid practice correct execution of rhythms and pitches attention to fingering and musical markings attendance and class participation

Missed assignments must be made up by the last day of class.

Last Day of Class: Thursday June 2

77 MUSIC 1314: BASIC PIANO I Section 1 FALL QUARTER 2012 Monday/Wednesday 8:20 – 9:10 a.m. Room MB 2081

Instructor: Misato Weber E-mail: [email protected] Office Hours: Monday 10 a.m. – 11 a.m. Room MB 2038 Texts: Celebration Series Piano Perspective Level 1 Available at CSUEB book store Basic Piano Reader: Available on Blackboard

Course Description: This course is designed for music majors and minors who have not passed the piano proficiency exam. It will teach you how to read and play music that includes harmonies. You’ll learn through the following types of assignments: Basic keyboard fingering technique Major and Minor Scales (1 octave) Chords (including inversions) in major and minor keys Introductory piano repertoire Students are expected to practice and are evaluated on electronic keyboards.

Grading Policy: This is a laboratory/performance class, therefore, grades are Attendance and class participation 70% Final examination at the keyboard 30% Grading will be based on: correct execution of rhythms and pitches attention to fingering and musical markings

Music Department Attendance Policy: If you miss five class meetings, you will get an ‘F’ in the course. (Unless you have a very good excuse. I decide which excuses are very good.)

No Class: Monday November 12 Last Day of Class: Wednesday December 5 Final Exam Date: Monday December 10, 8:00 - 9:50 a.m.

78 • By enrolling in this class the student agrees to uphold the standards of academic integrity described in the catalog at http://www20.csueastbay.edu/academic/academic-policies/academic-dishonesty.html. • If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency evacuation, please contact me as soon as possible. Students with disabilities needing accommodation should speak with Accessibility Services. http://www20.csueastbay.edu/af/departments/as/ • Information on what to do in an emergency situation (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials, terrorist attack) may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm. Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.

MUSIC 1315: BASIC PIANO II Section 1 WINTER QUARTER 2013 Monday/Wednesday 8:20 - 9:10 a.m. Room MB 2081

Instructor: Misato Weber E-mail: [email protected] Office Hours:10:30 a.m. - 12 Wednesday Room MB 2081/2038

Texts: Celebration Series Piano Perspective Level 1 Available at CSUEB book store Basic Piano Reader: Available on Blackboard

Course Description: This course is designed for music majors and minors who have not passed the piano proficiency exam. It will teach you how to read and play music that includes harmonies. You’ll learn through the following types of assignments: Harmonize a given melody using major and minor chords Major Scales (two octaves) Chord progressions including transposing Introductory piano repertoire Students are expected to practice and are evaluated on electronic keyboards.

Grading Policy: This is a laboratory/performance class, therefore, grades are Attendance and class participation 70% Final examination at the keyboard 30% Grading will be based on:

79 correct execution of rhythms and pitches attention to fingering and musical markings

Music Department Attendance Policy: If you miss more than 20%of class meetings (more than five classes) without my permission, you will get an ‘F’ in the course. You must bring a doctor’s note when you miss a class due to illness.

Last Day of Class: Wednesday March 13 Final Exam Date: Wednesday March 20, 8:00 - 9:50 a.m. No Class on: January 21

• Final examinations shall be administered only during final exam week and only at the time scheduled by the University. Exceptions to the rule will be made only for compelling reasons. The written authorization of the department chair (with a copy to the College Dean) is required for such an exception. Students and faculty are to be informed of this rule. Suspected violations should be reported to the appropriate department chair and College Dean. http://www20.csueastbay.edu/students/academic-and- studying/finals/winter.html

• By enrolling in this class the student agrees to uphold the standards of academic integrity described in the catalog at http://www20.csueastbay.edu/academic/academic-policies/academic- dishonesty.html.

• If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency evacuation, please contact me as soon as possible. Students with disabilities needing accommodation should speak with Accessibility Services. http://www20.csueastbay.edu/af/departments/as/

• Information on what to do in an emergency situation (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials, terrorist attack) may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm. Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.

80 MUSIC 1316: BASIC PIANO III section 1 SPRING QUARTER 2012 Monday/Wednesday 8:20 - 9:10 a.m. Room MB 2081

Instructor: Misato Weber E-mail: [email protected] Office: MB 2038 Office Hours: Monday 10-11 a.m. Wednesday 9:30-10 a.m.

Required Texts: Celebration Series Piano Perspective Level 1 by Frederick Harris Basic Piano I-III Reader: available on Blackboard

Students are expected to practice and are evaluated on electronic keyboards.

Music Department Attendance Policy: If you miss five class meetings or more, you will get an ‘F’ in the course. I will excuse your absence if you bring a Doctor’s note.

Last Day of Class: Wednesday June 6 Final Exam Date: Monday June 11, 8:00 - 9:50 a.m.

81 Accommodations for students with disabilities: If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency evacuation, please contact me as soon as possible. Students with disabilities needing accommodation should speak with the Accessibility Services.

Emergency information: Information on what to do in an emergency situation (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials, terrorist attack) may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm. Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.

COURSE SYLLABUS APPLIED CLARINET UNDERGRADUATE LEVEL MUS 1642, 2642, 3642, 4642

Instructor: Diane Maltester, (925) 765-4638, [email protected] Office Hours: by appointment

Course Prerequisites: As specified in the catalogue • http://music.csuebay.edu/ecat/current/u-mus.html#

Required Textbooks and Materials: • Individual course assignments (solo repertoire, etude books, CD’s and supplies) will be addressed at the first private lesson. It is the responsibility of the student to obtain the assigned music and supplies promptly.

Course Description: • Each student is offered five hours per quarter of private instruction. The number of lessons is in accordance with the music department handbook. The lesson time is to be arranged with the instructor the first week of classes of each quarter.

Course Goals and Objectives: • Applied lessons are designed to instill the knowledge and develop the skills necessary to prepare the student to pursue a professional career in music. Repertoire, technical exercises and excerpts are assigned to stimulate and challenge specific areas of growth. The instructor will provide the guidance that will be of most use to the student and meet the standards of the CSUEB performance or credential degree.

Attendance and Drop Policy: • Students are required to attend every lesson. • The only absences that are considered excused are in case of crisis in the immediate family or serious personal illness. • If an excused absence must occur, prompt communication with the instructor by calling the instructor’s cell phone is required. • The instructor shall determine the validity of the reason for the student’s absence. • Excused lessons may be made up subject to the instructor availability. • All other absences are considered unexcused and will not be made up. An unexcused absence results in a grade of “F” for the weekly grade • If the student has two absences the final grade may result in a WU.

Specific Course Requirements: • Evidence of consistent progress by the student is expected. It is required that the student come to each lesson having completed the minimum level of preparation required. Music majors: 2 hours of practice a day Non – majors: 1 hour of practice a day • In general, this is the minimum time commitment required to achieve the results expected on an applied instrument. This practice must occur on a daily basis. • The student needs to be on time and warmed up for the lesson. If the student is late and/or not warmed up for the lesson, the grade for that week may be affected. • Students are required to come to lessons with the instrument and reeds in good working order and all materials organized for productive study. • Students are responsible for providing an accompanist or setting up rehearsals with the staff accompanist when necessary. Failure to do so may impact the student’s weekly grade.

Student Learning Outcomes: • Development of individual musical, fundamental and technical skills • Learn successful performance skills and techniques • Build a repertoire of diverse musical styles including solo literature, orchestral and band, and chamber music • Develop sight-reading skills and the ability to learn literature in a period of time appropriate to the level of difficulty

Solo Performance Requirements: • All literature must be approved by the instructor • The freshman level (10) requires one studio recital or one noon recital • The sophomore level (20) requires one studio recital and one noon recital • The junior level (30) requires one full recital or one joint recital • The senior level (40) requires one full recital or one joint recital • Performance Majors: Must meet the requirements set by the CSUEB music department’s handbook: http://music.csuebay.edu/handbook/undergradHB.pdf

Performance Attendance: • The CSUEB music department requires students to attend four recitals a quarter or twelve per year. These include performances in which the student is only an audience member • Students are required to attend studio recitals and any guest clarinet performances • Students are strongly encouraged to attend faculty recitals in all disciplines

Course Evaluation and Grading Policy: • Final grade is based on preparation, progression and performance • There will be a point system for each lesson and performance. Total points will determine quarter grade Grading for each lesson: Points Scales/ fundamentals 2 All major scales full range for level 10 All minor scales full range for level 20 1-2 pages technical exercises 2 Etudes (musical, technical, transposition, other) 2 per etude, 2 a week Repertoire (Solo, band/orchestral excerpts) Two solos each quarter, one movement each week 2 A = 8pts, B = 7pts, C = 6pts, D = 5pts, F = 4 or less pts for each lesson Total quarter grade: A = 40-37, A- = 36, B+ = 35, B = 33, B- = 32, C+ = 31, C = 29, C- = 28, D+ = 27, D = 24, F = 23 and below

• Additional points can be earned through research projects, community service and performances, with the approval of the instructor

83 • Students should come to each lesson prepared to perform all assigned materials including scales, exercises, etudes, solo material and excerpts. • Evidence of consistent progress is required. • Responsiveness and focus are required in each lesson. The student is expected to follow directions quickly and to be receptive to instruction. • The student will bring a positive attitude to the studio lesson. • For the best learning environment all cell phones must be turned off and no food or drink, except water, is allowed in the studio.

Final Jury Exam: • Will be held according to the handbook of undergraduate studies posted by the Music Department • The student will be evaluated according to the following criteria 1. Technical Competence: the jury will evaluate all aspects of technique including fingerings, articulation, intonation, hand position, and playing in the upper register. 2. Stylistic Interpretation: the jury will evaluate the extent to which the solo performance reflects an awareness of the demands of the practice performance of the era in which the music was created, and sensitivity to its genre. 3. Expressive Interpretation: the jury will assess the student’s performance of the selected repertoire in regards to their ability to communicate the musical sense of the piece through performance.

Note: For those on scholarship, failure to meet these minimum requirements could result in loss of scholarship.

American with Disabilities Act: If you need disability-related accommodations in this class, or if you have emergency medical information, or if you need special arrangements in case the building must be evacuated, please see me privately. The Student Disability Resource Center (SDRC) is the campus office responsible for verifying that students have disability-related needs for academic accommodations and for planning appropriate accommodations in cooperation with the students themselves and their instructors. The SDRS is located in the Library complex, L12177. You may make an appointment or call (510) 885-3868.

California State University East Bay Music Department Undergraduate Applied Study in Music Syllabus

Instructor: Artie Storch Phone: 510-885-3135 Email: [email protected] Office Hours: Fridays by appointment

84 Welcome to the percussion program at CSUEB. I hope you will find the following information useful. Please save this for future reference.

APPLIED LESSONS Course Description / Overview: MUSIC 1660, 2660, 3660, 4660 Co-Requisites: In order to receive applied instruction, an undergraduate student must be enrolled for a minimum of six (6) units in music as follows: MAJOR PERFORMANCE GROUP: 1 UNIT OTHER MUSIC CLASSES: 2 UNITS MINIMUM APPLIED LESSON: 1 OR 2 UNITS (DEPENDING ON APPLIED LEVEL RATING)

The applied music program is an individual course of study designed to maximize your skills as a musician and percussionist. The weekly private lesson allows us to work together, and lets me guide and monitor your progress. Lesson time and length: The day and time of applied lessons will be arranged by mutual consent between instructor and student. I will post a sign up sheet outside 1048 by the first day of each quarter so that lessons may begin the first week of the quarter. You will receive one, thirty-minute lesson each week of the quarter. Under the usual academic calendar, there will be a minimum of ten lessons each quarter. Lessons will be taught on campus unless a mutual agreement is reached between the you, me and the Department Chair.

ATTENDANCE: Instructors are not obligated to provide makeup lessons unless the student has notified the Music Department Office or the instructor prior to 8:30 a.m. the day of the absence. Instructors are not obligated to make up lessons falling on normal school holidays. Five minutes tardiness releases the instructor from any responsibility for that lesson. More than one unexcused absence from private lessons during any quarter is sufficient reason for reducing the applied music grade for that quarter. Arrangements for makeup lessons are the responsibility of the student. I will provide makeup lessons for any lesson that I miss. ALSO: In addition to each instructor’s attendance policy, department policy states that missing more than 20% of class meetings due to unexcused absences will constitute grounds for a course grade of ‘F’.

Practice time: The department recommends at least 1½ to 2 hours of practice time per day, 6 days each week as a minimum amount for adequate degree progress. Depending on skill level and background, some students may need more practice time. You can make the most of your lessons by being on time, warmed up, and fully prepared. Successful preparation requires focused practice each and every day. Three hours on the day before your lesson won't do it. When you're prepared, we can collaborate on your musicianship, rather than just check for errors (you can do that with a recorder and a metronome), or worse yet, have me listen to you practice. You will be graded on your progress relative to your abilities.

Residency Requirement: To graduate from CSUEB with the B.A. in Music, students must have taken applied lessons at CSUEB for a minimum 6 quarters in the upper division.

85 JURIES Each spring, during finals week, all percussionists must take a jury exam. For this exam, you will play a 10- 15 minute solo performance for me and two other professors who will help me to objectively evaluate your progress. In addition, you will receive written comments from each of us, which provide you with valuable feedback from three different sources. In the week(s) preceding jury exams, students will play their juries for each other during percussion ensemble. This will give you an opportunity to perform your material in front of an audience before the actual exam, and receive feedback from your peers who will be playing for you as well. In addition, this will satisfy your studio recital requirement. (See below). Rather than select special jury repertoire, you and I will choose material from your lessons to be performed at the jury. This gives the most accurate representation of you as a player, and allows us to continue with your lessons normally throughout the spring quarter.

LEVELS Following are general descriptions of the four performance levels for percussionists. 1660 - Freshman (Level 10) Beginning studies: Basic techniques on snare drum (Cirone), timpani (Goodman), mallets (Whaley and/or Goldenberg), and accessories. 2660 - Sophomore (Level 20) Introduction to multiple percussion, beginning four mallet studies, vibes technique, elementary solo repertoire. Finish basic technique books. 3660 - Junior (Level 30) Introductory orchestral repertoire, intermediate solo repertoire (marimba, timpani, and multiple perc.) Preparation of junior recital. 4660 - Senior (Level 40) Advanced orchestral and solo repertoire. Preparation of senior recital.

At the discretion of the student and the instructor, supplementary studies on drumset, hand percussion, etc. can be included at any level of study. I also encourage you to bring in material at any time from band, orchestra, percussion ensemble, or outside gigs if you think you can use assistance from me.

RECITALS If you hit a drum in a practice room and nobody is there to hear it, are you really performing? Of course not! It takes an audience to complete the experience. You are encouraged to do as much performing as possible, both in ensemble settings and as a soloist or in small groups. As set forth in the student handbook (http://music.csueastbay.edu/resources.php), you are required to do a studio recital for levels 10 and 20. This is requirement satisfied by your practice jury (see above). At level 20, you are expected to also do at least one public performance -a piece on a noon recital is fine. For level 30, you must play a junior recital. Level 40 students must play a full senior recital. Recital performance requirements: For a student to advance in level, the following minimum performance requirements must be fulfilled. Failure to fulfill these requirements will result in a delay of graduation until all recital requirements are completed.

LEVEL 10: ONE PERFORMANCE ON A STUDIO RECITAL. LEVEL 20: TWO PERFORMANCES, ONE ON A STUDIO RECITAL AND ONE ON A NOON RECITAL.

Music majors must perform two Degree Recitals (Junior and Senior) before graduation.

LEVEL 30: ONE JUNIOR RECITAL A Junior Recital must take place prior to the successful conclusion of three quarters of Applied Music study at level 30 and should include 25 - 30 minutes of music on the student's major instrument, chosen in conjunction with the student's Applied Music instructor. Performances on secondary instruments are not acceptable.

LEVEL 40: ONE SENIOR RECITAL A Senior Recital must take place prior to the successful conclusion of three quarters of Applied Music study at level 40 and should include 45-50 minutes of music on the student's major instrument, chosen in conjunction with the student's applied music instructor. Performances on secondary instruments are not acceptable.

Please refer to the online student handbook for current procedures for scheduling recitals, recital recording, and recital accompanists. REFER TO THIS HANDBOOK OFTEN, AS THINGS CAN CHANGE!!

Recital Juries: Degree recitalists will perform a jury of the entire Degree Recital before a faculty committee approximately five weeks prior to the date of the recital to ensure adequate preparation. The student will be notified of the date and time of the jury once the Degree Recital is scheduled. A print-ready copy of the Degree Recital program must be presented to each member of the faculty jury (3 copies total) and an electronic copy (via email) must be submitted to the Music Resource Center at the time of the Degree Recital jury. The faculty jury will not sign the jury form unless the program is ready to go to print. The current printed program guidelines can be found on the Resource Center website. The jury should include all collaborative participants on the recital so as to give the jury the complete picture of the recital. A jury that does not include all of the performers on the recital, or adequate substitutes, may be considered a failed jury at the discretion of the faculty jury members.

A student will pass the Degree Recital jury if two or more faculty jury members agree that the performance is acceptable. The successful student will be notified within one week of the jury date, and the Degree Recital date will be officially confirmed.

A student will fail the Degree Recital jury if less than two faculty jury members agree that the Degree Recital jury is acceptable. The student will be notified within one week of a failed Degree Recital jury, accompanied by an immediate cancellation of the Degree Recital. A student who fails the Degree Recital jury will receive a failing grade for Applied Music study for the quarter in which the jury has taken place, and will have two weeks from the date of the jury to reschedule the recital for the quarter following the originally scheduled recital date. A rescheduled recital may not take place in the same quarter as the originally scheduled recital.

Failure to follow the above guidelines will result in cancellation of the Degree Recital and a failing grade for Applied Music study for the quarter in which the jury has been scheduled, and the process must begin again.

YOUR GRADES A or A- : Consistently or nearly always doing what's required, and progressing well. B+ or B: Room for improvement. B- or below: Serious deficiencies exist in preparation or procedure which warrant your immediate attention. Chances are you know where these problems lie. If in doubt, ask me.

COMMUNICATION I will send out an email by the middle of each week (called “Percussion this week. In addition to the rehearsal order for percussion ensemble, the weekly email will notify you of schedule changes and other items of interest to the percussion department. The email will also give information for at least one week beyond the current week. This information will also be posted on the bulletin board outside of 1048. It is crucial that you check your email and/or the board frequently, and keep me up to date on your email address!!

87 EQUIPMENT AND PRACTICE ROOM PROCEDURES Get the practice room keys out of the locker. (Matt Payne, Instrument Tech in room 1525 will give you the locker number and combination.) Open what you need, and return the keys immediately. When you are done, please return all the instruments to their places, and lock up. These steps will assure that your colleagues don't waste their time looking for keys, equipment, etc. Please avoid cannibalizing stands. Please report anything missing or broken to Matt Payne at once. Also, write out any suggestions for items to purchase and give to me. We'll do our best... NO EQUIPMENT IS TO LEAVE THIS BUILDING WITHOUT MY KNOWLEDGE!! Thank you for your cooperation.

Should you have any questions or concerns at any time, please see me at school, or feel free to call me at (650)346-5582, or email me at [email protected] I look forward to working with you, and hope you find your time here productive, rewarding, and fun!

APPLIED PERCUSSION REQUIRED MATERIALS

I’m looking forward to working with you! To begin your studies, you will need the following materials (as checked) by your first lesson:

BOOKS (as indicated)  Anthony Cirone: Portraits in Rhythm  Garwood Whaley: Musical Studies for the Intermediate Snare Drummer  Saul Goodman: Modern Method for Timpani  Morris Goldenberg: Modern School for Xylophone  Garwood Whaley: Primary Handbook for Mallets

STICKS AND MALLETS (as indicated)  Firth SD1 snare drum sticks or similar (Vater Concert, Zildjian Crescendo)  Goodman #3 or Firth T-3 timpani mallets  Balter #13 marimba mallets or similar. These have blue yarn heads and rattan handles. For ensemble playing on bells and xylophone, you’ll need:  A pair of plastic headed xylophone/bell mallets, (Malletech OR45, Balter # 10)

OTHER NECCESSITIES • A practice pad (rubber or Remo type are both fine). • A blank notebook or notepad to keep track of your assignments. • A metronome. This can be as simple as a little pocket metronome, or as complex as a Dr. Beat or smart phone app (highly recommended). In any case, get a metronome with an earpiece/headphone jack, so you can hear it above something other than a pad.

The books and the other materials are available at good percussion stores. For example, try Gelb Music in Redwood City 650-365-8878, Clocktower Music in San Carlos 650-595-2024, Best Music in Oakland 510-832-2024 or Nasatir School Of Percussion in Castro Valley 510-612-5527 The books are also available online at jwpepper.com, or sheetmusic plus.com. Always call stores first before making the trip, to make sure what you need is in stock! If you have questions or problems now or in the future, don’t hesitate to call me at 650-346-5582, or email me at [email protected].

PERCUSSION ENSEMBLE CHAMBER ENSEMBLE

88 MUSIC 3535 PERCUSSION ENSEMBLE Percussion ensemble is designed to provide instruction chamber music performance, section playing and management, playing the multiple instrument setups so common in contemporary music, and other topics best covered in a group setting. (Clinics and masterclasses). We will perform at least one on-campus concert, usually at or near the end of the quarter. ADDITIONAL PERFORMANCES MAY BE REQUIRED. These may include off-campus concerts, performances on other student recitals, etc. Some additional rehearsal MAY be required for these additional performances. Parts are assigned to be challenging to each player, but within reach of mastery for concert performance. Attendance at each session is mandatory for everyone to have a productive rehearsal. If you are deathly ill or have a serious emergency, you must arrange to have someone (usually your designated understudy) cover your parts. Contact me if you need assistance in that area. Class starts at 2:45 sharp. By that time, you must be set up and ready to play. By the middle of each week, I will send out the rehearsal order in the “percussion this week” email. It will also be posted outside of 1048 by Friday morning. When you receive your parts, please xerox them and return the unmarked originals to me by the start of the next rehearsal. No matter how difficult the part, you need to have a written list of instruments and mallets, a working set up figured out, your page turn problems solved, etc. by the first rehearsal of that piece. Sight-reading on everyone else's time is inexcusable. Remember, these are ensemble rehearsals, not group practice sessions. You will be graded on how well you rehearse and perform the repertoire, based on your abilities.

MUS 3051: Form and Analysis Fall 2012 Dr. La Rocca

Office: MB 2012 Hours: M 2-3 Phone: 885-3567 Email: [email protected] (preferred method of contact)

Required Texts Analytical Anthology of Music, Turek Mozart, Later Symphonies, Dover Edition

Course Description An examination of the elements of form and techniques of analysis in tonal music.

These elements fall into four broad categories:

• Phrase and cadence • Motive and Melody • Harmony and tonal structure • Form and design

Weeks 1-3: Defining phrase: What is a musical thought? Motive and melody

89 Cadence types – cadential strength; cadential evasion Phrase and phrase member Joining phrases – links and elision Phrase developments – introduction, extension, interpolation

Weeks 4-7: Larger Structures: Phrase combination: antecedent-consequent types Aspects of design and tonal structure on a small scale Small forms: one-part, binaries, ternaries Varieties of binary based on design and tonal structure

Weeks 8-10 Large Forms: Cyclical vs. Sectional Forms Theme and Variation, Ritornello, Rondo Compound Ternary Sonata Form

Grading Test I……………………………………………… 30% (Week 3) Test II.……………………………………………. 30% (Week 7) Final.………………………………………..……. 30% (End of term) Participation in class discussion……… 10%

These will be take-home tests.

Attendance, Makeups Illness or emergencies must be reported as soon as possible to the Department Office: 885-3135.

Unexcused absences will result in a lowered grade for the quarter. Per Department Policy, missing more than 20% of class meetings due to unexcused absences will constitute grounds for a grade of ‘F’.

All reasonable effort will be made per University Policy to accommodate individuals with disabilities. Please first register with the appropriate University office to qualify for these accommodations.

No makeup tests will be allowed, except for compelling reasons and by prior arrangement.

Counterpoint I Dr. La Rocca

Office: MB2012 Phone: 885-‐3567 e-‐mail: [email protected]

Required Texts Jeppesen, Counterpoint – in the bookstore or available online Examples of 16th Century sacred vocal music – PDFs posted on Blackboard

Course Requirements We will undertake the study of 16th century sacred vocal polyphony, using the music of Palestrina and Lassus as our primary models. Topics include the ecclesiastical modes, species counterpoint, techniques of imitation, text-‐setting and meter in the context of this music. You will develop skills in both the composition and analysis of 16th century sacred polyphonic music.

Written homework assignments are given most class sessions in writing counterpoint and/or the analysis of vocal polyphony of 16th century; some of these will be graded.

Two tests consisting of take-‐home analysis and in-‐class written counterpoint.

Final Exam, setting a sacred Latin text in a two-‐voice motet (take-‐home)

Grading Homework: 20% Test 1: 25% Test 2: 25% Final: 30%

Attendance, Makeups Homework is due at the beginning of class. Late homework will be downgraded according to the number of sessions it is late. After two sessions beyond the due date it will not be accepted. Daily attendance is required and expected. Illness or unavoidable absence must be reported to the Department Office: 885-‐3135. Multiple unexcused absences will result in a lowered grade for the quarter. No makeups will be allowed, except for compelling reasons and by prior arrangement.

COUNTERPOINT II Dr. La Rocca

Office: 2012 Hours: TBA Phone: 885-3567

Required Texts (any editions)

Two-Part Inventions, Bach Well-Tempered Clavier, Book I, Bach

Course Description

The study, in two and three-part contrapuntal textures, of how to project clear harmonic motion and to control linear and harmonic dissonance in characteristic 18th century instrumental style. Attention will be focused on important contrapuntal techniques such as imitation and invertible counterpoint, and on harmonic techniques such as sequence. Grade will be based on several graded written homework assignments, and on take-home midterm and final projects.

Grading

Homework: 20% Midterm: 40% Final: 40%

Attendance, Makeups

Daily attendance is essential -- there is no outside text.

Homework is due at the beginning of class, and must be clearly and legibly notated. Late homework one session late will be accepted for a lower grade.

Illness or emergencies must be reported to the Department Office: 885-3135. Unexcused absences will result in a lowered grade for the quarter

No makeups will be allowed, except for compelling reasons and by prior arrangement.

Literature & Analysis I

MUS3155 Fall Quarter 2010 MWF 10:40-11.50am, Music & Business 2089

Professor Peter Marsh

92 Office: Music & Business 2000 Office Hours: Wednesdays & Fridays 1:00pm- 3.00pm (and by appointment) Phone: (510) 855-3132 E-mail: [email protected]

Course Description: MUS3155 explores the history of Western musical traditions from the time of the ancient Greeks to the end of the sixteenth century—the so-called Medieval and Renaissance periods. In each class we will focus on a number of compositions, composers, genres, or ideas to learn what they can tell us about the music and musical worlds of a particular time, as well as about the broader political, religious and cultural worlds, in which they existed. As will become clear throughout this course, we cannot fully understand the music of the West in isolation from the wider cultural and historical worlds in which they were created, listened to, and given meaning and value. We will be very selective in what we can examine this quarter. We are not undertaking an exhaustive examination of this history, but rather a journey to gain an understanding of how this tradition developed and changed over time while also maintaining a strong sense of continuity with the past. This course will ask you to think and listen creatively and critically.

Course Goals: Literature & Analysis I-III is designed to develop knowledge and familiarity primarily with the music of the Western European tradition, through listening and exploring specific pieces of music and their social, cultural, and historical contexts.

93 Outcomes and Assessments: To attain the goal described above requires the development of certain analytical skills and a particular body of knowledge about the music. By the end of this quarter, you should be able to hear or see the music we have studied, or a similar piece you have not heard or seen, and be able to recognize key points about it, such as its genre, principle stylistic features, a possible composer, and an approximate date of composition. You should also be able to place it in an historical context and to say something about what those who created, performed, heard, and paid for music of this type, and what they valued in it

Knowledge: To develop these skills, you need to acquire and organize a certain amount of information. First, you must be familiar with the representative pieces that we have chosen from each period. Second, you must know terms and concepts important to this music. Third, you must be aware of the genres and musical styles (including styles of individual composers) practiced during this period. Fourth, you must understand what various types of music were used for and how music was shaped by broad political, cultural, and economic trends and by the values of the society that produced it. This requires more knowledge beyond the music itself than we can include in a single quarter, but we can at least begin with the pieces on the listening list and the types of music they represent.

Methods of Assessment: The most important form of assessment will be the midterm and final examinations (together they are 50% of your final grade). The homework assignments, in- class quizzes and other activities are designed to help prepare you for these examinations.

Blackboard, Library Reserves: I will post our syllabus, announcements, course calendar, assignments, links to important websites, lecture notes, and other essential materials and resources on the course Blackboard site. Please make it a habit to refer to it regularly. Important course material is on Library Reserve for this class. You also need to regularly check your CSU campus email account, as bulk e-mails sent to the class will be the primary medium for communication of essential information (regarding assignments, tests, schedule modifications, etc.). You are responsible for checking mail received to your CSU-horizon account.

Grading: Your grade for the course will be based on the cumulative results of a midterm (25%), final exam (25%), concert review essay (15%), homework assignments (15%), in-class activities (10%) and attendance (10%). Plagiarism and cheating will result in a grade of ‗F‘ for that assignment and University policies on dishonest behavior will be followed.

94 The Final Exam will be given on Monday, December 6th 11:00am– 12:50pm Course Schedule – Fall Quarter 2010 (Subject to change)

Week 1 – Introductions; Greek Antiquity 9/22 Introduction: Why Study Western Classical Music?

9/24 Ancient Greek Music & Philosophy Read: HWM, pp. 4-15 Read: W/T #1, ―Orpheus and the Magical Powers of Music,‖ pp. 1-2 Read: W/T #3, ―Plato‘s Musical Idealism,‖ pp. 5-7 (top) Read: W/T #4, ―Aristotle on the Purposes of Music,‖ pp. 8-10 Listen: CD 1/1, 2

Week 2 – Music of the Early Christian Church 9/27 Music of the Early Christian church Read: HWM, pp. 15-21, 22-32 (top) Read: W/T #8, ―Church Fathers on the Dangers of Unholy Music‖ pp. 21-24 Read: W/T #9, ―Testimony of St. Augustine,‖ pp. 24-27

9/29 Theory and Practice of Early Church Music Read: HWM, pp. 32-46 Read: W/T #12, ―Before Notation‖ pp. 34-38 Read: W/T #10, “The Transmission of the Classical Legacy,” pp. 27-28 Listen: CD 1/14

10/1 Roman Liturgy: Chant and the Mass Read: HWM, pp. 47-53 Listen: CD 1/4-13

Week 3 – The Roman Liturgy and Secular Song 10/4 The Development of Chant Notation Homework “Kyrie” Transcription Assignment Read: HWM, pp. 54-61 Listen: CD 1/15-23, 24, 25

10/6 Additions to the Liturgy; Hildegard of Bingen Read: HWM, pp. 61-67 Listen: CD 1/29, 30, 33

10/8 Secular Song and Dance of the Early Middle Ages Homework Assignment No. 1 DUE Read: HWM, pp. 68-83 Read: W/T #15, ―Music in Courtly Life,‖ pp. 47-50 Read: W/T #23, ―Triumph of Emperor Maximilian,‖ pp. 70-75 (look at the picts!) Listen: CD 1/36, 37, 38, 39, 40, 41

Week 4 – Early Polyphony 10/11 Early Polyphony: Organum Read: HWM, pp. 84-91 Read: W/T #16, ―The Emergence of Polyphony,‖ pp. 50-53 Listen: CD 1/48-50, 51, 53 10/13 Notre Dame Organum: Leonin und Perotin Read: HWM, pp. 91-102 Listen: CD 1/57, 65, 67, 79

10/15 Medieval Motets Quiz no. 1 Read: HWM, pp. 102-112 Read: W/T #17, ―Forms and Practices of Music,‖ pp. 53-54 Listen: CD 2/1, 2, 4, 6, 9

Week 5 – The French Ars Nova 10/18 The Ars Nova of France Read: HWM, pp. 113-122 Read: W/T #18, ―The First Musical Avant-Garde,‖ pp. 57-60 (top) Listen: CD 2/10

10/20 The Polyphonic Mass and Songs of Machaut Read: HWM, pp. 122-129 Read: W/T #20, ―A Letter from Machaut,‖ pp. 65 Listen: CD 16, 23, 24

10/22 The Ars Subtilior Read: HWM, pp. 129-133 Listen: CD 2/28

Week 6 – Landini and the Italian Trecento 10/25 Landini and the Italian Trencento ; Performance Practice Homework Assignment No. 2 DUE Read: HWM, pp. 133-143 Listen: CD 2/31, 33, 35

10/27 Midterm Exam

10/29 No Class

Week 7 – A New Beginning 11/1 The Beginning of the Renaissance: Dunstable and Binchois Read: HWM, pp. 146-166, 167-179 Read: W/T #21, ―Fount and Origin,‖ pp. 67-68 Listen: CD 2/42, 44

11/3 DuFay and the Polyphonic Mass Read: HWM, pp. 179-190 Read: W/T #22, ―Music at Church and State Festivities,‖ pp. 69 (bottom)-70 Listen: CD 2/46, 49, 51, 53

11/5 Franco-Flemish Composers Read: HWM, pp. 191-203 Listen: CD 2/63, 66

Week 8 – Josquin 11/8 Josquin‘s sacred music Read: HWM, pp. 203-210 Listen: CD 2/67; 3/1

11/10 Josquin‘s secular songs Read: HWM, pp. 203-210 Listen: CD 3/7

11/11 No Class – VETERAN‘S DAY

Week 9 – Reformation & Counter-Reformation 11/15 Luther and the Reformation in Germany and England Homework Assignment 3 DUE Read: HWM, pp. 211-221 Read: W/T #27, ―Luther and Music,‖ pp. 87-89 Listen: CD 3/8-11, 12-13

11/17 Byrd, Palestrina and the Counter-Reformation Read: HWM, pp. 222-233 Read: W/T #36, ―The Counter Reformation,‖ pp. 113-116 Listen: CD 3/14, 19, 27

11/19 Other Catholic music of the Counter-Reformation Read: HWM, pp. 233-239 Read: W/T #33, ―Lasso and Palestrina Revealed,‖ pp. 101-104 Listen: CD 3/28, 35

Week 10 – Secular Song Styles 11/22 Secular songs of Spain and Italy Read: HWM, pp. 240-249 Read: W/T #41, ―Music and Dancing as Social Graces,‖ pp. 126-132 Listen: CD 3/38, 39, 46

11/24 Mid to late 15th-century Italian madrigals Read: HWM, pp. 250-256 (top) Listen: CD 3/46, 48, 51, 57

11/26 No Class – TURKEY DAY

Week 11 – Music of the late Renaissance 11/29 French chansons; English madrigals and lute songs Music-Concert Essay DUE Read: HWM, pp. 256-263 Listen: CD 3/60, 65, 73, 76, 81

12/1 Rise of instrumental music Read: HWM, pp. 264-281 Listen: CD 3/84-86; 4/1-3 12/3 Venetian polychoral tradition Homework Assignment 4 DUE Read: HWM, pp. 281-285 Listen: CD 4/9

12/6 Final Exam – (Monday!) 11:00am – 12:50pm

Literature & Analysis II

MUS 3156 Winter Quarter 2010 MWF 10:40-11.50am, Music & Business 2089

Professor Peter Marsh Office: Music & Business 2000 Office Hours: Wednesdays & Fridays 1:00pm-3.00pm (and by appointment) Phone: (510) 855-3132 E-mail: [email protected]

Course Description: MUS3156 explores the history of Western musical traditions from the beginning of the seventeenth century to the beginning of the nineteenth—the so-called Baroque and Classical periods. In each class we will focus on a number of compositions, composers, genres, or ideas to learn what they can tell us about the music and musical worlds of a particular time, as well as about the broader political, religious and cultural worlds, in which they existed. As will become clear throughout this course, we cannot fully understand musical compositions in isolation from the wider cultural and historical worlds in which they were created, listened to, and given

98 meaning and value. As a survey course, we will be very selective in what we can examine this quarter. We are not undertaking an exhaustive examination of this history, but rather a journey to gain an understanding of how this tradition developed and changed over time while also maintaining a strong sense of continuity. This course will ask you to think and listen creatively and critically. Students are expected to contribute to class discussion, engage closely with musical scores, listen attentively to pieces, and write sensitively about compositional details. Major graded work includes a midterm, final, homework assignments, and a paper that combines analysis and interpretation.

Required materials: 1. Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 8th ed. New York: W.W. Norton, 2009. (HWM) 2. Burkholder, J. Peter and Claude V. Palisca, eds. Norton Anthology of Western Music, 6th ed. Vol. 1 & 2. New York: W.W. Norton, 2006. (NAWM) 3. Weiss, Piero and Richard Taruskin. Music in the Western World: A History in Documents, Schirmer, 2007 (W/T) Course Goals: Literature & Analysis I-III is designed to develop knowledge and familiarity primarily with the music of the Western European tradition, through listening and exploring specific pieces of music and their social, cultural, and historical contexts.

Course Objectives: By understanding music we encounter in its historical and cultural context, and learning about its inherent value within a certain culture and time, we become more sensitive to its meanings and improve our ability to understand, appreciate, and communicate about it. Learning about the historical roots of music, which often extend back centuries, will also help us to understand why the music of today is the way it is. The goal of this three-quarter history course is to enhance our knowledge and familiarity with the music of the Western tradition by exploring specific musical pieces in the cultural and historical contexts in which they were created.

Outcomes and Assessments: To attain the goal described above requires the development of certain analytical skills and a particular body of knowledge about the music. By the end of this quarter, you should be able to hear or see the music we have studied, or a similar piece you have not heard or seen, and be able to recognize key points about it, such as its genre, principle stylistic features, a possible composer, and an approximate date of composition. You should also be able to place it in an historical context and to say something about what those who created, performed, heard, and paid for music of this type valued in it

Methods of Assessment: Assessments will be made on the basis of graded and ungraded examinations, quizzes, and assignments, as well as class participation. Attendance will be taken at the beginning of each class. If you are not counted as present, you are absent. You are allowed three unexcused absences. Absences beyond this, as well as consistent late arrivals to class, will result in your final grade being lowered. I give make-up exams, quizzes, or other assignments only in very special situations. If you know of an event that will conflict with a class, you must contact me far ahead of time.

99 for communication of essential information (regarding assignments, tests, schedule modifications, etc.). You are responsible for checking mail received to your CSU-horizon account.

Grading: Your grade for the course will be based on the cumulative results of a midterm (23%), final exam (23%), a music essay (18%), three homework assignments (16%), in-class activities (10%) and attendance (10%). Plagiarism and cheating will result in a grade of ‗F‘ for that assignment and University policies on dishonest behavior will be followed.

The Final Exam will be given on Wednesday, March 16, 11:00am – 12:50pm Course Schedule – Winter Quarter 2011 (Subject to change)

Week 1 – From the Renaissance to the Baroque 1/3 Introduction: The Idea of the Baroque; the ―Second Practice‖; basso continuo

1/5 Monody and the Solo Madrigal Read: HWM, pp. 287-306, 307-312 Read: W/T #44, ―The Birth of a ‗New Music‘‖ W/T #45, ―The ‗Second Practice‘‖ W/T #47, ―Basso Continuo and Figured Bass‖ Listen: CD 4/17, 20

1/7 The Birth of Opera Read: HWM, pp. 312-319 Read: W/T #46, ―The Earliest Operas‖ Listen: CD 4/22, 23, 27, 29, 33

Week 2 – New Sacred & Secular Genres of the 17th century 1/10 Monteverdi‘s Late Madrigals and Venetian Opera Read: HWM, pp. 319-328 Read: W/T #49, ―Venice, 1637: Opera Opens for Business‖ Listen: CD 4/35, 41, 42

1/12 The Sacred Concerted Style: Catholics Read: HWM, pp. 329-339 (top) Listen: CD 4/44, 49, 51, 57; 5/1

1/14 The Sacred Concerted Style: Lutherans Read: HWM, pp. 339-343 Read: W/T #50, ―Schütz Recounts His Career‖

100 Listen: CD 4/60; 5/7

Week 3 – Music of 17th century France and England 1/17 Martin Luther King Holiday – NO CLASS!

1/19 Music and Opera at the Court of Versailles Homework Assignment 1 DUE Read: HWM, pp. 354-366 Read: W/T #54, ―Music under the Sun King‖; W/T #55, ―Rationalistic Distaste‖ Listen: CD 5/23, 26; 31

1/21 French Instrumental Music – Lute Music and Dance Suite Read: HWM, pp. 366-372 Listen: CD 5/31, 33, 34-41

Week 4 – Music of 17th century Italy and Germany 1/24 The English Baroque Read: HWM, pp. 373-379 (top) Read: W/T #58, ―Modern Concert Life if Born (London)‖ Listen: CD 5/42, 43, 45 1/26 Early 17th century Italian and German Instrumental Music; Spain and the New World Read: HWM, pp. 344 (bottom)-353; 379-383 Listen: CD 5/11, 13, 15, 46, 50

1/28 Late 17th century Italian vocal music Read: HWM, pp. 384-390 Listen: CD 5/59, 60, 64

Week 5 – Early 18th century Italy and France 1/31 Late 17th century Italian instrumental music Homework Assignment 2 DUE Read: HWM, pp. 390-399 Read: W/T #57, ―The Baroque Sonata‖ Listen: CD 6/1

2/2 Vivaldi and the Concerto Read: HWM, pp. 413-427 Read: W/T #61, ―The Earliest Musical Conservatories‖ W/T #66, ―A Traveler‘s Impressions of Vivaldi‖ Listen: CD 6/13

2/4 Instrumental Music of Late 17th century Germany and Austria Read: HWM, pp. 399-411 Listen: CD 6/6

Week 6 – Early 18th century Italy and France 2/7 Couperin and Rameau and Early 18th century French Music Read: HWM, pp. 427-435 Read: W/T #60, ―The Art of Music Reduced to Rational Principles‖ W/T #80, ―From Rousseau‘s Dictionary of Music‖ Listen: CD 6/31, 35

101

2/9 George Frederick Handel Read: HWM, pp. 436-439 (top); 454-465; (textbox, pp. 418-419: Farinelli) Read: W/T #62, ―Castrato Singers‖ W/T #69, ―Addison Stelle Poke Fun at Handel‖ Listen: CD 6/67-68, 73, 74, 75

2/11 Johann Sebastian Bach – Instrumental Music Read: HWM, pp. 439-44 (top) Read: W/T #71, ―Bach‘s Duties and Obligations at Leipzig‖ W/T #73, ―Bach‘s Obituary‖ Listen: CD 6/40, 51

Week 7 – Bach und Handel 2/14 Johann Sebastian Bach – Vocal Music Homework Assignment 3 DUE Read: HWM, pp. 448-454 Read: W/T #72, ―Bach Remembered By His Son‖ Listen: CD 6/52-66

2/16 Johann Sebastian Bach – Vocal Music

2/18 Handel and Bach; Baroque Summary Read: HWM, pp. 466-467

Week 8 – The Classical Period 2/21 Midterm Exam

2/23 The Enlightenment; Opera Seria and Opera Buffa Read: HWM, pp. 468-493 Read: W/T #74 ―The Cult of the Natural‖ W/T #63, ―The Conventions of the Opera Seria‖ W/T #79, ―The Rise of the Italian Comic Opera‖ Listen: CD 7/1, 7

2/25 Comic Opera in France, England, and Germany; Opera Reform Read: HWM, pp. 493-505 Read: W/T #64 ―Opera Audiences in 18th Century Italy‖ W/T #83 ―Gluck‘s Operatic Manifesto‖ Listen: CD 7/12, 16, 22

Week 9 – Haydn and the Classical Symphony 2/28 The Galant and Empfindsam Styles; The Sonata Form Read: HWM, pp. 506-525 Listen: CD CD 7/24, 28, 30, 33

3/2 Haydn‘s Classical Symphonies Read: HWM, pp. 526-542 Read: W/T #82, ―Haydn's Duties in the Service of Prince Esterházy‖; #89 ―Haydn‘s Reception in London‖ Listen: CD 7/47, 52

102

3/4 Haydn‘s String Quartets, Vocal Works Read: HWM, 542-546 Listen: CD 7/47, 80

Week 10 – Mozart and His World 3/7 Mozart – His Music and His World Music Essay Due Read: HWM, pp. 546-559 (top) Read: W/T #87, ―The Young Mozart as a Scientific Curiosity‖ W/T #88 ―From Mozart‘s Letters‖ Listen: CD 8/1, 9

3/9 Mozart‘s Late Symphonies Read: HWM, pp. 559-560 Listen: CD 8/27

3/11 Mozart‘s Operas Homework Assignment 4 DUE Read: HWM, pp. 561-565 Listen: CD 8/36

Literature and Analysis III (As of 3/29/2010)

MUS 3157 Spring Quarter 2010 MWF 10:40-11.50am, Music & Business 2809

Professor Peter K. Marsh Office: Music & Business 2000 Office Hours: Wed., Fri. 1:00-3.00pm & by appointment Phone: (510) 885-3132 E-mail: [email protected]

103 Course Description: MUS3157 explores the history of Western traditions of music from the beginning of the nineteenth to the middle of the twentieth centuries—the so-called Romantic and Contemporary periods of Western music history. In each class we will focus on a number of compositions, composers, genres, or ideas to learn what they can tell us about the music and musical worlds of a particular time, as well as about the broader political, religious and cultural worlds, in which they existed. As will become clear throughout this course, we cannot fully understand musical compositions in isolation from the wider contexts in which they were created, listened to, and given meaning and value. As a survey course, we will have to be very selective in what we can examine in our ten-odd weeks. We are not undertaking an exhaustive examination of this history, but rather a journey to gain an understanding of how this tradition developed and changed over time while also maintaining a strong sense of continuity. This course will ask you to think and listen creatively and critically.

Required materials: 1. Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 8th ed. New York: W.W. Norton, 2009. (HWM) 2. Burkholder, J. Peter and Claude V. Palisca, eds. Norton Anthology of Western Music, 6th ed. Vol. 2-3. New York: W.W. Norton, 2006. (NAWM) 3. Weiss, Piero and Richard Taruskin. Music in the Western World: A History in Documents, Schirmer, 2007 (W/T) 4. [Optional: Burkholder, J. Peter and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music, Vol. 1. New York: W.W. Norton, 2006]

Course Objectives: By understanding music in its historical and cultural context, and learning about its inherent value within a certain culture and time, we become more sensitive to its meanings, and improve our ability to understand, appreciate, and communicate about the it. Because every aspect of music has historical roots, often extending back centuries, learning about the music of the past will also help you to understand the characteristics of later music. The goal of this three-quarter history course is to enhance our knowledge and familiarity with the music of the Western European tradition by exploring specific musical pieces and the circumstances and values of the cultures that produced them. Outcomes and Assessments: To attain the goal described above requires the development of certain analytical skills and a particular body of knowledge about the music. By the end of this quarter, you should be able to hear or see the music we have studied, or a similar piece you have not heard or seen, and be able to recognize key points about it, such as its genre, principle stylistic features, a possible composer and approximate date of composition. You should also be able to place it in an historical context and to say something about what those who created, performed, heard, and paid for music of this type, and what they valued in it

104 Third, you must be aware of the genres and musical styles (including styles of individual composers) practiced during this period and by sensitive to their history. Fourth, you must understand what various types of music were used for and how music was shaped by broad political, cultural, and economic trends and by the values of the society that produced it. This requires more knowledge beyond the music itself than we can include in a single quarter, but we can at least begin with the pieces on the listening list and the types of music they represent.

Methods of Assessment: Aside from a midterm and final exam and a concert review essay, you will be asked to complete homework assignments and in-class activities. I expect that each of you will learn as much or more about the music we examine through individual and group activities than you do from the course lectures.

Blackboard, Library Reserves: I will post our syllabus, announcements, course calendar, assignments, links to important websites, lecture notes, and other essential materials and resources on the course Blackboard site. Please make it a habit to refer to this site regularly. Important course materials will also be placed on Library Reserve for this class. You also need to regularly check your CSU campus email account, as bulk e-mails sent to the class will be the primary medium for communication of essential information (regarding assignments, tests, schedule modifications, etc.). You are responsible for checking mail received to your CSU account.

Grading: Your grade for the course will be based on the cumulative results of a midterm, final exam, concert review essay, participation, and attendance. Plagiarism and cheating will result in a grade of „F‟ for that assignment and University policies on dishonest behavior will be followed.

The Final Exam will be given on Monday, June 7, 11:00am – 12:50pm Course Schedule – Spring Quarter 2010 (Subject to change)

3/29 Beethoven’s early, middle periods HWM: 567-585; W/T: (93) Beethoven‟s Heiligenstadt Testament, (94) The First Reactions to Beethoven‟s „Eroica‟ Symphony; Listen: CD 8/41, 46

3/31 Cesar Chavez Day – No Class

105 4/02 Beethoven’s late period HWM: 585-594; W/T: (96) The First Performance of the Ninth Symphony; Listen: CD 8/62

4/05 Berlioz and the New Symphonic Ideal HWM: 595-606; 633-652; W/T: (103) From the Writings of Berlioz; Listen: CD 9/29, 43, 54, 62, 70

4/07 Lieder: Schubert & Schumann HWM: 606-616; Listen: CD 8/72, 78, 82, 83; 9/70

4/09 Furlough Day – No Class

4/12 Piano miniatures, Character pieces; Chopin & Liszt HWM: 616-632; W/T: (105) Schumann‟s Aphorisms, (106) Liszt, the All-Conquering Pianist, (108) Glimpses of Chopin; Listen: CD 9/1, 2, 3, 4, 7, 14, 20

4/14 Italian opera: Rossini & Verdi HWM: 661-673; 685-689, 702-709; Listen: CD 9/77, 10/4, 46, 55

4/16 German opera: Weber & Wagner HWM: 673-680 (top); 690-702; W/T: (111) From the Writings of Wagner, (112) Wagner‟s Beethoven; Listen: CD 10/8, 17, 31, 38

4/19 Russia: Nationalism vs. Cosmopolitanism Quiz #1; HWM: 680-684, 709-723, 754-756; W/T: (117) Mussorgsky, a Musical Realist; Listen: CD 11/1, 16, 50

4/21 Late Romanticism: Brahms & Liszt HWM: 724-738; W/T: (119) Brahms on Composing, (120) The „Brahmin‟ Point of View; Listen: CD 11/8, 25

4/23 Late Romantic Symphonic Music & Song HWM: 738-749; W/T: (123) The Post-Wagnerians: Mahler; Listen: CD 11/36, 42

4/26 Mid-term Exam

4/28 Musical Nationalism; American Music HWM: 750-753, 756-769; Blackboard: Dvorak, “Music in America”; Listen: CD 11/60, 63, 70

4/30 New Models, New Sounds: Debussy, Scriabin & Satie HWM: 771-809; W/T: (125) Debussy and Musical Impressionism, (140) The Cult of Blague: Satie and „The Six‟; Listen: 12/1, 5, 9, 17, 22, 31

5/3 Atonality and Expressionism: Schoenberg HWM: 810-823; W/T: (128) Musical Expressionism, (130) The Death of Tonality?; Listen: 12/32, 35

5/5 Twelve-Tone Music: Shoenberg, Berg & Webern HWM: 823-829; W/T: (129) The Retreat to the Ivory Tower, (143) The Making of Wozzeck, (144) Approaching the Limits of Compression; Listen: CD 12/39, 40, 43, 46

5/7 Primitivism: Early Stravinsky Quiz #2; HWM: 829-835; W/T: (132) The Rite of Spring; Listen: CD 12/49, 53

106 5/10 Bartok and the New Folklorism HWM: 839-854; W/T: (134) The New Folklorism; Listen: CD 12/64, 66, 72

5/12 American music: Armstrong, Ellington … & Gershwin HWM: 855-876; W/T: (145) The Assimilation of Jazz; Listen: 12/79, 82, 83, 13/1

5/14 Neo-Classicism: Stravinsky, Hindemith HWM: 835-839, 877-887; W/T: (137) The New Objectivity, (147) Retrenchment; Listen: 12/59, 13/10

5/17 Furlough Day – No Class

5/19 Music & Politics in Germany and Russia: Shostakovich & Prokofiev HWM: 887-892; Listen: CD 13/14, 17

5/21 American Modernists: Varese, Cowell, Crawford & Copeland Quiz #3; HWM: 892-905; W/T: (146) „New Musical Resources‟; Listen: CD 13/34, 38, 39, 42

5/24 Indeterminacy: Cage; Late Serialism: Stockhausen & Boulez HWM: 930-940; W/T: (153) New Developments in Serialism; (159) The Music of Chance; Listen: CD 13/77, 79, 82, 85, 14/1

5/26 Alternatives to Serialism: Extended Techniques, Electronics & New Textures HWM: 940-956; Listen: CD 14/4, 5, 7, 12, 19

5/28 Minimalism HWM: 957-975; W/T: (163) Minimalism; Listen: CD 14/26, 35

5/31 Memorial Day – No Class

6/2 A New Accessibility? HWM: 975-986; Listen: CD 14/39, 41, 47, 49

6/4 Summaries

6/7 Final Exam – (Monday!) 11:00am – 12:50pm

California State University East Bay Music Department The East Bay Singers MUS 3504-01 MW 12p - 150p MB 1055

BuddyJames.com Blog Schedule - Google Calendar Schedule - Printablehttp://www.google.com/calendar/[email protected]& ctz=America/Los_Angeles

107 http://www.google.com/calendar/[email protected]&ctz=Americ a/Los_Angeles Instructor: Dr. Buddy James Office: MB 2084 Phone: 510 885 3128 E-mail: [email protected]

Who we are: The East Bay Singers is an ensemble dedicated to the study and professional level performance of the finest music written for mixed chorus. The group consists of auditioned singers from throughout the university community whose diverse backgrounds have given them the tools necessary to function and flourish in a select musical setting. The group stands for, and is an ambassador of, the integrity and quality of Cal State East Bay and its Department of Music, and is a standard bearer for the promotion of the highest quality vocal music.

Membership: Membership is open to anyone who passes an audition of vocal capabilities, aural skills and musicianship skills and who is willing to sign a statement of dedication. Members are expected to register for the course and to commit to the entire year.

Rehearsals and Schedule: Rehearsals are Monday and Wednesdays from 1200p - 150p. In addition each singer will be responsible for up to one extra practice session a month with their section leader. A Fall Retreat, a Winter Advance and a Spring Tour are yearly, mandatory events. There is no charge to the singers for these events.

Performances: Our performances are where we create art. They are our reason for being and members are expected to attend every concert and rehearsal. All performances are listed on the schedule. Every effort will be made to give 6 weeks notice for any events added after the start of the academic year, and singers will have one week to clear their schedule or disclose conflicts immediately. Only valid conflicts will be excused. Work is not considered a valid conflict. For any event added with less than 6 weeks notice, singers are expected to make every effort to attend, but any conflict will be considered valid.

Attendance: Full and prompt attendance is imperative and mandatory for the East Bay Singers to be successful. We meet for so little time that even missing one rehearsal can be detrimental to the entire ensemble as well as one's own ability to contribute. Singers are encouraged to have perfect attendance. Each unexcused absence results in a 10% grade reduction for the quarter. Two or more absences (excused or unexcused) may necessitate a private singing session with the director, and may result in suspension or removal from the ensemble at the director's discretion.

An excused absence is one that can be documented in writing by an outside source. Examples of excused absences: Illnesses that require a doctor visit (documentation required). Family Deaths/Serious Illnesses (documentation required). Attendance at events that are directly required for a student's major that conflict with rehearsal or performance (i.e. Band tour, Musical performance for Musical Theatre Major, etc. . . ). These absences must be disclosed immediately to be excused.

Examples of unexcused absences: Work related activities Car problems Illnesses that do not require a doctor visit. Lessons Vacations and trips (non-CSUEB related)

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Habitual absences (excused or unexcused) will result in removal from the group. Even in a time of illness or vocal fatigue, attendance will be beneficial. Singers are expected to mark scores and participate in the rehearsal if they are to expect credit for a rehearsal in which they do not sing. Only cases that are physically debilitating should be considered grounds for missing rehearsal.

Tardiness is unprofessional and rude to the singers who work hard to arrive on time and will not be tolerated. We must begin and finish as an ensemble to make music together. Tardiness includes not being in place with all materials and ready to sing at the beginning of rehearsal. All tardies require a written note to be delivered upon entering the rehearsal. Any tardy, for any reason, not accompanied by a written note will result in an unexcused absence. Habitual tardiness will result in removal from the group. 2 Tardies = 1 Absence.

The two weeks prior to a performance is an exceptionally crucial time for the ensemble's success, and unexcused absences are not acceptable during this time. Tardiness and absences at dress rehearsals, performance call times, and performances may result in a failing grade for the quarter and removal from the group.

A singer who misses more than 2 rehearsals (excused or unexcused) may be called for a private singing session with the director to determine continuance in the choir. The instructor may, at his discretion, remove any member of the choir at any point in the term if the singers's musical progress, excessive absences or tardies, or behavior is detrimental to the progress of the choir.

Goals: 1. To give professional quality, emotionally fulfilling performances 2. To become better singers 3. To become better musicians 4. To become better people

Music: The music we sing is extremely expensive. It is expected that each copy of music assigned to you be returned by the end of the final exam period. If the music is not returned in usable condition, the singer will be charged replacement costs. The music should be housed in your black folder that we will use for each concert in which we perform. A pencil should be kept in the folder at all times and used constantly to mark the music.

Officers and student leadership: Student Advisory Council Assistant Conductors Section Leaders Manager http://docs.google.com/Doc?docid=0AWLndvl-vojkZDNzZ3E3aF8yNzFjZjVidHgyeg&hl=en http://docs.google.com/Doc?docid=0AWLndvl-vojkZDNzZ3E3aF8yNzFjZjVidHgyeg&hl=en Concert Dress: Men Tuxedo Tails, with white vest, white tux shirt and white tie for men Under $200 Jackets only, under $100 Black shoes, black socks

109 Women Black Dress: Formal Fashion Black Knit Gown 4733AABK http://bit.ly/ToHHiO Pearls: http://www.sepapparel.com/pearl-pendant-set Black shoes, black nylons

All Singers are responsible for their own concert attire and stage presentation. CSUEB Choral guidelines can be found here.

Materials: Everyone should own and bring a tuning fork A=440 to EACH rehearsal. Everyone should bring a pencil (not pen) and use it at EACH rehearsal. All music will be supplied and should be brought to EACH rehearsal. Black folder (music may NOT be hole punched) Concert dress.

Lack of required materials at rehearsal will be treated as a tardy for that rehearsal.

Grades: Grades are based upon performance, attitude, professionalism and outcome. In addition to participation grades (reflected in rehearsal attendance and participation), singers will be individually graded up to two times per quarter. A grade will be assigned for these sessions and opportunities for improvement and private coaching will be offered to struggling students. Should a singer’s performance drop below a B at concert time, s/he may be removed from the ensemble in order to insure an excellent concert experience for the choir.

Music Checks (including note accuracy and memory): 50%

Concert/Event attendance: 50% (An unexcused concert tardiness or absence may result in a failing grade for the term)

Attendance/Participation: 10% final grade reduction for each unexcused rehearsal absence.

The following rubric will be used in determining a student’s grade: 4 = Outstanding work and effort. This grade is rare and given to only the finest representation of work. 3 = Very good. The work shows mastery of the information in a clear and precise form. (above average) 2 = The work indicates that the information has been learned, but it needs more thought. (below average, unacceptable for passing grade) 1= The work demonstrates less than the required effort and indicates a minimal understanding of the material. (unacceptable) 0 = Not prepared at all, unlearned music, not in attendance

The FINAL grades will be calculated according to the following scale.

A= 3.35 B= 3.05 C= 2.75 F= 2.74 or lower

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A singer whose grade drops below a "B", who misses more than 2 rehearsals (excused or unexcused), who is regularly tardy, or who misses a rehearsal during the week before a concert may be removed from the ensemble for the concert, the term, or the year at the discretion of the director.

Extra Responsibilities: Every member of the East Bay Singers will be individually involved in recruiting, audience development, set-up/take-down, and have assigned tasks for events in order to insure a professional experience for all audience members.

National Standards for Music Education 1. Singing, alone and with others, a varied repertoire of music. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

"The very essence of our art - what we are about - why music and people are so important - is namely: for the creation and recreation of that which is beautiful. Beauty in form - beauty in sound - and, hopefully, beauty in the wonderful transformation of the human spirit." --- Howard Swan

Jazz Orchestra – Fall 2012

Syllabus

Instructor: Dann Zinn E-mail: [email protected] Phone: 510-885-4198 Office Hours: Thu, 3:00 pm – 4:00 pm, Mon, 2:00 – 4:00 pm Office Location: MB 2036

Group Course # Hours Room Jazz Orchestra (Big Band) MUS 3510 Tue & Thu, 4:00 pm – 5:40 pm 1039 Electric Ensemble MUS 3551 Tue 2:00 pm – 3:40 pm 1039 Contemporary Ensemble MUS 3552 Mon 4:00 pm – 5:40 pm 1039

Required Materials:

• Instrument and applicable doubles (may be checked out from the Equipment Room, MB 1525) • Pencil

Grading:

Grading is based on preparation, in-class participation, and performances. Students are expected to rehearse and perform at the peak of their potential, and are graded in relation to this potential. Students are expected to develop and maintain sound instrumental technique through daily practice of ensemble repertoire and/or other applicable practice techniques. Also see attendance policy.

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Course Objective:

Jazz ensemble courses provide a forum for the study of classic and contemporary large and small ensemble jazz repertoire. Emphasis will be on both rehearsal techniques and live performance experience in a variety of settings. Students will work on appropriate phrasing and performance styles for a diverse range of repertoire. Improvisation is a core component of jazz ensembles, and the jazz ensembles seek to be an arena for experimentation and improvisation.

Attendance Policy:

Attendance at all rehearsals and performances is mandatory. Any absences adversely affect the ensemble and its participants’ musical and educational experiences and are to be avoided.

Rehearsals: Except for documented medical emergencies, each unexcused absence from rehearsals results in a 10% reduction of the final grade. Multiple unexcused absences may result in a grade of “F” and/or dismissal from the ensemble. For excused absences due to medical emergencies, students must submit a doctor’s note within two weeks of the absences. Other excused absences require the presence of a qualified substitute player of the same instrument and prior consent of the director. It is the student’s responsibility to find a qualified substitute player and to make sure this player has the appropriate musical parts. Excused absences may be granted (prior to the absence, and with the expectation of a qualified substitute) in cases where the student’s rehearsal conflicts with professional musical engagements, other music department activities, or required activities related to the student’s major. Three unexcused “lates” equal one unexcused absence. Schedule conflicts that require you to be late to rehearsals have to be approved by the director prior to the rehearsal.

Performances: Unexcused absences from regularly scheduled performances may result in a grade of “F” and dismissal from the ensemble. Excused absences from performances may be granted in exceptional circumstances and must be approved by the instructor at least three weeks prior to the performance.

Late Schedule Additions: In addition to regularly scheduled events, other performance opportunities may arise for the ensemble after the beginning of the quarter. Any late additions to the schedule will be made only after consultation with the ensemble. If a student cannot make a late-schedule-addition performance, it is their responsibility to inform the instructor of this fact at the time the performance date is discussed, in which case the absence is considered excused. Once a commitment has been made to attend a late-schedule-addition performance, it is treated the same as a regularly scheduled performance.

According to the Music Department Student Handbook: “Students enrolled in any Department of Music course (any course with an MUS prefix) are expected to attend class regularly. Department of Music course instructors, ensemble directors, and applied studio teachers will post specific attendance policies for each class in their syllabi, and students should familiarize themselves with these policies. In addition to each instructor’s attendance policy, missing more than 20% of class meetings due to unexcused absences will constitute grounds for a course grade of ‘F’.”

Conduct:

On tours and in public performances, the performing ensembles are ambassadors for the university and students are expected to exhibit professional and courteous behavior and to adhere to all applicable university regulations, including drug, alcohol, and sexual harassment policies. Failure to adhere to these policies may result in lowered or failing letter grades, dismissal from the ensemble, administrative or legal sanctions. Eating, drinking, or smoking is prohibited in MB 1039, 1015, and 1527.

Students with Disabilities:

Please let me know if you have a documented disability and wish to discuss academic accommodations or if you would need assistance in the event of an emergency.

Scheduled Performances & Events (Fall Quarter 2011):

Mon, Oct 1, 2012 7:00 pm: Jazz Behind the Scenes with The Le Boeuf Brothers in Rm 1039. Interactive concerts Mon, Nov 5 7:00 pm: Jazz Behind the Scenes with Chris Robinson playing the music of Pat Metheney in Rm 1039. Thu, Nov 15 Noon Performance: Blue Note Ensemble & Jazz Standards Ensemble @ 1039 Tue, Nov 20 Noon Performance: Electric Jazz Ensemble & Contemporary Ensemble @ 1039 Mon, Dec 3 7:00 pm: Jazz Behind the Scenes with The Wally Schnalle Band in Rm 1039. Interactive concert Tue, Dec 4 7:30 pm: Fall Jazz Concert w/ CSUEB Jazz Orchestra, Chabot College, and TBA

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2012 Performances & Events (Save-the-Date):

Wed, Jan 30, 2013 Jazz Orchestra Tour, TBA Thu, Jan 31 Jazz Orchestra Tour Fri, Feb 1 Jazz Orchestra Tour Mon, Feb 4 7:00 pm: Jazz Behind the Scenes with Group Sax in Rm 1039. Interactive concert Tue, Feb 19 7:30 pm: Jazz Orchestra with TBA Thu, Feb 28 Noon Performance: small groups TBA @ 1039 Mon, March 4 7:00 pm: Jazz Behind the Scenes with Women in Jazz in Rm 1039. Interactive concert Tue, March 5 Noon Performance: small groups TBA @ 1039 Mon, March 11 12th Annual Night of Jazz @ Yoshis (Jazz Orchestra & small groups TBD) Fri, April 19 27th Annual CSUEB Jazz Festival* with Eddie Daniels Sat, April 20 27th Annual CSUEB Jazz Festival* Thu, April 25 Afternoon: depart for Reno Jazz Festival Fri, April 26 Reno Jazz Festival Sat, April 27 Reno Jazz Festival (late return) Thu, May 2 Noon Performance: small groups TBA @ 1039 Mon-Thu May 13-16 JAZZ WEEK Mon, May 13 7:00 pm: Jazz Behind the Scenes with Erik Jekabson String-tet in Rm 1039. Interactive concert Tue May 14-15 7:00 pm: Jazz residency masterclass TBA Thu, May 16 7:30 pm: End-of-year small group concert @ Studio Theatre Tue, June 4 7:30 pm: Jazz Orchestra End-of-Year Concert

* CSUEB Jazz Festival: All participants in CSUEB jazz ensembles are expected to contribute to the success of the CSUEB Jazz Festival. This includes signing up for and successfully completing at least one festival volunteer shift.

Wind Symphony MUS 3511 Dr. John Eros, Conductor

Monday/Wednesday 2:00 – 3:50 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: T 10:00 – 12:00; Th 10:00 – 11:00; or by appointment

Primary Objective To rehearse and perform a variety of wind band literature with the highest possible artistry and musicianship, developing the student’s individual and group performance skills. The Wind Symphony is open to all California State University - East Bay students on an auditioned basis. Ensemble placement and repertoire / part assignments are determined by audition and faculty recommendations, and are intended to provide the most appropriate educational experience for each individual student’s development.

Student Expectations 1. Attend all rehearsals and performances 2. Arrive early and be prepared to tune promptly at 2 PM 3. Prepare your music thoroughly before each rehearsal 4. Be engaged throughout the rehearsal 5. Attend and participate in three out-of-class sectionals as coordinated by your section leader

113 6. Make music of the highest level and constantly challenge yourself to improve

Materials - Instrument in good condition, with all necessary accessories (reeds, oil, etc.) - Folder, music, and pencil - Students should own a metronome for purposes of their own practice - Appropriate Concert Dress

Music/Folder Procedures You will review and complete a document outlining the procedures for distribution/collection of music and folders

Important Dates April 23, 2012 Dress Rehearsal: 2:00 – 3:50 PM, (in the theatre) April 24, 2012 7:30 PM Performance (in the theatre) – 7:00 PM Call May 21, 2012 Dress Rehearsal: 2:00 – 3:50 PM, (in the theatre) May 22, 2012 7:30 PM Performance (in the theatre) – 7:00 PM Call

Concert Dress Gentlemen: Black tuxedo; white shirt, white vest, white bow tie, jacket with tails In the past, some students have purchased tuxedos at Selix in Hayward Ladies: Long black and covered outfit for women--appropriate evening dress. Long dress, long skirt or pants with long-sleeved black top or jacket, and black hose with close-toed black shoes. In other words, look professional. Professionals in large ensembles wear ‘flat black’ in order to not detract from their art – music.

Attendance: Your attendance impacts the entire group. Attendance is required at all rehearsals and performances. Each unexcused absence will result in your grade being lowered by one letter (i.e. A to B). Absences may be excused ONLY if official documentation of medical or other critical issue is presented (i.e. physician’s note), or in the case of official university events, such as ensemble tours or athletic contests.

Punctuality is expected for all events. A student is considered tardy if he or she is not seated and ready to begin when the first tuning pitch is played. On days in which students meet in sectionals before joining the entire group, students are considered tardy if they are not in their assigned rooms at 2 PM, ready to begin playing. Every two instances of being tardy will count as one unexcused absence.

Missing a dress rehearsal or performance will result in automatic failure (F) for the course. In the event of an absence, make every effort to get your folder to rehearsal, and make arrangements to have a substitute player cover your part in your absence.

Section Leaders If you are designated as the “section leader” of a section, please communicate with me as you see the need to ask questions, voice concerns, or share suggestions. I do not intend to micromanage every aspect of the ensemble. You are adult performers and I will treat you as such. Section leaders will also be asked to run “in-class” sectionals from time to time as well as organize and execute three "out of class" sectionals per quarter. Section leaders are expected to take attendance at their sectionals and to report to the director at the conclusion of the day’s rehearsal. Section leaders may also be consulted for part assignments within their section.

Assessment If you are present at rehearsal and prepared to perform, then you will succeed. You do not need to be playing to be engaged in a rehearsal – even if another person or section is playing, you should still be listening and analyzing.

Engagement/Participation 50% Preparation 50%

Food Refrain from bringing food/drink to class, with the exception of water

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Disruptive behavior and technology Students are not allowed to be disruptive during rehearsal or use any technology that would otherwise prove disruptive and distract from the learning environment. This includes but is not limited to: • Chatting during lecture • Text messaging • Web surfing • Allowing phone calls/messages to ring during class and/or answering those calls/messages • Listening to iPods, media players, and other devices during class The use of such technology is not only disruptive but is also highly disrespectful to your peers, the director, and the music. I reserve the right to ask you to leave the class for any behavior I find disruptive.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, materials, etc.

Rehearsal Format Rehearsals will typically include both sectionals and full-ensemble work.

Chamber Winds MUS 3531 Dr. John Eros, Director

Monday/Wednesday 1:00 – 1:50 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: T 10:00 – 12:00; Th 10:00 – 11:00; or by appointment

Course Description This course is designed to provide a select group of instrumentalists with the opportunity to perform chamber music for a variety of ensemble formations. It is intended to be student-centered, inasmuch as the players are expected to provide their own input at rehearsals and with repertoire selection. Ensembles will be formed based on the precise composition of the group, as well as players’ relative skill levels and interests.

Objectives - Perform a variety of repertoire for small instrumental ensembles - Give the students experience interacting in a small chamber music setting - Provide performance experience in a formal recital context

Expectations - Attendance at all rehearsals - Thorough preparation of all material

115 - Input into creative decisions in terms of rehearsing and selecting repertoire (in consultation with the director) - Performance at a final recital on June 8 at 12:00 PM in MB 1055.

Evaluation 30% Attendance 30% Final Performance 40% Preparation and Rehearsal

African Drumming Ensemble

Winter Quarter 2013 Tuesday 12:00-1:50, Music and Business 1039 MUS 3536

Instructor: Dr. Daniel Highman Office: Music and Business 2116 Office Hours: Wed. 1:00-2:00 and by appointment Phone: (510)885-3135 Email: [email protected]

Course Description This class will explore music from the great drumming traditions of West Africa. This quarter we will be focusing on dances from Ghana and Guinea in preparation for a concert in June. In addition to our regular class meeting, you are all required to attend one dance class that features live drumming. I recommend that you go to a class at Dance Mission in San Francisco. After attending the class you should write a one-page summary of the class. Include comments about how the music and dance worked together as well as your own personal reactions. I will also let everyone know about drumming opportunities (i.e. drum circles) as they come up.

Reading I am not making it a requirement for this ensemble, however, I highly recommend that you get a copy of John Chernoff’s book African Rhythm and African Sensibility. I will also be using Mamady Keita’s book A Life for the Djembe for dances from Guinea.

Attendance Regular attendance is essential to the success of the course and to your performance. Attendance will be kept. More than two unexcused absences will result in the lowering of your course grade. Following Music Department policy, students who miss more than four classes will fail the course.

116 MUSIC EDUCATION COURSES

Basic Voice, Music 2321

In this course you will improve your singing through regular practicing of vocal exercises and songs as well as reading about the voice and the art of singing. The course is required for students in the Music Education program, and can also be of interest to the general student. Improving your singing can also improve your speaking voice, so it is useful for theater students and public speakers. We will work on tone quality, breathing, body alignment, range and registers, diction, interpretation, performance nerves, and music reading. Daily practice is essential. We will address your individual needs as a singer to the extent possible in a relatively large class. We will do warm-up exercises together as a class, and call on individual students to perform before the class to demonstrate specific issues. Set aside any fears and keep a positive attitude about singing solo. Hearing other students sing will of great benefit to all of you.

The textbook (required) is Foundations in Singing by John Glenn Paton, Eighth Edition, publ. McGraw Hill, available in the Pioneer Book Store. This book contains useful reading about all aspects of singing as well as a generous sampling of songs in a range of musical styles. Audio CDs of accompaniments for the songs can be ordered separately but are not required for this course.

Basic Voice meets Tuesday and Thursday 11:00 to 11:50 in MB 1521. Please be punctual. Quizzes and performances often begin promptly at 11:00. Instructor: Allen Shearer. Office: MB 2110. Tel. 885-3888. [email protected] Office hour: Thursday 9:50 and by appointment.

Course requirements: 1) (60% of final grade) Learn and perform two songs from memory. The first song will be performed for a grade (25%) in class in the course of the quarter. Performances will be scheduled a few each class beginning in the fourth week. The other song will be the final exam (35%), an individual singing exam. 2) (40% of grade) Written quizzes scheduled every other Thursday. Quizzes will cover the reading and other material from class meetings. They are scheduled: 3) April 18 (Chapters 1-3) April 30 (Chapters 4-6) May 7 (Chapters 7-9) May 21 (Chapters 10-12).

Some music reading is required as part of the course, though lack of prior experience will not affect your grade. If you lack reading skills you are advised to take an advance look at Chapter 12 for an explanation of the basics of musical notation. Some students in the class are very fluent in music reading—ask them if they would help you. And never hesitate to ask questions in class.

No student will discriminated against for any reason. Students with disabilities should consult the instructor.

117 ****************************************************************************************************** Music 2331 Instructor: Philip Santos Office: MB2529 Email: [email protected]

COURSE DESCRIPTION The course focuses on the basic performance techniques of violin and viola and related teaching techniques. Students will learn the basic skills involved with the playing of these string instruments in addition to their history and appropriate teaching approaches. The course is designed for music majors who have no string-playing background.

REQUIREd MATERIALS Texts: All for Strings, Violin Book I, Anderson and Frost, Kjos Music Co. All for Strings, Viola Book I, Anderson and Frost, Kjos Music Co. Guide to Teaching Strings, Lamb and Hill, McGraw-Hill

INSTRUMENTS Violins and Violas can be borrowed from the Music Dept. Equipment Technical Office, MB125.

ACTIVITIES In addition to lectures on violin and viola history, performance practices and teaching techniques, students will participate in classroom playing of materials selected from the texts. Students will also be given supplemental materials to enhance the learning experience. Supplemental materials will include websites with historical and technical information in addition to handouts and muscial examples.

GRADES AND EXAMS 50% Classroom participation and Assignments 30% Quizzes 20% Final Class attendance is critical to your learning experience. Four (4) absences will result in a lowered grade and six (6) absences will result in a “WU” for the course. The Quizzes, the Final and the Homework Assignments will include elements of playing the instruments in addition to written elements and/or oral presentations.

EXAMINATION DATES To be announced

Music 2332 Basic Cello and Double Bass

Instructor:Aaron Shaul Office:TBA Email:[email protected] Office Hours:11:30 AM -12:30 PM,Tuesday and Thursday;Additional times arranged as needed.

Course Description This course focuses on the basic performance techniques and mechanics of the Cello and Double Bass, with an emphasis on teaching techniques and observations used in public school/ensemble settings. Students will learn the BASIC skills and mechanics involved with playing the Cello and Double Bass,examine issues/difficulties commonly ... shared by beginning string students,and will discuss elementary methods and common teaching approaches.This

118 course is recommended for Music Majors enrolled in the Music Education Credential program (ability to read music,basic understanding of music theory,musical vocabulary/rhetoric,etc.)

Required/Suggested Materials Texts: All for Strings;Anderson & Frost;Kjos {Cello Book 1and String Bass Book 1) Guide to Teaching Strings;Lamb & Cook;McGraw-Hill

Instruments Celli & Basses can be checked out from the Music Department Equipment Tech Office- MB1525, supervised by Ken Howenstien. Cellos will be checked out during the FIRST CLASS SESSION, Double Basses will be checked out later in the quarter.

Activities In addition to lectures on Cello and Double Bass technique,teaching methods,performance practices and history, students will participate in classroom playing, explore the vocabulary/anatomy of each instrument,and examine common repair and care issues related to maintaining large string instruments in a public school setting.Students will briefly discuss the Electric Bass,Amplifiers and Pick-Ups related to both Electric and (plucked/pizzicato) Double Bass. Supplemental Materials may also be provided by the instructor in the form of Hand- outs,Xeroxes,and Materials to be referenced on the Internet (Historical or Performance Related).

Grades & Exams 40% Quizzes (short written and/or performed) 40% Classroom participation 20% Final Exam

Attendance Policy: Classroom participation is critical,as a lot of information is visual and/or 'hands-on'. Four {4) absences will result in grade reduction, Six {6) absences or more could result in 'WU' for the course.

FinalExam is on March 15th,from 12pm to 1:50pm.

For Students with Disabilities:If you have a documented disability, and wish to discuss accessibility, accommodations,or assistance in the event of an emergency,I encourage you to see me as soon as possible.

BASIC CLARINET - Syllabus Music 2341 T/TH 11:00 – 11:50 am Instructor: Michael L. Wirgler Office: MB 2506 Office Hours: 10:30-11:00 am – Th. Telephone: 510-885-3303 E-mail: [email protected]

COURSE OBJECTIVE

119 To learn the basic skills of clarinet playing technique at an elementary level, with the goal of being able to teach students in a classroom situation (Elementary instrumental music; middle school/high school beginning band.)

SPECIAL OBJECTIVES towards being able to instruct students in proper clarinet techniques will include: a) Proper assembly of the instrument b) Care and use of the mouthpiece and reed c) Proper position of the clarinet d) Correct embouchure e) Correct method of articulation f) Correct hand and finger positions g) Intonation h) Reading music as applied to the clarinet

STUDENTS WILL LEARN: a) Basic tone production b) Basic fingerings including alternate fingerings c) Major scales to three sharps and three flats d) Two octave chromatic scale e) Proper care of the instrument f) Knowledge of different clarinets and their transpositions g) Working knowledge of solo and ensemble material h) Good classroom management

Page 2 – Basic Clarinet Syllabus

REQUIRED FOR CLASS a) A Bb clarinet (complete with cork grease and swab) b) Supply of reeds (#2 recommended for starters) c) Accent on Achievement, Bb Clarinet book 1 d) blank notebook

TEXTBOOKS a) John O’Reilley/ Mark Williams: Accent on Achievement – Bb Clarinet – Book 1 b) Frederick Westphal: Guide to Teaching Woodwinds – 5th ed.

REFERENCE

a) Keith Stein: The Art of Clarinet Playing (Alfred Music)

120 b) Harold Palmer: Teaching Techniques of the Woodwinds c) H. Klose: Method for the Clarinet

GRADING AND TESTING

Midterm exam (written) (Tentative) 15% Midterm exam (performance) 15%

Final Exam (written) 25% Final Exam (performance) 25%

Attendance/ class participation 20% Total: 100%

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MUS 2342 Basic Double Reeds

Basic Flute and Saxophone CSUEB Winter 2010 Dann Zinn 885-3135

General Objectives

The purpose of this class is to gain a working knowledge of both the flute and the saxophone. Emphasis will be on playing and learning how to teach these instruments to beginners in school music programs. I feel each music teacher has a great responsibility

122 to get students off to good start, avoiding habits at the onset which can hinder their development for years. Nipping problems in the bud is crucial. We will cover embouchures and potential problems, fingerings, ranges, transpositions, and difficulties you are bound to run in to, along with their solutions. This course is not designed for students that are wishing to learn an instrument for their own pleasure. We will be moving many times faster than a normal beginner should move.

Course Books and Resources Required: Essential Elements 2000(Flute and Saxophone Books) by Tim Lauzenheiser Guide to Teaching Woodwinds by Frederick Westphal

Recommended: The Art of Flute Playing by Edwin Putnik The Art of Saxophone Playing by Larry Teal

Course Requirements: Attendance Attendance in this class is crucial. Unlike most college classes, I will be taking roll, and missing classes will severely impact your grade. It is essential that you attend class to learn the vast amount of material that is presented in a short amount of time. Remember, we will be moving at a very accelerated speed, and it will be very difficult to make up lost time.

Practice You will be expected to practice assignments outside of class time. It will be impossible to do well in this class without practicing regularly. Cramming for tests will absolutely not work, and can have an adverse affect on your playing. The muscles we are dealing with are quite delicate, and need to develop gradually and naturally. Plan on practicing about thirty minutes each day. Remember, we will be moving at a very accelerated speed, so don’t fall behind.

Grading Over the eleven week period your flute grade will count for sixty percent of your entire grade, and your saxophone grade will be forty percent. Each instrument will have its own written and playing final. The grading for each section will be broken down as follows: Written Exam- 40% Performance Exam-35% Attendance, Preparation-25%

Basic Brass Methods (High) MUS 2355 - 01

California State University, East Bay

Schedule: TTh 10:00 – 10:50 Room MB 1039 Instructor: Dr. John Eros

123 [email protected] (preferred) 510-885-3135/ 510-885-3149 Office Hours: TTh 2:00 – 3:30; or by appointment

Materials (text is available at the bookstore): o Text (Required): Standard of Excellence, Book 1 for Bb Trumpet/Cornet and French Horn (Kjos) o Brass instruments (issued from CSUEB): trumpet and French horn o Bring all materials to each class meeting

Course Content Topics covered will include: basics of group music instruction; instrument assembly; instrument care, maintenance, and repair; basic instrument playing positions; breathing; tone production; articulation; common problems of beginners; techniques for more advanced students (multiple tonguing, muting, vibrato); resources for purchasing instruments and materials (mouthpieces, etc.); resources for artists/recordings for each instrument; overview of common methods books and solo literature; basic characteristics of instruments in the secondary ensemble settings.

Primary Objective To learn basic high brass performance technique and pedagogy

Secondary Objectives: To develop the ability to: 33. Perform beginning-level material on trumpet and horn demonstrating proper posture, playing position, technique (embouchure, hand position), characteristic sound, intonation, and articulation 34. To demonstrate basic pedagogy, suitable for working successfully with a beginning (first years) instrumentalist 35. Demonstrate knowledge of more advanced brass technique (multiple tonguing, transposition), repertoire, and maintenance 36. Compile a detailed resource file (notebook), intended to serve as an on-the-job resource when teaching brass players

Course Format This course is intended to teach you the basics of how to properly play, but more importantly how to teach, high brass instruments. It is not my objective for you to leave the class as a fantastic trumpet or horn player. Rather, it is my objective for you to leave this class with the knowledge and confidence necessary to work with beginning brass students such as one might encounter in elementary or early middle school.

Co-requisites You should be enrolled concurrently in MUS 2355, section 2 (Basic Brass - Low).

Music Education Sequence This course, as well as all of the instrumental techniques classes, is a required part of the single-subject preparation program in music, working ultimately towards a California single-subject credential in music.

Course Outline

Weeks 1 – 5: Trumpet Weeks 6 – 10: Horn (beginning on October 30)

More specific activities (i.e. specific concepts or pieces to practice) will be given in class and posted on blackboard. It is your responsibility to know what is due for the following class. Activities are subject to change at any time

Note: No class on: October 25 (Dr. Eros at conference) November 22 (Thanksgiving)

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Attendance You are allowed one unexcused absence with no grade penalty. A second unexcused absence will result in your grade being lowered by one increment (i.e. B+ to B). As per department policy, four unexcused absences will be grounds for failure of the course. Absences may be excused if official evidence of medical or other critical issue is presented (i.e. physician’s note), or in the case of official university events, such as ensemble tours or athletic contests.

Punctuality Coming in late or leaving early is distracting to everyone, is unfair to those who are on time, and is generally irritating. Students who are more than 3 minutes late will be considered tardy. Two tardies will count as one unexcused absence. If you are more than 10 minutes late, I reserve the right to refuse admittance.

Food Just as you would not allow your students to have food or drink during band, please refrain from bringing food/drink to class.

Disruptive behavior and technology Students are not allowed to be disruptive in class or use any technology that would otherwise prove disruptive and distract from the learning environment in class. This includes but is not limited to: • Chatting during lecture • Text messaging • Web surfing • Allowing phone calls/messages to ring during class and/or answering those calls/messages • Listening to iPods, media players, and other devices during class I reserve the right to ask you to leave the class for any behavior I find disruptive.

Academic Honesty By enrolling in this class the student agrees to uphold the standards of academic integrity described in the catalog at: http://www.csueastbay.edu/ecat/current/i-120grading.html#section12

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me as soon as possible. Students with disabilities needing accommodation should speak with the Accessibility Services.

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

Emergency information: Information on what to do in an emergency situation (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials, terrorist attack) may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.

Assessments

Playing Quizzes: You will have two quizzes on each instrument

Notebook: You will compile a reference notebook, intended to serve as a resource during your first years as an instrumental music educator. You will be assessed based on content and organization. A rubric will be distributed. The notebook is due at the final exam.

125 Final exam: Your final exam will consist of a playing test on either trumpet or horn, and a brief individual quiz. Our final exam time is 10:00 – 11:50 on Thursday, December 13.

Arrangement: You will create an arrangement of a common folk song for small elementary/early middle level high brass ensemble. You will demonstrate proper knowledge of range, key, and technique. You should be able to take this piece with you to have younger students play. Further details and a rubric will be discussed. Your submitted arrangement must have been created using a notation program such as Finale or Sibelius. If you are also enrolled in MUS 2355-02 (low brass), you may submit one arrangement for both classes (provided it uses trumpet, horn, trombone/baritone, and tuba).

Final Performance: We will give a brief performance as a brass ensemble on the final day of class. Students are expected to recruit audience members. We may perform some of your pieces, and some of you may conduct.

Basic Brass Methods (Low) MUS 2355 - 02

California State University, East Bay

Schedule: TTh 1:00 – 1:50 Room TBA Instructor: Dr. John Eros [email protected] (preferred) 510-885-3135/ 510-885-3149 Office Hours: TTh 2:00 – 3:30; or by appointment

Materials (text is available at the bookstore): o Text (Required): Standard of Excellence, Book 1 for trombone, baritone B.C. (bass clef), and BBb tuba (Kjos) o Brass instruments (issued from CSUEB): trombone, baritone, tuba o Bring all materials to each class meeting

Primary Objective To learn basic low brass performance technique and pedagogy

Secondary Objectives: To develop the ability to: 37. Perform beginning-level material on low brass instruments demonstrating proper posture, playing position, technique (embouchure, hand position), characteristic sound, intonation, and articulation 38. To demonstrate basic pedagogy, suitable for working successfully with a beginning (first years) instrumentalist 39. Demonstrate knowledge of more advanced brass technique (multiple tonguing, transposition), repertoire, and maintenance 40. Compile a detailed resource file (notebook), intended to serve as an on-the-job resource when teaching brass players

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Course Format This course is intended to teach you the basics of how to properly play, but more importantly how to teach, low brass instruments. It is not my objective for you to leave the class as a fantastic trumpet or horn player. Rather, it is my objective for you to leave this class with the knowledge and confidence necessary to work with beginning brass students such as one might encounter in elementary or early middle school.

Co-requisites You should be enrolled concurrently in MUS 2355, section 1 (Basic Brass - High).

Course Outline

Weeks 1 – 5: Trombone Weeks 6 – 10: Baritone/Tuba (beginning on October 30)

Note: No class on: October 25 (Dr. Eros at conference) November 22 (Thanksgiving)

Food Just as you would not allow your students to have food or drink during band, please refrain from bringing food/drink to class.

Academic Honesty

127 By enrolling in this class the student agrees to uphold the standards of academic integrity described in the catalog at: http://www.csueastbay.edu/ecat/current/i-120grading.html#section12

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc. Emergency information: Information on what to do in an emergency situation (earthquake, electrical outage, fire, extreme heat, severe storm, hazardous materials, terrorist attack) may be found at: http://www.aba.csueastbay.edu/EHS/emergency_mgnt.htm Please be familiar with these procedures. Information on this page is updated as required. Please review the information on a regular basis.

Assessments

Playing Quizzes: You will have two quizzes on each instrument

Final Exam: Your final exam will consist of a playing test on one of the three instruments, and a brief individual quiz. Our final exam time is noon – 1:50 on Thursday, December 13.

Arrangement: You will create an arrangement of a common folk song for small elementary/early middle level low brass ensemble. You will demonstrate proper knowledge of range, key, and technique. You should be able to take this piece with you to have younger students play. Further details and a rubric will be discussed. Your submitted arrangement must have been created using a notation program such as Finale or Sibelius. If you are also enrolled in MUS 2355-01 (high brass), you may submit one arrangement for both classes (provided it uses trumpet, horn, trombone/baritone, and tuba).

Assessment Grading Scale

Performance Exams (4) 40 A 94-100 Notebook 30 A- 90-93 Final exam 20 B+ 87-89 Arrangement 10 B 84-86 B- 80-83 C+ 77-79 C 74-76 C- 70-73 D 60-69 F 59 and below

Music 2361 Basic Percussion Spring 2011

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**Please save this syllabus for future reference**

Instructor: Artie Storch Meets: Tuesdays and Thursdays, 10-10:50 p.m., Room, MB 1039 Text: Percussion for Musicians by Robert McCormick Materials: 1 pair of drumsticks, as described at first meeting; Remo practice pad (issued by CSUEB)

PURPOSE This course is designed to give teachers a working knowledge of percussion instruments. You are not expected to become a master percussionist in ten weeks. You are expected to learn enough about the instruments to be able to effectively teach and demonstrate them to beginning students, and to know what to expect from more advanced students.

STUDY REQUIREMENTS The course will demand a MINIMUM of two hours of practice and study per week. This is a cumulative skills course, and you will be working to acquire new manual and eye-hand coordination skills. Doing all your practicing in one or two cram sessions will hardly do any good at all. Twenty minutes a day will go a long way toward helping you master the materials and pass the course – I expect all assignments to be fully prepared.

MUSICAL REQUIREMENTS In order to teach any subject, you need to function on a skill level at least as high as those you expect to teach. I can’t expect you to perform a percussion part as well as a high school student who has been studying percussion for years. However, if you lack the music reading skills needed to interpret what’s on the page, or to achieve the desired results (singing intervals to tune timpani, for example) you simply cannot be an effective teacher, and you cannot expect success in this course. Examples of the level of musical demands you need to meet can be found on pages 27, 34, 46, 62, and 78 of the textbook. Note that these are examples, not necessarily actual assignments.

GRADES, TEST AND OTHER FORMALITIES There will be one paper and two formal exams: a midterm and a final. The bulk of class time consists of learning about and playing the instruments. Your grade is based primarily on how well you learn the material, and on your individual playing progress as demonstrated by your in-class performance. Some of you may have more natural aptitude than others, but I can easily tell how much effort you have put into preparation. Your grade is not based on aptitude, but rather on preparation and progress.

ATTENDANCE Each of you will be responsible for learning the playing techniques of more than twenty different instruments in ten weeks, so every class you miss represents a substantial loss of explanation time and/or hands on experience. In addition, the less class participation I have on which to base your grade, the weightier the two exams become. I’d also like to add that habitual late arrivals are both distracting to your fellow students, and very annoying to me. Regular and punctual attendance is essential in this course.

LISTENING LIST Thinking and playing musically are the keys to success with any instrument. But while almost anyone can distinguish a good violin sound from an ugly scratch, or a decent trumpet tone from a crackling blat, not everyone is familiar with an acceptable sound on, say, a bass drum. In fact, surprisingly few people can identify the sounds of various percussion instruments either in or out of context.

To that end I have prepared a recording of required listening. The pieces have been chosen for their exemplary percussion writing, brevity (where possible), and appeal – they are staples of the concert repertoire, along with other enjoyable morsels of music. The recording has about thirty minutes of music, which is accompanied by written material – sort of a guided tour. Allow one hour to complete the assignment, during the second part of the quarter. I will let you know as soon as it’s available.

WE WILL COVER THE FOLLOWING: *Snare Drum *Bass Drum *Cymbals *Mallet Instruments *Timpani *Accessories (triangle, tambourine etc.) *Instrument maintenance *Drumset and Hand Percussion 129

QUESTIONS AND HELP You can generally see me immediately before or after class if you’d like additional playing time, individual assistance and/or further information. In addition, I am available at other times and office hours by appointment. Feel free to email me at [email protected] to set up a time for us to meet.

ONE LAST THING Percussion is the oldest of all instruments. Since the first time someone clapped their hands together, people have been creating sounds by hitting things. And the biggest reason for percussion’s universality is because it’s FUN! Take it from me - I wouldn’t do anything else! So while learning the ins and outs of a complex and varied family of instruments, I hope you discover the simple, even primitive joy that comes from playing percussion. After all, kids don’t ask for toy bassoons, do they? I’m looking forward to an enlightening and enjoyable quarter!

MUS 2371 Basic Guitar Course Syllabus (proposed in consultation with Dr. Rafael Hernandez)

Course Objective: To provide students with the knowledge necessary to play and teach guitar at a level suitable for introductory study

Required Materials Pumping Nylon, by Scott Tenant Hal Leonard Acoustic Guitar Method, Chad Johnson Guitars available from the music department (acoustic only)

Course Topics Will Include: Instrument and string selection Tuning Posture and body geometry Left and right hand technique Fingernail maintenance (if classical) Reading notated music Reading chord charts Reading tablature Style and its effect on the three above

Students will be assessed on: Performance 40% Teaching 40% Portfolio 20%

Foundations of Music Education MUS 2410 California State University - East Bay

MWF 9:20 – 10:30 MB 1521 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: M 11:00 – 12:00, T 1:00 – 3:00, or by appointment

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Required Materials - Text: Musician & Teacher: An Orientation to Music Education; Campbell, Demorest, & Morrison; W. W. Norton; 2007 - Student Organization: Students who are interested in pursuing music education as a profession, especially those interested in the credential, should join Collegiate NAfME (National Association for Music Education) - Weekend workshops: You must be present at two Saturday events, on February 9 (workshop) and March 2 (festival) - Highly recommended for pre-credential students (but not required for this course): Handbook for the Beginning Music Teacher; Conway, C. M. & Hodgman, T. M. (2006). GIA Publications.

Course Objectives The primary objectives of this course are to familiarize the student with the current formats, theories, and issues in music education in the K-12 schools of the contemporary United States, and to guide the student in reflecting deeply on past and present experiences with music teaching and learning as part of crafting a philosophy of music education. Topics addressed will include: - Traditional forms of music education (band/orchestra/choir/general) - Non-traditional forms (world music, guitar, alternative ensembles, etc.) - Methodologies (Orff, Kodály, Dalcroze, Gordon) - Standards (national and state) and assessment - Cultural diversity and special learners - Observations in a variety of school settings - The design and administration of a CMEA solo/ensemble festival - Other related topics of interest to the students - Your continuing journey as a music educator (beyond this course…)

Learning Outcomes: - Knowledge of the primary forms of music education in the contemporary United States - Knowledge of major theories and approaches to music teaching and learning, including major events in the history of American music education - Knowledge of the California State and National Standards in music education - Knowledge of the roles and issues of cultural diversity and special learners in today’s schools - Reflection on and analysis of personal experiences in music education, including both the student’s own musical education and peer teaching experiences during this course. - A personal philosophical statement of music education - Planning and administration of a solo/ensemble festival - A sense of the role of music education in the student’s future

Course Schedule

Week 1______January 7 Introduction to course; Read: Chapters 1& 5 January 9 Your background in music education January 11 Teaching Presentation #1; Read: Chapter 6 January 11-12 CMEA Bay Section Conference at San Jose State

Week 2______January 14 Theories of Music Experience January 16 Theory meets practice January 18 CMEA Planning session; Read: Chapter 7

Week 3______

January 21 Martin Luther King, Jr. Day – No Class January 23 Elementary Music Education; Teaching Methodologies January 25 Elementary music education continued; Read: Chapter 15 January 26 Optional: Kodály Workshop, Malcolm X Elementary (Berkeley)

Week 4______January 28 Observation Guidelines January 30 Teaching Presentation #2 February 1 Observation: San Lorenzo Manor Elementary, Mrs. Rachel Horne Read: Chapter 9 February 2 Optional: Orff Workshop, Prospect Sierra MS (El Cerrito)

Week 5______131

February 4 Instrumental Music Education February 6 Instrumental Music Education, continued February 8 Observation: Alvarado Middle School, Mr. Nelson Agregado (band) Read: Chapter 8 February 9 John Feierabend workshop (CSUEB) - REQUIRED

Week 6______February 11 Choral Music Education February 13 Choral Music Education, continued; Read: TBA February 15 History of American Music Education; Read: Chapter 10

Week 7______February 18 Guest Presentation: Mr. Bryan Holbrook, Band Director, Hayward High School February 20 Non-traditional music education February 22 Teaching Presentation #3

Week 8______February 25 Observation: Half of the class will observe Mt. Eden High School (band), Mr. Kevin Cato, and half will observe Alvarado Middle School (choir), Ms. Amanda Kairys February 27 Reverse of February 25 March 1 Final preparation for CMEA Festival; Read: Chapter 11 March 2 CMEA Solo/Ensemble Festival (CSUEB) - REQUIRED

Week 9______March 4 Cultural Diversity; Reading: Music Educators Journal TBA March 6 Special Learners; Read: Chapter 13 March 8 Standards and Assessment: Read: Chapter 2

Week 10______March 11 Thoughts on Music Education; Read: Chapter 16 March 13 Putting it all together: Crafting a philosophy of music education March 15 Course wrap-up and evaluation March 18 Final Exam (9:00 – 10:50); Final presentations.

Activities are subject to change at any time. Additional readings may be assigned throughout the quarter.

Assessment Written Assignments 30% CMEA Festival 20% Presentations 20% Observations 20% Interview 10%

Written Assignments (30%) All written assignments are due at the beginning of the class on the specified date. All written assignments must be typed (12-point, Times New Roman or other standard font), stapled, and double-spaced unless otherwise indicated. I do not accept late assignments. I am grading you on both mechanics and content. I want you to reflect carefully and to discuss your ideas at length, but I also want your ideas to be presented well.

Assessment Rubric (written assignments) Unless decided otherwise, each written assignment will be scored using the following scale. 4 – Outstanding work, demonstrating complete mastery of the assignment 3 – Good work, demonstrating comprehension of the material 2 – Satisfactory work, but with several problems 1 – Passing work, but showing significant problems 0 – Unacceptable work or work not submitted

CMEA Festival (20%) You will participate actively in the planning and administration of a CMEA Solo and Ensemble Festival to be held on Saturday, March 2 on the CSUEB campus. You are expected to be present for the entire day. Let me emphasize that this event is of huge significance to both your musical education (through the opportunity to interact with students and music educators, and the experience of running a school music event), as well as to the entire music program at CSUEB and, by extension, your development as professionals.

Observations (20% - pass/fail) 132

We will complete four off-campus observations of school music programs. You must be present for all four observations, and submit a completed observation report after each, in order to receive a passing grade. Guidelines will be provided.

Presentations (20%) There will be four presentations over the course of the quarter. These may be either individual or in groups.

Interview (10% - pass/fail) Schedule and conduct a 30-minute interview with a current school music teacher (any grade or concentration). Schedule the interview well in advance and at a time of the teacher’s convenience. Arrive early and dress professionally. Send a follow-up thank-you email. Create a list of leading questions, conduct the interview, and write a 2-3 page summary/reflection of your interview afterwards. Sample guidelines can be found on p. 279 of the text. Include your questions with your summary (as a separate document). A list of recommendations will be provided. You may also interview other P-12 music teachers that you have worked with. This should be a meaningful, analytical conversation regarding the teacher’s thoughts and experiences as a music educator.

Workshop You are expected to be present at a workshop on Saturday, February 9 (from 9:00 AM – 3:00 PM) with internationally-known music educator John Feierabend. A post-workshop reflection paper will be due the following Monday. Missing the workshop will result in your grade being lowered by one letter grade.

Grading Scale A 94-100 A- 90-93 B+ 87-89 B 84-86 B- 80-83 C+ 77-79 C 74-76 C- 70-73 D 60-69 F 59 and below

Attendance You are allowed two unexcused absences with no grade penalty. Each additional unexcused absence will result in your grade being lowered by one increment (i.e. B+ to B). As per department policy, six unexcused absences will be grounds for failure of the course. Absences may be excused if official evidence of medical or other critical issue is presented (i.e. physician’s note), or in the case of official university events, such as ensemble tours or athletic contests.

I reserve the right to ask you to leave the class for any behavior I find disruptive.

Blackboard Periodically, I will post announcements and readings on Blackboard. It will be your responsibility to keep up with this material.

Documented Disability 133

If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact the Department office as soon as possible.

Music Education Workshops (noted on course schedule) There are a number of music education events taking place during this quarter. Almost all conferences have student rates, and some are free. Interested students should consider attending one, some, or all of these events. Note, however, that attendance at this or any conference is not grounds for an excused absence. They include: - The annual conference of the California Music Educators Association (CMEA) will take place on February 21-24 in Fresno. I will be unable to attend, as this coincides with Audition Weekend. - The Bay Area Section of CMEA (closer – it is at San Jose State) will take place on January 11-12 at San Jose State. - NCAOSA (The Northern California chapter of the American Orff-Schulwerk Association) is having a workshop on 2/2 in El Cerrito. I will be attending. Any students interested in elementary-level music education should consider attending. - NCAKE (The Northern California Association of Kodály Educators) is having a workshop on 1/26 in Berkeley. I will be attending this as well. Students interested in elementary-level and/or choral music education should consider attending.

Selected Bibliography

Journals Music Educators Journal (MEJ) Teaching Music General Music Today The Instrumentalist Choral Journal (ACDA)

Books Choksy, L., Abramson, R., Gillespie, A., Woods, D., & York, F. (2001). Teaching music in the twenty-first century, 2nd ed.. Prentice Hall Colwell, R. & Wing, L. (2004). An orientation to music education: Structural knowledge for music teaching. Prentice Hall Conway, C. M. & Hodgman, T. M. (2006). Handbook for the beginning music teacher. GIA Publications. Jorgensen, E. R. (2008). The art of teaching music. Indiana University Press. Suzuki, S. (1983). Nurtured by love. Summry Birchard, Inc.

Introduction to World Music & Culture (As or 1/06/2009)

MUS3014 Winter Quarter 2009 Tues.-Thurs. 2:00-3:50pm, MB2809 Professor Peter Marsh Office: MB2000 Office Hours: Wednesdays and Fridays 2:00pm-4.00pm (and by appointment) Phone: (510) 885-3132 E-mail: [email protected]

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Course Description: This course explores some of the staggering diversity of musical traditions across the globe. While often thought of as mere entertainment, music is also serious business—its importance is felt politically, socially, religiously, artistically, and economically. While we will examine traditional music of a variety of cultures in Africa, Asia, and Europe, our focus will be on music as tradition, with tradition understood as a process of transformation whose most remarkable feature is the continuity it nurtures and sustains. Within this framework, we will explore everything from folk and classical genres to contemporary styles, including world beat, jazz, popular, and experimental musics. While no musical experience is necessary, students will be expected to think creatively and critically about what they encounter in this course.

Course goals: • To understand and appreciate music from an ethnomusicological perspective, that is, as a musical-cultural phenomenon; • To learn about a diverse range of musics and musicultural traditions from around the world; and • To learn how musics have evolved and developed through the unique conditions of the historical and cultural processes that gave rise to them, as well as to comprehend how they continue to develop and transform in a contemporary world defined by large-scale processes of globalization, mass mediation, and electronic communications.

Required materials: 1. MUS3014 Course Reader 2. Additional reading and listening materials on Blackboard Assignments and Quizzes: Reading and listening assignments should be completed on the day for which they are listed on the syllabus. The Journal assignments (four of them) must be submitted typed (i.e., word processed) on regular computer/typing paper using a regular font and font size (e.g., 12-point Times or Times Roman; 1 or 1.5 inch margins). Please make sure that everything you submit has your name, the course number, and the instructor’s name. All pages must be stapled!! No paper clips, loose sheets, or “fold-overs.”

Blackboard, Library Reserves: The syllabus, announcements, course calendar, assignments, and other essential materials and resources will be posted on the course Blackboard site, which you should check regularly. You also need to regularly check your campus email account (or an account to which you have CSU e-mails forwarded to you if you have one), as bulk e-mails sent to the class will be the primary medium for communication of essential information (regarding assignments, tests, schedule modifications, etc.).

Attendance: Attendance is required for every single class and attendance will be taken. I allow you two unexcused absences, no questions asked. You will earn five points for each class period you attend. Those who come into class late will receive only three points. An excused absence is one for which you present a note from your doctor, the Student Health Center or

135 the Student Counseling or when you have turned in written notice in advance of your absence and received written confirmation that your absence will be excused.

It is the responsibility of students with disabilities and/or personal circumstances that may negatively affect their academic performance to inform me as early in the term as possible, preferably before the end of week two. Without timely prior notification, it may be difficult or impossible to adjust the due dates of assignments or other projects, to reschedule examinations or to make other accommodations.

Grading: Your grade for the course will be based on the cumulative results of a mid-term exam (20%), final exam (25%), journal (20%), final project/presentation (15%), and attendance/ participation (10%). Plagiarism and cheating will result in a grade of ‘F’ for that assignment and University policies on dishonest behavior will be followed.

The Final Exam will be given on Tuesday, March 17th 2:00-3:50pm

Course Schedule – Winter Quarter 2009 (Subject to change)

Week 1 – What, in the World, is Music? 1/6 Why study music of the world?

1/8 Musical terminologies and methodologies Read: Titon pp. 1-33

Week 2 – Music of Africa 1/13 The diversity of music-cultures in Africa Read: Locke pp. 83-123

1/15 Shona mbira (Zimbabwe) Read: Locke pp. 123-134

Week 3 – Music of Africa, Music of Mongolia 1/20 Shona mbira – traditions both old and new Read: Locke pp. 134-143

1/22 Music in traditional nomadic Asian society Read: Marsh pp. 97-120

Week 4 – Music of Mongolia 1/27 Khöömii or ‘throat singing’ as a national art Read: Marsh pp. 121-135

1/29 Throat singing – traditions both old and new Read: Marsh pp. 251-277

Week 5 – Music of Europe 2/3 The diversity of music in the European music-culture Read: Bohlman pp.229-242

2/5 The folk music of Europe Read: Bohlman pp. 242-254

Week 6 – Music of Europe 136

2/10 The folk music of Bulgaria Read: Bohlman pp. 254-265

2/12 Midterm exam

Week 7 – Music of India 2/17 Hindustani or northern Indian classical music Read: Bakan pp. pp. 117-125

2/19 The Hindustani raga Read: Bakan pp. 125-141

Week 8 – Music of India 2/24 Carnatic or southern Indian classical music Read: Bakan pp. 140-151 2/26 Other South Asian musics Read: Bakan pp. 140-151

Week 9 – Music of Indonesia 3/3 Music in traditional Indonesia; the island of Java Read: Sutton pp. 299-321

3/5 Javanese gamelan and the Wayan kulit Read: Sutton pp. 322-337

Week 10 – Music of Indonesia 3/10 Balinese gamelan and dance Read: Bakan pp. 337-344

3/12 Indonesian gamelan – traditions both old and new Read: Sutton pp. 345-352

3/17 Final Exam – (Tuesday) 2:00-3:50pm

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MUS 3095 – Technology for Music Educators

Dr. Rafael Hernandez

SYLLABUS

CONTACT INFO

Dr. Rafael Hernandez Office: MB 2118, 2571 and AE 1231 (Multimedia Graduate Office) Email: [email protected] Office phone: 510-885-3309 Spring 2010 Office Hours: T 4:30-6:30 (AE 1231), TH 4:30-6:30 (AE 1231)

COURSE DESCRIPTION AND LEARNING OUTCOMES

This course is a requirement of the Single Subject Matter program for music education. Learning outcomes:

Mastery of live sound knowledge as it applies to k-12 environments, including microphones, PA setup & usage, and logistically planning for amplifying ensembles.

Ability to edit and master digital audio using a DAW.

Advocate for music technology needs in the classroom through the drafting of grant proposals.

Utilize music notation software with rehearsal software in order to create lessons and lesson plans otherwise not possible.

Create learning modules in teams using video and audio editing software.

REQUIREMENTS

Texts: All readings are drawn from PDFs posted on the schedule, any PowerPoint slides prepared, and other electronic resources on the Internet. There are a few additional

resources for you to consider, however:

Jeffrey Haas's eText on Introduction to Computer Music: Volume One

Finale Tutorials (of which I am the author)

Pro Tools Tutorials (of which I am the author)

As well, it is expected that you will research your problem thoroughly before contacting me for a solution. It isn't that I don't want to help. Rather, I don't want to enable a dependency on me for solutions, especially when they are easily found using a simple online search. Don't be surprised if I use Let Me Google that for You if

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you ask me a question whose solution is found through a simple Google search. Tutorial Videos: A good amount of the software learning in this course will come from video tutorials posted on various places on the internet. It is your responsibility to view these tutorials and take notes on them in order to have a better understanding of the software before you come to class.

You can only use your own computer if it is a laptop and you bring it to class. I can't help you unless I can see what you are doing.

Storage media: You must purchase a thumb drive (memory stick) or external hard drive to backup your files onto. You may store your class assignments and projects on the lab computers, but keep in mind that anyone will have access to the files and will even have the ability to delete the files, if they so choose. Please see “The Dog Ate My Data” below for the policy regarding catastrophic data loss.

Internet access: You must have internet access with the latest version of the Macromedia Flash player, the latest version of Adobe Acrobat Reader, and the latest version of the Quicktime and Flash plugins. This is critical for the video tutorials. Should an assignment require a hard copy printout, it is your responsibility to find the means on campus to print the assignment out. All computers in the MCMT are equipped with the ability to print to PDF and these PDFs can be printed using any printer on campus.

General familiarity with OS navigation: It is assumed that you have a basic knowledge of OS navigation concepts such as 'double-clicking', menu navigation, data saving and retrieval, and Internet browsing. Since we use Macs, and you might be a PC person, I understand at the beginning of the quarter about awkwardness of using a different OS. However, you’ll need to get over that awkwardness quickly. Should you be completely new to computers, please see me immediately as this course does not start from the absolute beginning with computers.

MEDIA CENTER FOR MUSIC TECHNOLOGY (MB 2525)

The Media Center for Music Technology (MCMT) in MB 2525 houses computers, software, and hardware for use in this course. It is expected that you will utilize the equipment in the MCMT in order to complete required assignments and projects. Registration for this course does not entitle you to after-hours access to the MCMT. I don’t care if you have a job, don’t like walking across campus, or have some other lame excuse. If you don’t have the software, you can only do the work in the lab during time that I assign or outside of class during open lab hours. Your inability to complete work because of extracurricular obligations is of no difference to me. Unless I approve otherwise, you are required to use the lab.

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THE DOG ATE MY DATA

Failure to complete an assignment or project due to a catastrophic loss of data is not an acceptable excuse for failure. The "golden rule" for data is:

Your data does not exist unless it exists in two different places. Backup your data in two or more places on at least two different types of media!

Here is a sampling of a few of the excuses that won’t fly with me: “My hard drive crashed” “This computer isn’t working! I swear I saved it and now it’s gone” “My roommate deleted my file”

I don’t care. Back your data up. If you loose data because your computer crashes, you are SOL. If the MCMT Deletion Bandit erases your data, you are SOL. Bottom line: if you loose your data for any reason and you don’t have a backup, you are out of luck.

ASSESSMENT

Work for this course consists of four assessed items: two projects and two exams

Projects: One group project and one individual project. In the case of group projects, all members ear the same final grade, regardless of actual or perceived individual contributions.

Exams: One midterm and one final exam. Exams may include terms, signal flow diagrams, identification of interactive works, or any other concept covered during the quarter

ATTENDANCE

Miss one class and your course grade average is docked by a third of a letter. Miss two classes and your course grade average is docked by a full letter. Miss more than two classes and you fail (or withdraw, if there is time). Why so harsh? The course is once a week. That means there are only 10 class meetings (plus one meeting for the final). Missing one class means you attended 90% of the course. Missing two means you attended 80%. Obviously missing that much of a course is already unacceptable. Given that there are furloughs

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this year and we will problem experience a missed class day anyway, it behooves you to attend class.

ACADEMIC DISHONESTY AND PROPER USE OF INTELLECTUAL PROPERTY (CODE SNIPPETS AND SAMPLING)

Really familiarize yourself with the University’s policies on academic dishonesty. Saying “I didn’t know!” is never a viable excuse and being branded a cheater will travel with you forever.

Regarding intellectual property let me be clear: You are prohibited from using the work of others unless you can provide proof that you have a proper license or permission for said work. I reserve the right at any time to ask you to provide proof of such a license or permission. Violation of this policy will be considered an academically dishonest act on the level of plagiarism and you will suffer serious consequences, not the least of which include a failing grade and being reported to the University. We will learn about creative commons licensing and you are highly encouraged to use works that have such a license provided the artist specifically states that you may use their work for educational use (which this would be). In the case of code taken from another patch or example, you must include a comment as to the author of the code snippet used and a URL where said code snipped can be traced back to.

GRADING

Projects: 70%

Exams: 30%

Grading Scale

A 94-100

A- 90-93

B+ 87-89

B 84-86

B- 80-83

C+ 77-79

C 74-76

C- 70-73

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D 60-69

F 59 and below

CELL PHONES AND OTHER DISRUPTIVE DEVICES

I don't appreciate cell phones, PDAs, computers, or other annoyingelectronic devices that make sound going off during class (unless of course we are purposefully making sounds as part of the lecture). Please silence these devices and if you do get a call, remove yourself from the class and take care of it outside of class.

BLACKBOARD AND EMAIL ACCESS

I will use Blackboard extensively for this course. It is your responsibility to check it regularly for announcements, assignments, and other things which I direct your attention to. Additionally, all emails for this course are sent through Blackboard to whatever email address you have listed with Blackboard. It is your responsibility to ensure that an accurate email is on file with Blackboard. See me for information on how to check your listed email address within Blackboard.

STUDENTS WITH DISABILITIES

If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

SCHEDULE

See the Course Materials folder for a schedule of the quarter.

FINAL EXAM

Thursday, June 10 @ 6:30

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California State University East Bay Department of Music

Basic Conducting MUS 3370-01

Dr. Buddy James, instructor 510.885.3128 (o) [email protected] (e) Office hours

I. Course description/overview

This course is a study of basic concepts of conducting. Musical examples will be used to analyze and practice the conductor’s process, including performance practice, artistic expression, and physical gesture. Incorporated into the study of conducting will be Music History, Music Theory, Sight Singing, and rehearsal techniques, providing an integrated study of the conductor's art.

II. Objectives/competencies

The objective of this course is to develop the skills needed by conductors with an emphasis on physical gesture, score study, and expression. Fundamental topics of conducting including inner hearing, breathing, scholarship and expressive interpretation will also be discussed. Through a series of in-class experiences including lectures, demonstrations, presentations and individual conducting sessions, as well as reading and score study assignments, the student will be physically and mentally involved in mastering the basic skills of the art of conducting.

III. Course materials

The Modern Conductor (7th Edition); Elizabeth A.H. Green and Mark Gibson The Conductor’s Workshop (2nd Edition); R. Gerry Long (excerpts) 1 baton (one that looks natural and feels comfortable...not too long!!!)

IV. Course requirements

The class format will be a combination of active music making, discussion and lecture. The class requires active participation of the students.

Students will do the following: 1. Attend class regularly to participate in group activities and listening exercises. 2. Practice and analyze all exercises and assigned repertoire outside of class. 3. Complete written assignments when due. Assignments will be due by the beginning of class on the day due. Assignments turned in during class time will be graded at one-half off and late assignments will not be accepted. 4. Complete listening assignments.

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5. Be prepared to conduct in class on assigned dates. (Due to the nature of the course, conducting assignments cannot be rescheduled).

V. Grading

Grading is based upon attendance, preparation and participation. 1. In-class conducting (10% each) 50% 2. Written Work 10% 3. Conducting observations 10% 4. Aural Skills, Analysis 5% 5. Final Exam 25% (Individual 5%) (Conducting 20%) --- 100% (-5 % points for each absence)

Each exam, performance and assignment will be assigned a number grade. At the end of the term the grades will be averaged to determine your grade for that portion of the work (i.e. all In-class conducting assignments will be averaged equally to make 50% of the final grade).

The following guidelines will be used in determining a student’s grade: 4= Outstanding work and effort. 3= Acceptable work and effort. The work shows mastery of the information in a clear and precise form (satisfactory completion of material) 2= The work indicates that the information has been learned, but it needs more thought and better execution. (unacceptable for passing grade) 1= The work demonstrates less than the required effort and indicates a minimal understanding of the material. (unacceptable) 0= not prepared at all, unlearned music, not in attendance

The FINAL grades will be calculated according to the following scale. A 3.35 B 3.05 C 2.75 F 2.74

Attendance Policy Due to the nature of this course participation is mandatory. 5% is subtracted from your final grade for each absence. Exceptions are made for: (1) illness; (2) death in the family; (3) participation in out-of-the- classroom educational activities; and (4) participation in intercollegiate athletic contests. Officially authorized absences are required for an absence to be excused. 2 tardies = 1 absence. More than 4 absences will result in a failure of the course. Prior notification of absence or tardiness is expected by no later than 8a on class days. Absences will effect the ability of the class to perform excerpts and will nullify the student’s learning experience for that particular class. VI. Assignments

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For each conducting assignment, all conductors are required to be able to sing correctly each line while conducting and while playing another line on the piano (any tempo, as long as it is steady, is acceptable). A complete harmonic and structural analysis is required of every selection, and may be required for a complete grade. Detailed instructions will be given prior to each assignment.

VII. Course outline

VIII. Final thoughts on success in this course

Success as a conductor requires study, thought, analysis, creativity, and effectiveness as a communicator. Only when a person has mastered each of these elements can true conducting begin. The opportunities in conducting that you receive in this course will be a culmination of many of the musical studies that you have taken up to this point in your curriculum. For many of you, the art of conducting will be a practical application of your studies for the duration of your professional careers. The conductor’s process is one of the most demanding processes in all of the musical profession, and for you to truly excel as a conductor you must dedicate yourself to the study and complete understanding of the music that you will undertake. The successful student will develop a command of the physical gesture, a complete understanding of each score, and a deep desire to communicate all musical elements to the ensemble.

NB - If you need disability-related accommodations in this class, or if you have emergency medical information, or if you need special arrangements in case the building must be evacuated, please see me privately after class or at my office.

California State University East Bay Department of Music Spring 2011

MUS 3380 Choral Conducting (3 Units) Room MB 1521 MW 4p – 515p

Dr. Buddy James, instructor 510.885.3128 (o) [email protected] (e) Office hours and by appointment

Blackboard Discussion Board may be used for general questions/topics not covered in class.

*Typically I check my email and voicemail once in the morning, once in the afternoon, and rarely on weekends. If I am in my office (office hours), I answer the phone. Please keep this in mind when leaving a message and awaiting a reply. Also – common sense would suggest that last minute (i.e. the night before) requests for information or answers are not realistic. Plan schedules and correspondence accordingly.

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I. Course description/overview This course is a study of concepts of conducting through the use of choral music. Choral music of different eras will be used to analyze and practice the conductor’s process. Incorporated into the study of conducting will be analysis of Music History, Music Theory, and rehearsal techniques, providing an integrated study of the conductor's art.

II. Objectives/competencies The objective of this course is to develop the skills needed as a conductor including physical gesture, score study, and interpretation. Fundamental topics of conducting including inner hearing, breathing, scholarship and expressive interpretation will also be discussed. Through a series of in-class experiences including lectures, demonstrations, group singing, presentations and individual conducting sessions, as well as reading and score study assignments, the student will be physically involved in mastering the art of conducting.

III. Course materials Handouts Assigned readings Tuning fork Baton (optional) Observation Form

IV. Course requirements The class format will be a combination of active music making, discussion and lecture. The class will require active participation of students. Students will do the following: 1. Attend class to participate in group activities and listening exercises. 2. Practice and analyze all exercises and assigned repertoire outside of class. 3. Complete written assignments when due. Assignments will be due at the beginning of class on the day due. Assignments turned in during class time will be graded at one-half off and late assignments will not be accepted. 4. Complete listening assignments. 5. Be prepared to conduct in class on assigned dates. Failure to be prepared will result in a mark of zero for that day. Three conducting assignments will include individual assessment of self-practiced, pre-prepared materials. Students will demonstrate knowledge through individual singing, ensemble singing, sight- reading and conducting.

V. Grading Grading is based upon attendance, preparation and participation.

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1= The work demonstrates less than the required effort and indicates a minimal understanding of the material. (unacceptable) 0 = Not prepared at all, unlearned music, not in attendance

The FINAL grades will be calculated according to the following scale.

A= 3.35 B= 3.05 C= 2.75 F= 2.74 or lower

1. In-class conducting 50% Assignment 1=10%, 2=20%, 3=20% 2. Written assignments 10% 3. Conducting observations 10% Observation of 2 conductors, 5% each 4. Final 30% Sing/Play=5%, Conducting=20% (Fragment 5%, Ensemble 15%), Analysis=5%

Attendance Policy Due to the nature of this course, participation is mandatory. 5% is subtracted from your final grade for each absence after the first.

Material missed during absences will not be made up, with exceptions made for excused absences. Excused absences are absences that can be documented in writing, including: 1. Illness (with Dr.’s excuse) 2. Death in the family 3. Participation in out-of-the-classroom educational activities 4. Participation in intercollegiate athletic contests.

2 tardies (less than 10 minutes late) = 1 absence

VI. Assignments For each conducting assignment, students will conduct the class as a laboratory ensemble. All conductors are required to be able to sing correctly each vocal line, while conducting and while playing another line on the piano. Students will sing lines in solfege and on text. A complete harmonic and structural analysis is required of every selection, and will be required for a complete grade. Detailed instructions will be given prior to each assignment.

VII. Course outline – (subject to revision)

Week 1: 28 March Introductory Remarks Video Questionnaire Review Basic Conducting Techniques Preparatory Gesture Cut-offs Cues Use of left hand Patterns W Written assignment: Traits of a conductor

2: 4 April

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Conductor's Process I Score Preparation Conducting Exercises: Fragmentarische 1 - 3, Fermata Exercises 1 - 4

3: 11 April Conductor's Process II Conducting Assignment 1 MW Practice Days W Score Prep Analysis due

4: 18 April Conductor's Process III Conducting Assignment 1 W Tape Day https://public.me.com/buddy.james https://public.me.com/buddy.james 5: 25 April Conductor's Process IV Score Study Conducting Assignment 2 Conducting Exercises Fragmentarische 4 - 6, Fermata Exercises 4 - 6 M Assignment 1 Test M Video Self Analysis due http://docs.google.com/View?id=d3sgq7h_143fjpzrg7r 6: 2 May Conducting Assignment 2 MW Practice Days W Score Prep Analysis due

7: 9 May Conducting Assignment 2 M Tape Day W Assignment 2 Test W Video Self Analysis due http://docs.google.com/View?id=d3sgq7h_143fjpzrg7r 8: 16 May Score Study Performance Practice Conducting Exercises Fragmentarische 7 - 10, Fermata Exercises 9 - 12 Tuesday 17 May: Golden State Choral Festival 1p - 4p, evening concert, Angwin, CA.

9: 23 May Conducting Assignment 3 M Practice Day (Alexandra Tape Day) W Tape Day (Alexandra Test Day) W Score Prep Analysis due

10: 30 May No class Monday (Memorial Day) Conducting Assignment 3 W Assignment 3 Test W Conductor Observations Due W Video Self Analysis due http://docs.google.com/View?id=d3sgq7h_143fjpzrg7r Final: 6 June Final Exam M 12p - 330p (individual 15 minute sessions): Individual Exam: Play/Sing, Pitch-giving exercise

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M 4 - 6p: Conducting Final

VIII. Final thoughts on success in this course Success as a conductor requires study, thought, analysis, creativity, and effectiveness as a communicator. Only when a person has mastered each of these elements can true conducting begin. The opportunities in conducting that you receive in this course will be a culmination of many of the musical studies that you have taken up to this point in your curriculum. For many of you, the art of conducting will be a practical application of your studies for the duration of your professional careers. The conductor’s process is one of the most demanding processes in all of the musical profession, and for you to truly excel as a conductor you must dedicate yourself to the study and complete understanding of the music that you will undertake. The successful student will develop a command of the physical gesture, a complete understanding of each score, and a deep desire to communicate all musical elements to the ensemble.

California State University, East Bay Department of Music MUS 3390, Instrumental Conducting, Section 1 Winter 2013

Day/Time: Tu-Th 4:00-5:15 pm Location: MB 2605 Professor: Timothy Harris Office: 2506 Off. Hrs. By appointment Phone: 510-885-3135 (Music Dept. office) or 510-885-3303 (voice mail) E-Mail: [email protected] or [email protected]

COURSE DESCRIPTION: Special techniques of instrumental conducting including score reading and analysis, interpretation, rehearsal through observation and laboratory experience.*Prerequisites: upper division standing or consent of instructor.

COURSE OVERVIEW: Instrumental Conducting is designed to teach the skills of conducting with emphasis on movement, score study, interpretation, and rehearsal techniques. The role of the conductor is to lead, react to, alter, and reinforce the performance of the ensemble. This course will focus primarily on the development of non-verbal vocabulary that will allow each student to clearly and artistically communicate with members of the ensemble to solicit a predetermined musical result.

TEXTS: Labuta, Joseph. Basic Conducting Techniques, 6th edition Battisti, Frank and Robert Garofalo. Guide to Score Study

SUPPLEMENTARY MATERIALS: 1. A conducting baton approved by the instructor

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2. A 2 GB or larger SD card 3. 3” three-ring binder for notes and duplicated material 4. A Blackboard account for assigned listening, assignments and grading

EVALUATION/GRADING CRITERIA: Grades will be based on the following tasks: 1. Class Conducting 50% 2. Quizzes 10% 3. Midterm Exam 10% 4. Final Exam 10% 5. Analysis/Study Guide 10% 6. Notebook 10%

All of the above areas are of importance, however consistency of preparation and performance is of major importance and continual measured improvement and development of necessary skills will be noted as evidence of practice and study. Late assignments will not be accepted unless extraordinary circumstances exist. Special circumstances will be considered on an individual basis.

ATTENDANCE: Much like an ensemble course, conducting class operates as a cooperative-learning class. The success of your learning in this class is dependent upon every other student’s participation each day in class, as well!

•The time that you spend on the podium is of utmost importance in this course. But your development as a conductor will be greatly enhanced if you also use the time that you are not on the podium as valuable “learning time.” It is very common for students to feel as though they are learning as much, if not more, while watching and evaluating their peers than while actually on the podium!

• Successful students in this course attend all class meetings and participate productively. Professional conduct dictates that all students should arrive to the classroom with sufficient time to begin on time. Never detract from one of your peer’s podium-time by either arriving late or not being ready to play at the class start time.

•Absences and/or tardies will have a detrimental effect on the final grade earned. Prompt and regular attendance at all class meetings is expected.

2 class absences = maximum semester grade of B 3 class absences = maximum semester grade of C 4 class absences = maximum semester grade of D

Academic Dishonesty The maintenance of academic integrity and quality education is the responsibility of each student within this university and the California State University system. Cheating or plagiarism in connection with an academic program at a campus is listed in Section 41301, Title 5, California Code of Regulations, as an offense for which a student may be expelled, suspended, or given a less severe disciplinary sanction. Academic dishonesty is an especially serious offense and diminishes the quality of scholarship and defrauds those who depend upon the integrity of the campus programs. Such dishonesty includes: Cheating, Fabrication, Facilitating Academic Dishonesty, and Plagiarism. By enrolling in this class the student agrees to uphold the standards of academic integrity described at http://www20.csueastbay.edu/academic/academic-policies/academic-dishonesty.html.

Video Recordings You will be recorded each time you practice in front of the class and each time you are assessed for a project.

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This video recording is only to be used for your own personal growth and development over the course of the semester. No permission is given by the instructor to publically post a video recording made in this class (such as on YouTube or any other Internet posting).

Classroom Conduct In order to create a classroom environment which encourages creativity and critical thinking, courteous and encouraging conduct is expected from all students at all times—which includes attentive listening, respectful language, and openness to new ideas or opinions. Contribute to class discussions in an orderly manner, ask pertinent questions, taking care not to dominate any discussion, nor talk over each other or the instructor. Never employ rudeness, mean spiritedness, personal attacks, harassment, or abuse in class discussions. The reading of non-class materials, the use of mobile phones, or web surfing are never appropriate in class. Furthermore, students are expected to perform on their instruments at a consistently musical and technically proficient level.

Physical Contact The study of conducting necessitates occasional, limited physical contact between instructor and student. The instructor will always be respectful and observant to each student’s level of comfort in class. A student with any questions or concerns about physical contact during lessons and laboratory assignments should immediately discuss this matter with the instructor. If requested by a student, the instructor will employ alternative forms of instruction in lieu of physical contact.

Individual Practice The successful student will practice conducting daily. In addition to refining your conducting gestures for each of the conducting projects, your daily individual practice time should include a balance of basic movement exercises and singing and/or keyboard realization of the current conducting project. Each project should be prepared to a level of memorization.

Notebook A Conducting Notebook/Portfolio will be due on Wednesday, March 13th. The purpose of the notebook is to organize all conducting materials and evaluations as a resource for further professional growth. The notebook must be a three-ring binder and contain the following:

1. All Lecture Handouts. 2. Typed Lecture Notes. 3. All Conductor Observations. 4. Self-Evaluations of all Recorded Conducting Experiences. 5. All Articles with a Typed 1-2 Page Review. 6. All Quizzes and Exams. 7. Analysis/Study Guide. 8. Any other item deemed important by the instructor.

Conducting Projects:

Project #1 Project #4 Labuta 2-5 Meyerbeer Labuta 9-9 Stravinsky

Project #2 Project #5 Labuta 6-1 Wagner Labuta 10-12 Grainger

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Project #3 Project #6 Labuta 7-9 Beethoven Labuta M-15 Orff

Remember, your success in the class is largely dependent upon active participation: •Bring your digital video recorder for each project. • Bring your instrument, Labuta book, and music stand every day for each project’s dates.

CLASS SCHEDULE: WINTER 2013

# Day Date Readings/Topics/Assignments/Activities

1 M 1/7 Introduction/class expectations and goals/ outline on conducting/terms you should know already Assignment: Woodwind names and transpositions Read: Labuta, Appendix C & D Read: Battisti/Garofalo, Appendix A

2 W 1/9 Conducting review basics/Woodwind names and transpositions Assignment: Brass names and transpositions Read: Battisti/Garofalo, 1-3 Read: Percussion Handout

3 M 1/14 Conducting etiquette/ Brass names and transpositions Assignment: Percussion & String names and transpositions Read: Battisti/Garofalo, 4-28

4 W 1/16 Quiz 1 on Names/Transpositions Assignment: Score Analysis/Metronome Markings Prepare to conduct Labuta 2-5, Meyerbeer Read: Battisti/Garofalo, 29-53 Read: Labuta, Appendix F

5 M 1/21 No School MLK Holiday

6 W 1/23 Project 1: Conduct Labuta 2-5, Meyerbeer Read: Labuta, Appendix G

7 M 1/28 Musical Interpretation Read: Battisti/Garofalo, 54-71

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8 W 1/30 Practice Round and Individual Conducing Work Review for Midterm Prepare to conduct Labuta 6-1, Wagner

9 M 2/4 Project 2: Conduct Labuta 6-1, Wagner

10 W 2/6 Midterm Exam

# Day Date Readings/Topics/Assignments/Activities (cont.)

11 M 2/11 Rehearsal Techniques Read: Labuta, 92-99

12 W 2/13 Project 3: Labuta 7-9 Beethoven

13 M 2/18 Listening for Error Detection Read: T.B.D. Article

14 W 2/20 Project 4: Conduct Labuta 9-9, Stravinsky

15 M 2/25 Quiz 2 on Rehearsal Techniques and Error Detection Prepare to conduct Labuta 10-12, Grainger

16 W 2/27 Project 5: Conduct: Labuta 10-12, Grainger

17 M 3/4 Discuss Reading Prepare to conduct Labuta M-15, Orff Read: T.B.D. Article

18 W 3/6 Project 6: Conduct Labuta M-15, Orff

19 M 3/11 Conducting Make-ups

20 W 3/13 Review for Final Assignment: Analysis Due

21 W 3/20 FINAL EXAMINATION: 4:00-5:50 pm

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CAVEAT Adjustments may be made to this schedule and syllabus during the course of the semester.

In compliance with the Americans with Disabilities Act (ADA), all qualified students enrolled in this course are entitled to reasonable accommodations. If you need accommodations, you need to speak with Accessibility Services. It is your responsibility to inform the instructor of any special needs before the end of the first week of classes.

Seminar in Public School Instrumental Teaching Techniques MUS 4435

California State University, East Bay

Schedule: MW 4:00 – 5:15 MB 1521 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: T 10:00 – 12:00; Th 10:00 – 11:00; or by appointment

Primary objective To develop the necessary skills in rehearsal planning, organization, and instrumental pedagogy to lead a successful instrumental music education program

Secondary Objectives • To understand a variety of theories regarding the teaching of instrumental music • To familiarize the student with the National and State standards for instrumental music education and to apply them to instruction • To become familiar with and evaluate resources • To create an original arrangement of a folk song • To further develop score study, transposition, and conducting skills • To develop rehearsal planning and classroom management skills • To perform on a secondary instrument in an ensemble • To develop a library of resources for future use as an instrumental music educator • To observe excellent elementary and secondary school instrumental music teachers. Field Trips May Be Required

Materials Text: Instrumental Music Education: Teaching with the Musical and Practical in Harmony. (2011). Evan Feldman & Ari Contzius. Routledge. ISBN 978-0-415-99210-7 (paperback with CD) • CMENC: Students are required to join the group Collegiate Music Educators National Conference (MENC Collegiate). • 1 baton • 1 secondary instrument • At times, students may be assigned materials such as scores or method books. You are responsible for maintaining and returning any such material.

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• Have all materials at each class

Assessment • Resource notebook (20%) • In-class teaching/presentation (20%) • Written assignments (20%) • School observations (20%) • Folk song arrangement (10%) • Literature Project (10%)

Assignments Additional detail will be provided before each assignment. All assignments are due at the beginning of class on the due date. No late work will be accepted.

Resource Notebook (20%) Students will compile a binder including all notes, handouts, other written assignments, extra readings, and other materials collected during the course of the semester. The binder will be submitted at the end of the course.

In-class Teaching/ Presentations (20%) These may consist of either individual or group presentations and may address such topics as presenting on specific aspects of music education, presenting sample lessons, etc.

Written Assignments (20%) All written assignments are due at the beginning of the class on the specified date. All written assignments must be typed (12-point, Times New Roman or other standard font), stapled, and double-spaced unless otherwise indicated. I am grading you on both mechanics and content. I want you to reflect carefully and to discuss your ideas at length, but I also want your ideas to be presented well.

School Observations (20%) You will schedule and complete four instrumental music observations, according to the topics mentioned below. You will observe one class each of: 1. Elementary/ middle school concert band 2. High school concert band 3. Orchestra (any level) 4. Jazz ensemble (big band)

Arrangement (10%) You will create an original arrangement of a folk song for elementary-level band.

Literature Project (10%) You will provide an in-depth analysis of an example of excellent literature for middle or high school band. Further details will be provided.

Grading Unless otherwise indicated, assignments are graded using a 4-point scale:

4 – Absolute mastery of the material. This is an outstanding grade. 3 – Command and proficiency in the material is demonstrated. This is a good grade. 2 – A basic level of understanding/preparation is demonstrated. This is a passing grade. 1 – Little evidence of understanding/preparation. This is not a passing grade 0 – No evidence of preparation; work not submitted; absent from class

Attendance Attendance at all classes is expected. Students are allowed one unexcused absence. Subsequent absences will result in final grades being lowered one increment (B+ to B, etc.). Per department policy, missing more than 20% of the class is grounds for failure.

Attendance You are allowed one unexcused absence with no grade penalty. A second unexcused absence will result in your grade being lowered by one increment (i.e. B+ to B). Per department policy, missing more than 20% of the class is grounds for failure. Absences may be excused for the following reasons:

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• Medical (physician’s note required) • Death in the family • Official university events (i.e. ensemble tours or athletic contests)

Punctuality Coming in late or leaving early is distracting to everyone, and is unfair to those who are on time. Students who are more than 2-3 minutes late will be considered tardy. Two tardies will count as one unexcused absence. If you are more than 10 minutes late, I reserve the right to refuse admittance.

Students with disabilities If you have a documented disability and wish to discuss academic accommodations, or if you would need assistance in the event of an emergency, please contact me.

Communication: I will use both Blackboard and email in this class. It is your responsibility to check regularly for announcements, assignments, etc.

California State University East Bay Department of Music

MUS 4440 Seminar in Public School Choral Teaching Techniques (3 Units) Room MB 1521 TH 4p - 515p

Dr. Buddy James, instructor 510.885.3128 (o) [email protected] (e) Office hours and by appointment

I. Course description/overview Development of rehearsal techniques and organizational procedures related to choirs and vocal ensembles in the public schools. Teaching materials and appropriate literature from various stylistic periods. Field trips may be required. Prerequisites: MUS 3370 and MUS 3380, or consent of instructor.

II. Objectives/competencies

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The objective of this course is to develop the skills needed to successfully lead a choral ensemble in the public schools. Building on the fundamental topics of conducting including inner hearing, breathing, scholarship and expressive interpretation, the class will be actively involved in learning the skills need to develop a successful choir. Through a series of in-class experiences including lectures, demonstrations, group singing, presentations and individual conducting sessions, as well as reading and score study assignments, the student will be physically involved in mastering the art of choral music leadership.

III. Course materials Handouts Assigned readings Tuning fork Choral Octavo Textbooks Chorus Confidential - William Dehning

• Publisher: Pavane Publishing (April 2003) • Language: English • ISBN-10: 0634058436 • ISBN-13: 978-0634058431

Choral Music Methods and Materials: Developing Successful Choral Programs - Barbara Brinson

• Publisher: Schirmer; 1 edition (January 2, 1996) • Language: English • ISBN-10: 0028703111 • ISBN-13: 978-0028703114

The Choral Warm-Up Collection (Plastic Comb) - Sally Albrecht

• Publisher: Alfred Publishing Company (January 2003) • Language: English • ISBN-10: 0739030523 • ISBN-13: 978-0739030523

IV. Course requirements The class format will be a combination of active music making, discussion and lecture. The class will require active participation of students. Students will do the following: 1. Attend class to participate in group activities and listening exercises. 2. Practice and analyze all exercises and assigned repertoire outside of class. 3. Complete written assignments when due. Assignments will be due at the beginning of class on the day due. Assignments turned in during class time will be graded at one-half off and late assignments will not be accepted. 4. Complete listening assignments. 5. Be prepared to conduct and present in class on assigned dates. Failure to be prepared will result in a mark of zero for that day. Conducting assignments will include individual assessment of self-practiced, pre-prepared materials. Students will demonstrate knowledge through individual singing, ensemble singing, sight-reading and conducting.

V. Grading Grading is based upon attendance, preparation and participation.

Each exam, performance and assignment will be assigned a number grade. At the end of the term the grades will be averaged to determine your grade for that portion of the work (i.e. all in-class conducting assignments will be averaged equally to make 50% of

158 the final grade).

The following guidelines will be used in determining a student’s grade: 4 = Outstanding work and effort. 3 = Very good. The work shows mastery of the information in a clear and precise form. (above average) 2 = The work indicates that the information has been learned, but it needs more thought. (below average, unacceptable for passing grade) 1= The work demonstrates less than the required effort and indicates a minimal understanding of the material. (unacceptable) 0 = Not prepared at all, unlearned music, not in attendance

The FINAL grades will be calculated according to the following scale.

A= 3.35 B= 3.05 C= 2.75 F= 2.74 or lower

Warm-ups 5% Article Abstract 5% Observations 5% Literature Project 25% Folder 10% Exam 1 20% Final Exam 30%

All assignments are due at the beginning of class on the due date. Assignments turned in after class has begun will receive 50% credit. Assignments received after class has conclude will receive no credit.

Attendance Policy Due to the nature of this course, participation is mandatory. 5% is subtracted from your final grade for each absence after the first.

2 tardies (less than 10 minutes late) = 1 absence

Reading Assignments Observations Warm-ups Abstract Assignment Abstract Example Literature Project Rehearsal Plan Example Folder

Assignments

VII. Course outline – (tba)

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Presentation Schedule (added 25 October)

VIII. Final thoughts on success in this course Success as a conductor requires study, thought, analysis, creativity, and effectiveness as a communicator. Only when a person has mastered each of these elements can true conducting begin. The opportunities in conducting that you receive in this course will be a culmination of many of the musical studies that you have taken up to this point in your curriculum. For many of you, the art of leading an ensemble will be a practical application of your studies for the duration of your professional careers. The conductor’s process is one of the most demanding processes in all of the musical profession, and for you to truly excel as a conductor you must dedicate yourself to the study and complete understanding of the music that you will undertake. The successful student will develop a command of the physical gesture, a complete understanding of each score, and a deep desire to communicate all musical elements to the ensemble.

Resources

Choral Resources Powerpoint

IPA Resources

Vocal Resources

Seminar in Elementary Techniques (MUS 4445) California State University, East Bay

Schedule: Monday/Wednesday 4:00 – 5:15 Room 1521 Instructor: Dr. John Eros [email protected] (preferred) 510-885-3149 Office Hours: Tuesday 10:00 – 12:00, Thursday 10:00 – 11:00, and by appointment

Course Format: This is one of the most crucial courses in your development as a music educator. We will study elementary music teaching and learning through a variety of formats: singing, movement (group and individual), instruments composition/improvisation, listening, etc. We will address a number of other topics highly relevant to elementary music education, such as cultural diversity and special needs. Furthermore, this course is an active course, and emphasis will be placed on firsthand experience as well as reading, writing, and discussion. You should dress comfortably for each class meeting and should expect at least one movement activity per class. Although this course is primarily designed for music education majors who plan to pursue a Single Subject Music Teaching Credential, it is also intended to be highly relevant to those students who plan to work with elementary-age children in musical settings.

Materials

• Music in Childhood: From Preschool through the Elementary Grades (Campbell & Scott-Kassner); 2007 • 150 American Folk Songs to sing, read, and play (selected and edited by Erdei & Komlos). 1974. Boosey & Hawkes • Supplemental readings will be assigned periodically • Comfortable clothes recommended

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Course Objectives - To study and implement a variety of approaches to teaching music to elementary level students. This will include but not be limited to: o Listening o Composition/arranging o Improvisation on pitched and unpitched instruments o Performing on instruments o Singing o Movement - To become familiar with the methodologies of Orff, Kodály, Dalcroze, and Gordon (Music Learning Theory) - To write lesson plans in a variety of formats, including the use of state and national standards for elementary general music - To plan, participate in, and reflect on several peer teaching episodes - To create an Orff-based arrangement of a folk song - To attend and participate in an Orff workshop on April 21, 2012 - To observe elementary general music teachers (Field Trips May Be Required) - To become familiar with a wide variety of resources for teaching elementary music - Students are encouraged to become members of music education professional organizations such as the National Association for Music Education (NAfME), California Music Educators Association (CMEA), Organization of American Kodaly Educators (OAKE), American Orff-Schulwerk Association (AOSA), etc.

Assessment Written Assignments 30% Peer Teaching 20% Observations 20% Final Notebook 10% Arrangement 10% Bibliography Project 10%

Grading Unless otherwise indicated, assignments are graded using a 4-point scale:

4 – Absolute mastery of the material, going beyond the requirements. This is an outstanding grade. 3 – Command and proficiency in the material is demonstrated. Requirements are met. This is a good grade. 2 – A basic level of understanding/preparation is demonstrated. This is a passing grade. 1 – Little evidence of understanding/preparation. This is not a passing grade 0 – No evidence of preparation; work not submitted

Attendance: We need every second of our time. It is impossible to make up the work that we do in class. You are allowed one absence. Further absences will result in your grade being lowered one increment (B+ to B, etc.) Absences may be excused if evidence of medical or other critical issues is presented, on a case-by-case basis.

Punctuality Be here on time. Coming in late or leaving early is extremely distracting to everyone. If you are more than 10 minutes late for class it will count as an unexcused absence.

Communication I will periodically post assignments and announcements, as well as send email, through blackboard. Remember to check your university email address. I will almost always mention in class when I am posting materials on blackboard. It is your responsibility to be aware of what’s going on, between blackboard and in-class discussions and announcements. “It wasn’t on Blackboard” isn’t an excuse. When you are not sure, email me.

Assessment

Written Assignments (30%): Assignments are due in HARD COPY at the beginning of class on the date assigned. No electronic submissions. Assignments must be typed, double-spaced, stapled, and in 12-point font (Times New Roman or other standard font). One point will be deducted from late assignments. Note: I am grading your writing on both content and mechanics. You must be able to articulate your ideas thoughtfully and clearly, with correct grammar and usage.

Peer Teaching (20%): You will participate in several peer-teaching episodes. You will be expected to provide lesson plans.

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Observations (20%): You will be expected to complete five (5) observations of elementary general music teachers over the course of the quarter.

Final Notebook (10%): At the end of the quarter, you will submit a notebook containing a compilation of all of your work over the course of the quarter. This will include but not be limited to assignments, class notes, lesson plans and materials, readings, articles, etc.

Arrangement (10%): You will create an original arrangement of a folk song, suitable for performance on common classroom instruments.

Bibliography Project (10%): You will compile a list of general music resources (print and electronic). Further guidelines will be given.

Class Schedule

Date Topic/Activities Assignment for next time 4/2 Introduction and Syllabus Chapter 2 4/4 Survey of music learning theories Chapter 4; Rappaport (2011); 4/9 Singing Chapter 5; Junda (1994); Chapter 12 pgs. 313-321 4/11 Peer teaching (song); Lesson Planning Chapter 3 pgs. 49 – 52; Sinor (1986); Boshkoff (1991) 4/16 The Kodály approach TBA 4/18 The Kodály approach Chapter 3; Shehan (1986); Turpin, 1986; 4/21 Orff Workshop (Saturday) Encinal School, 195 Encinal Ave at Shamrock (1986) Middlefield Road, Atherton, CA 94027 9:00 – 3:00 (bring lunch) www.ncaosa.org [FREE] 4/23 Guest Presentation: Sarah Noll (NCAOSA) Chapter 6 4/25 Movement TBA 4/30 Peer Teaching (movement) Chapter 9 5/2 Listening TBA 5/7 Peer teaching Chapter 8 5/9 Instruments TBA 5/14 Peer teaching Chapter 10 5/16 Composition/Improvisation TBA 5/21 Peer teaching Chapter 11 5/23 Motivation and Management Chapters 12 and 13 5/28 Memorial Day – NO CLASS X 5/30 Curriculum Design/ Assessment Chapters 15 and 16 6/4 Special Needs/ Cultural Diversity TBA 6/6 Perform Orff Arrangements/ Course evaluation Final notebook 6/11 Final Teaching X Final 4 – 5:50

Additional readings/ assignments may be made during class. Activities are subject to change at any time.

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MUS 4900 Rubric Independent Study Portfolio Project Spring 2010

1. Table of Contents (use tab dividers or page numbers so the viewer can easily find sections of interest).

2. Resume (Keep to one page unless you have teaching experience already, make sure it looks clean and is accurate—no typos.

3. Philosophy and Career Goals Statement (write a brief statement of your philosophy of music education and include your short and long-term educational and career goals).

4. Concert Programs (include programs in which you were a featured soloist or guest conductor, all programs from junior and senior recitals, and any which you want to highlight your involvement in university ensembles).

5. Awards (could be a section on your resume or a separate section in portfolio— include letters notifying you of special awards or honors, scholarships, etc.)

6. Creative Activities and Projects (include a copy of one major paper or project t hat represents your university preparation for the teaching profession—such as an arrangement, marching band drill, research project, curricular unit, grant proposal, etc.).

7. Teaching Materials (include samples of your best lesson plans from seminar classes, and personally created programs, teaching units, tests, etc.).

8. Academic Records (included copies of your university transcripts, test results— CBEST—your BA certificate, or other degrees earned, etc.).

9. Audio/Video Component—OPTIONAL (compile recordings and videotapes of samples of your most effective classroom teaching segments, ensemble rehearsals, and concerts—including audio or video excerpts of your performance as a soloist or with an ensemble.).

10. Letters of Recommendation (can be the same as the ones submitted for the Credential Program and/or additional ones.

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CV of Music Education Program Coordinator

John D. Eros 2514 10th Street Berkeley, CA 94710 773-301-7642 [email protected]

Curriculum Vitae

Education

Doctor of Philosophy: Music Education The University of Michigan Ann Arbor, MI May 2009 Cognate in World Music Cognate in Cultural Studies Dissertation Topic: Urban Second-Stage Music Teachers Dissertation Committee Chair: Dr. Marie McCarthy

Master of Arts: Pedagogy of Music Theory Eastman School of Music Rochester, NY August 1998

Bachelor of Music: Music Education (with honors) Northwestern University Trumpet Studies with Vincent Cichowicz Evanston, IL June 1996

Virginia Polytechnic Institute Blacksburg, VA Trumpet Studies with Allen Bachelder Attended 1992 - 1993

University Teaching Experience

California State University, East Bay 2009 – Present Hayward, CA Assistant Professor of Music Interim Department Chair Music Credential Program Coordinator Interim Director of Bands, 2011 – 2012 Director, Chamber Winds Instructor for Seminar in Elementary Music Teaching Techniques Instructor for Seminar in Public School Instrumental Teaching Techniques Instructor for Foundations of Music Education Instructor for Psychology of Music Teaching and Learning Instructor for Sight Singing I - VI Instructor for Music Theory I – III Instructor for What to Listen For in Music Coordinated and observed credential candidates Conductor, Wind Symphony and Chamber Winds

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Faculty Advisor, Collegiate NAfME (National Association for Music Education) Faculty Advisor, Sinfonia (prospective colony of Phi Mu Alpha music fraternity)

Adrian College 2007 - 2009 Adrian, MI Adjunct Professor of Music Instructor for Music in the Elementary Schools Instructor for Essentials of Music for Elementary Teachers Instructor for Foundations in Music Education Coordinated Field-Based Experiences Observed Student Teachers

Concordia University 2007 – 2009 Ann Arbor, MI Adjunct Professor of Music Instructor for Music Education for Elementary Educators Coordinated Field-Based Experiences

The University of Michigan 2005 - 2008 Ann Arbor, MI Graduate Student Instructor Supervised Student Teachers Instructor for Teaching Elementary Music Assisted with Elementary General Methods Assisted with Secondary General Methods Instructor for Secondary Woodwind Methods Assisted with Elementary Instrumental Methods

Eastman School of Music 1996 - 1997 Rochester, NY Instructor for Sophomore Aural Skills

Publications Eros, J. (In Press). Collecting and analyzing focus group interview data. Oxford Handbook of Qualitative Research in American Music Education (Colleen Conway, Ed.). Oxford. Eros, J. (In Press). Second-Stage music teachers’ perceptions of career development and trajectory. Bulletin of the Council for Research in Music Education. Eros, J., Pelligrino, K., & West, C. (In Press). Book Review: Walker, G. E., Golde, C. M., Jones, L., Bueschel, A. C., Hutchings, P. (2008). The formation of scholars: Rethinking doctoral education for the twenty-first century. San Francisco: Jossey- Bass Publication. Contributions to Music Education. Eros, J. (2012). Second-Stage music teachers’ perceptions of their professional development. Journal of Music Teacher Education. Eros, J. (2011). The career cycle and the second stage of teaching: Implications for policy and professional development. Arts Education Policy Review. Conway, C., Eros, J., Pelligrino, K., & West, C. (2010). Life as a music education student: Tensions and solutions. Journal of Research in Music Education. Eros, J. (2010). Where is the podium?. In C.M. Conway, M.V. Smith, & T.M. Hodgman, Handbook for the music mentor. Chicago: GIA Publications. Conway, C., Eros, J., Pelligrino, K., & West, C. (2010). The role of graduate and undergraduate interactions in the development of preservice music teachers and music teacher educators: A self-study in music teacher education. Bulletin of the Council for Research in Music Education. Conway, C., Eros, J., & Stanley, A. M. (2009). The perceived effects of the master of music in music education program on P-12 teaching practice. Research Studies in Music Education. Conway, C. M., Eros, J., Stanley, A. M. (2008). Summers-only versus the academic year master of music degree: Perceptions of program graduates. Bulletin of the Council for Research in Music Education. Eros, J. (2008). Instrument selection and gender stereotypes: A review of recent literature. Update: Applications of Research in Music Education. Eros, J. (2008). The hammer is the teacher: Taking world music instruction to a higher level as experienced through Balinese gamelan. Music Education Research International. Conway, C., Eros, J., Hourigan, R., & Stanley, A. M. (2008). Perceptions

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of beginning teachers regarding secondary instrument classes in preservice education. Bulletin of the Council for Research in Music Education. Eros, J. (2007). The presence of Orff in our schools and beyond. Michigan Music Educator 44 (3), 14-15.

Research Presentations

Research Papers American Educational Research Association April 2013 Lives of Teachers Special Interest Group “Drawn to the City: A Case Study of an Urban Music Teacher”

American Educational Research Association April 2013 Music Education Special Interest Group “Descriptions of the “Second Stage” of Music Teachers’ Careers” with Colleen Conway

2010 Biennial Music Educators National Conference March 2010 “Second-Stage Music Teachers’ Perceptions of Their Professional Development”

American Educational Research Association April 2009 Music Education Special Interest Group “A Case Study of Three Urban Music Teachers in the Second Stage of Their Teaching Careers”

American Educational Research Association April 2009 Arts and Learning Special Interest Group “Life as a Music Education Student: Tensions and Solutions” with Colleen Conway, Kristen Pelligrino, and Chad West

American Educational Research Association April 2009 Self-Study of Teacher Education Practices Special Interest Group “The Role of Graduate and Undergraduate Interactions in the Development of Preservice Music Teachers and Music Teacher Educators: A Self-Study in Music Teacher Education” with Colleen Conway, Kristen Pelligrino, and Chad West

New Directions in Music Education October 2007 East Lansing, MI “General Music Teachers in a Culturally Unfamiliar School”

Society for Music Teacher Education September 2007 Greensboro, NC “Perceptions of Masters Graduates Regarding the Effects of the Master of Music in Music Education Program on P-12 Teaching Practice” with Colleen Conway and Ann Marie Stanley

Instrumental Music Teacher Educators Colloquium for Teachers of Instrumental Music Methods May 2007 Mt. Sterling, OH. “Perceptions of Instrumental Music Education Masters Graduates Regarding the Effects of the Master of Music in Music Education Program on P-12 Teaching Practice” with Ann Marie Stanley

American Educational Research Association April 2007 Chicago, IL “Perceptions of First and Second Year Instrumental (Band) Music Teachers Regarding Secondary Instrument Classes in Preservice Education” with Colleen Conway, Ryan Hourigan, and Ann Marie Stanley

Suncoast Music Education Research Symposium February 2007 Tampa, FL “The Hammer is the Teacher: Taking World Music Instruction to a Higher Level as Experienced Through Balinese Gamelan”

Hawaii International Conference on Education January 2007 Honolulu, HI “The Hammer is the Teacher: Taking World Music Instruction to a Higher Level as Experienced Through Balinese Gamelan”

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Research Posters Society for Music Teacher Education September 2011 Greensboro, NC An Investigation of the Effect of Linguistic Diversity on the Student Teaching Experience

Society for Music Teacher Education September 2009 Greensboro, NC Perceptions of Preservice Music Teachers Regarding Urban Music Education Field Experiences

Music Educators National Conference All - Eastern Division Conference February 2009 Providence, RI “Life as a Music Education Student: Tensions and Solutions” with Colleen Conway, Kristen Pelligrino, and Chad West

Music Educators National Conference Northwest Division Conference February 2009 Spokane, WA “The Role of Graduate and Undergraduate Interactions in the Development of Preservice Music Teachers and Music Teacher Educators: A Self-Study in Music Teacher Education” with Colleen Conway, Kristen Pelligrino, and Chad West

Music Educators National Conference National Conference April 2008 Milwaukee, WI “Summers-Only Versus the Academic Year Master of Music Degree: Perceptions of Program Graduates” with Colleen Conway and Ann Marie Stanley

Society for Music Teacher Education September 2007 Greensboro, NC “Perceptions of Preservice Music Teacher and Teacher Educators Regarding Urban Music Education Experiences in Teacher Preparation”

Music Educators National Conference All - Eastern Division Conference March 2007 Hartford, CT “Perceptions of First and Second Year Instrumental (Band) Music Teachers Regarding Secondary Instrument Classes in Preservice Education” with Colleen Conway, Ryan Hourigan, and Ann Marie Stanley

Music Educators National Conference Northwest Division Conference February 2007 Portland, OR “Perceptions of First and Second Year Instrumental (Band) Music Teachers Regarding Secondary Instrument Classes in Preservice Education” with Colleen Conway, Ryan Hourigan, and Ann Marie Stanley

Michigan Music Educators Association Conference January 2007 “What Has Research Told Us About Preparing Music Teachers for Culturally Diverse Classrooms?”

Committee on Institutional Cooperation October 2006 “Perceptions of First and Second Year Instrumental (Band) Music Teachers Regarding Secondary Instrument Classes in Preservice Education” with Ann Marie Stanley

Michigan Music Educators Association Conference January 2006 “A Review of Research on Gender Associations and Instrument Selection”

Graduate Teaching

University of Michigan graduate research course July 2008 Guest Lecture: The Institutional Review Board: The Music Educator Researcher’s Perspective

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University of Michigan graduate research course July 2007 Guest Lecture: The Institutional Review Board and Its Role in Music Education Research

University of Michigan graduate philosophy course July 2007 Guest Lecture: The Value of Working With Different Cultures in Music Education

University of Michigan graduate research course June 2006 Guest lecture: Where IS that article? Navigating the Search Engines