Seattle Central Community College s5

SEATTLE CENTRAL COMMUNITY COLLEGE Office of Instruction

Course Title & Number: Music Theory 102 Online Credits: 5 Lecture Hours: 55 Lab Hours: N/A Meeting Times: N/A Room: Web site: [email protected] Prerequisites: Music 101, Music 125 Course Description: This course is intended to provide students the additional background, skills and information necessary for advanced study in music theoretical practice and application. This course is a continuation of the music theoretical common practice within the Western classical and contemporary music genre. Students study advanced concepts of harmony, melodic organization, rhythmic training, ear training and the creation of original music works. Computer music notation software skills are developed for the study of music theory. 1. Course Purpose and Objectives: Students will demonstrate an advanced knowledge of music theoretical practice from an historical and analytical perspective 2. Students will demonstrate their knowledge of music theory skills for composition and analysis of musical form and structure 3. Students will compose original music works using the theoretical knowledge gained in this course

Americans with Disabilities Act Statement: If you need course adaptations or accommodation because of a disability, if you have emergency medical information to share with your instructor, or if you need special arrangements in case the building must be evacuated, please make an appointment with your instructor as soon as possible. Instructor: Brian Kirk, Music Theory Office Location: Broadway Performance Hall Room 204 Office Hours: By Appointment Office Phone: 206 587-6338 Alternate Phone: 206 587 -4164

E-mail: [email protected] Instructor's Educational Philosophy Instructor's Educational Philosophy Being a professional musician, I have always perceived teaching as natural extension of the tradition of American jazz music, when the master musicians mentored the young apprentices. Having the opportunity to share my knowledge and passion for music and experiencing the “magic” that occurs in the students as they begin to realize their academic and performance potential has been the most rewarding experience of my career.

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 While “education” has come to mean many things, the essence education suggests that our efforts must focus on the full development of students in all matters of deliberate action. Education should seek to develop students in all matters of deliberate action. My role as a teacher is to treat students as human beings who not only have authentic life-experiences, but who are also active participants in the production of knowledge. In so doing, knowledge is not transferred, but rather created and critically examined in the context of the classroom and beyond. Highlighting the significance of electronic music production as a complex and consequential social practice as well as an art form, it is my desire to assist students with the understanding and knowledge of music technology. It is the mission of this Instructor to help students to appreciate how electronic music is put together, the importance of a good solid technological musical foundation and also its’ values, meanings and sensibilities.

Electronic music composition with a strong theoretical background is an enormous industry for musicians and composers. The industry offers personal enjoyment and employment in various fields such as music performance, music web page design, film scoring, cellular ring tone generation technology, video gaming, music production, home studio recording, independent music production of Compact Disc, music video production and artist management.

Student Outcomes, Competencies: The student will compose clear, accurate and appropriate music manuscript. Students will develop the ability to compose short musical examples in common practice four-part chorale style. Students will analyze music using roman numerals and popular chord symbols, and become literate in the discussion of musical form and structure Music students will compose advanced level melodic, rhythmic, and harmonic aural musical examples. Students will demonstrate the ability to sight-sing intermediate to advanced level musical melodies using scale degree numbers. Students will learn to harmonize and transpose intermediate to advanced level keyboard melodies and perform all the major and minor scales with logical fingering. Students will learn to compose music using computer notation software Students will compose original music works using the theoretical knowledge gained in this course Methods of Instruction: Virtual lecture, drills, computerized assignments mailed to the Instructor from the textbooks/workbooks (notation software included with the textbook) computer note entry, tutorials for music software, video lesson, Pod cast lectures

Textbooks: Music in Theory and Practice, Benward and Saker 7th Edition Textbook and Workbook; included software Finale Workbook Supplementary Readings/Audio-Video Media: Video presentations created by the Instructor

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 Required Materials: $80.00 textbook/workbook (notation software included)

Computing (Hardware) Requirements Pentium ll or higher processor 32MB RAM, 17MB hard disk space, Windows 98/2000/NT/ME/XP, sound card Macintosh requirements (For Macintosh labs) Power PC or higher processor 32MB RAM, 17MB hard disk space MAC OS 8.6 or higher

Assignments: Drills; computerized assignment templates based on the textbook and workbook examples.

Learning Resources: Online tutoring and virtual classroom sessions; free downloads of compatible notation software are also available

Course Policies CONTACTING THE INSTRUCTOR: When you wish to contact me, you should plan to do so whenever possible using the email, the telephone. I have included other contact options here in the syllabus folder in case of emergency.

RESPONSIBILITY: This course is not self-paced -- it does follow a regular schedule -- and the absence of in-class meetings places a good deal of responsibility on your shoulders: you are the only person who can motivate yourself to get your work done thoroughly and on time. CLASS PARTICIPATION: Your active participation in all class activities is absolutely crucial to your success, and to the success of your classmates. The successful student in this course will be dedicated, responsible, and self-motivated. The class will work in groups so that certain concepts are presented and understood thoroughly by the class.

"CLASSROOM" BEHAVIOR POLICY: The college classroom must be a working and learning environment in which adults treat each other with respect. Students who demonstrate a disregard for working, learning, adult behavior, appropriate use of language, or respect for others' ideas may be asked to leave the class.

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 ADVICE ON APPROACHING THE CLASS: Engaging in this class shouldn't feel like a chore that you resent having to perform. If it does, you should probably do some serious thinking about why you're enrolled. This isn't the kind of class -- if such a class exists -- that you can pass by memorizing a bunch of stuff on Thursday and spitting it out onto a Scantron form on Friday. In this class, you are expected to spend your time actively engaged specific activities geared toward learning electronic music production. We will do many specific tasks’ that enable you to learn the software, hardware, music fundamentals and the joys of music production. If you approach this class by wondering how little work you can do and still get by, or if you approach this class by thinking only about what grade you're getting instead of what you're learning, then you will not succeed. If, however, you approach this class with dedication and a positive attitude, I guarantee that you will be rewarded with the satisfaction that comes from the genuine acquisition of knowledge and skill.

STUDENT RIGHTS AND RESPONSIBILITIES: In this course, students have the right to an instructor who will: • help students to learn • be organized, and share that organization with students • establish realistic goals • pay attention to students’ needs • be aware of different learning styles • attend and participate consistently • maintain open lines of communication • be a good resource for students • share knowledge • consistently offer constructive criticism • maintain an open mind • treat the course and all its participants with dignity and respect In this course, the students are responsible for: • learning • attending class consistently • coming to class prepared to work • completing all assigned readings on time Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 • submitting all assignments on time • participating in all activities of the course • seeking assistance when it’s needed • maintaining open minds • giving the course and all its work their best effort • taking control of their own attitude, time, and performance • participating in effective and useful online collaboration sessions • treating the course and all its participants with dignity and respect

Grading policy

Point Total Decimal Grade 981-1000 3.9-4.0 961-980 3.7-3.8 941-960 3.5-3.6 821-840 3.3-3.4 801-820 3.1-3.2 781 -800 2.9-3.0 761-780 2.7-2.8 741-760 2.5-2.6 721-740 2.3-2.4 701-720 2.1-2.2 681-700 1.9-2.0 661-680 1.7-1.8 641-660 1.5-1.6 621-640 1.3-1.4 601-620 1.1-1.2 581-600 0.9-1.0 499-580 0.7-0.8 0 - 498 0.0

Evaluating Outcomes and Assessment: Written Test and Quizzes

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 During the course of the semester, there will be two major written exams “open book” take home examinations. The first will take place on the sixth week and the second examination during the eleventh week of the quarter. The manner of testing will be by way of multiple choice formats. (Five examples, with one correct answer).

By experience, I feel that the most effective way of testing in an electronic music course is through direct activities associated with specific task, enabling better comprehension. However, some knowledge of technical skills must be mastered. The “open book” examination gives the student an opportunity to evaluate the best response to a question based upon the process of elimination, allowing for greater flexibility and variety of knowledge assessment. Students are allowed to concentrate on the creative process, allowing for greater information retention.

Instructor’s Assessment Form Course: Music 102

Your Name______

Name of the Class being Evaluated______

Name of the Instructor being Evaluated______Please write comments and include a numerical rating 4, 3, 2, or 1 (4 being the highest, 1 is the lowest) for each of the following categories: Consideration of Subject Matter and Medium usage (mark one) ( ) 4, ( ) 3, ( ) 2, ( ) 1 Evidence of adequate preparation. Did the Instructor prepare you for the learning process within the medium used for the instruction of this course? Comments: Clarity and Organization (mark one) ( ) 4, ( ) 3, ( ) 2, ( ) 1 Was the information of this course clearly presented in an organized manner? comments:

Engaging and informative (mark one) ( ) 4, ( ) 3, ( ) 2, ( ) 1 Was the information presented in an interesting manner? Did you learn something about music fundamentals that will assist you in your musical endeavors? comments: New Ideas (mark one) ( ) 4, ( ) 3, ( ) 2, ( ) 1 What would is the most important concept that you learned from this course? Please consider both the content and the structure of the course. What was effective and what (if anything) could have been changed to increase the courses’ effectiveness? comments:

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 Course Content Outline Schedule Week 1 Review of all materials Melodic organization Week 2 Texture and textural reduction analysis of texture Composing music Week 3 voice leading in two voices species counterpoint The cantus firmus motion between voices the counterpoint principles of voice leading composing music Week 4 the chorales in the music of J.S. Bach analysis of chorale phrases stylistic practices exceptions to stylistic practices first inversion triads second inversion chords composing music

Week 5 harmonic progression and harmonic rhythm the relationship of chords chord progressions harmonic rhythm History renaissance, baroque, classical and romantic harmonizing a tonal melody composing Week 6 Midterm examination composing music Week 7 Dominant seventh chords resolution of the seventh chords circle progression non circle with resolutions composing music Week 8 non-dominant seventh chords in major and minor keys jazz and popular music using non-dominant sevenths in circle progressions

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 non circle treatment of the non-dominant seventh chords composing music

Week 9 Modulation closely related keys common chord modulation phrase modulation chromatic modulation composing music Week 10 Other modulation types analytical symbols or modulation secondary dominants using popular music chord symbols composing music Week 11 final examination final music composition

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005 Week 7 Varying repetitive loops, developing structural frameworks, recording, editing and refining sound, listening and evaluating, creating melodic, textural, timbre or dynamic variation, automation, applying knowledge creatively, working to a given composition brief (converting cd’s to wave files) Week 8 Working to a given composition brief, automation recording, viewing and editing controller data, varying repetitive material, recording data, developing structural frameworks, applying knowledge creatively (converting cd’s to wave files) Week 9 Editing, refining recorded material, quantization, arranging, listening and evaluating, recording note entry, portfolio compilation, converting music to wave files(converting cd’s to wave files) Week 10 Varying repetitive loops, developing structural frameworks, recording, editing and refining sound, listening and evaluating, creating melodic, textural, timbre or dynamic variation, automation, applying knowledge creatively, working to a given composition brief (converting cd’s to wave files) Week 11 exploring and evaluating sound, mixing, recording (note entry) preparing the compositional portfolio, student knowledge assessment (final examination) Additional information related to course content and requirements.

Developed by Donna McCarter, April 93 Revision\Dan Loos\Jul. 10, 1994 Revision\Karen Michaelsen\Dec. 10, 1997 Revision\Lynn Kanne\Jan. 31, 2005