Syllabus-Introduction to Music Theory (Mus 115,116)

SYLLABUS- Advanced Studies in Composition (MUS 487)

Fall 2016 Instructor: Dr. Donald Sloan One hour meeting/week, TBA Phone:x2192 , Office EHFA 227A e-mail: [email protected] Office Hours: MWF 10-11, MW 2-3

Prerequisite: MUS 387 or permission of instructor

Recommended Texts: Clendenning and Marvin, The Musician’s Guide to Theory and Analysis (2 nd or 3 rd Edition) (with accompanying workbook and CD’s) At times, certain problems that come up in composition exercises can be answered by referring to the theory text. Since you should already have this particular text as part of the theory sequence, this can serve as your reference for composition as well. Gardner Read, Music Notation This is the standard reference on the proper way to notate music.

You will need to bring staff paper to each lesson, even if you do your assignments on a computer notation program.

Catalog Description: MUS 487: Advanced Studies in Composition (2) (restricted to music majors or minors) Prerequisite: MUS 387 with a C or better, or permission of instructor. This is the study of writing larger forms in the tonal style as well as pieces using 20th-century techniques. Emphasis will be on the development of motivic ideas throughout a piece, the movement of tonal areas, and where appropriate, the language of modern styles, using models and examples from Western Art Music. Students will have opportunity to write pieces in their own chosen style. Course may be repeated for credit an unlimited number of times. F, S

Student Learning Outcomes: By the end of the semester, students should be able to: 1) Write larger forms using tonal and motivic connections. 2) Learn the basic techniques of several 20th-century styles. 3) Take a creative musical idea and expand it to form a piece. 4) Write chamber works for various instruments. 5) Examine great works, with an eye and ear for how composers solved both basic and advanced problems in a variety of styles and genres.

Course Objectives: Focus of the course will be on: 1) the further applied use of tonal theory, including chromatic harmony. 2) An understanding of modern styles. 3) Analysis of art music with a focus on musical problem solving and the implication of musical choices.

Course Requirements:

Attendance — Attendance is required each week, as there can be no progress without steady participation. Since we only meet once a week for a private lesson, each absence is like missing an entire week. If you cannot make a lesson, please notify me as soon as possible. More than one unexcused absence will result in deduction from the final grade. More than three unexcused absences will be an automatic grade of F for the semester. Even if you don’t have anything written for the week, come anyway. There are always pieces to look at and other things that can be studied. Assignments Each week, a writing assignment will be given. This will be critiqued at the next lesson. It is vital to your development that you try to write something each week. If you are having difficulties, then at least bring in questions that came up while trying to do the assignment. Students will also be given directed listening assignments, with the intent of acquiring more familiarity with the choices composers made. Grading-The grade for the course is based on the quality of the assignments completed by the student. Since composition is a process, some weeks the assignment may only be partially completed, so there may not be a grade assigned to each week’s work. A grade of A is given to work that is musically coherent, fulfills the requirements of the assignment and shows a high understanding of the musical issues related to the project. A grade of B demonstrates many of these qualities, but falls short in the application of musical grammar and phrasing. A grade of C shows a minimum of coherence of the phrases, harmonies and motivic materials. A grade of D shows fundamental misunderstanding of how to apply theoretical constructs to tonal pieces. A grade of F shows incoherent writing, awkward or nonsensical melodies, inappropriate harmonies and poor use of motivic materials. The final grade will be weighted towards assignments later in the semester, including a final project. There is no jury or exam requirement. Academic Dishonesty-The CCU website (http://www.coastal.edu/aic/ and http://www.coastal.edu/judicialaffairs/codeofconduct.pdf) describes policies concerning academic dishonesty. Penalties for infractions may range from a zero on the assignment to failing the course, at the discretion of the instructor. In other words, do not submit anything that you have not written and represent it as your own effort. Accessibility and other student policies: All current policies concerning accessibility, non- discrimination and other student academic matters are posted on the university website. These policies are in effect for this course. Classroom Management Software-There will be a course page set up on Moodle. You may find the syllabus, links to all videocasts, certain assignments, answer keys and helpful handouts. I will not be using the grading module on Moodle, so please ask me if you have any question during the semester about how you are doing.

Comments-Composition is all about problem solving on many different levels. The simple models used in this class are intended to teach the student how to shape one’s creative ideas, and especially how to work to improve these ideas through the process of critical analysis. You may use Finale or another notation program, or write your material in sketches on staff paper. Either way, you need to demonstrate a good grasp of notation and of the music theory you have learned in other classes. You must earn a C or better for this course to count towards a music major/minor and continue on in the sequence. There will be a final project, but no final exam or jury.