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Download Music Theory IV Syllabus 2018 MUSC 212 Prof. Tim Tollefson Music Theory IV Office: YFAC 206 Spring, 2018 [email protected] MWF 10:30-11:20 AM Office Phone: 382 Course Description This is the final course in a series (MUSC 111, 112, 211, and 212) that is designed to give the student a firm grasp of the concepts and practices commonly found in Western art music. Music of the 19th and 20th centuries will be the primary focus. Contemporary music (late 20th century and early 21st century) will also be discussed, although not in as much detail. The initial focus will be on the increased use of chromaticism and enharmonic chords, and then later we will study some of the new methods of music composition that came to the fore when the traditional tonal system broke down. This course supports the music department's overall objective for music theory, composition and music skills, which reads as follows: Students will be able to create, manipulate and analyze musical structures typical of the major historical periods, utilizing the many elements of musical language such as melody, harmony, rhythm, form, timbre, and notation. (Program Learning Outcome 1) Learning Outcomes for Music Theory IV: A student who gets an “A” in this course will be able to: --explain the numerous musical terms covered in the course --do a Roman numeral analysis of musical compositions involving the various types of chords covered in Music Theory I-IV --label embellishing tones in a tonal composition --recognize, create and use doubly augmented 4th chords, enharmonic diminished 7ths, enharmonic German augmented 6ths, altered dominants, extended dominants, embellishing diminished 7ths, suspension chords --recognize and use chord mutation --recognize, create and use the various new compositional techniques that emerged in the 20th century --name the composers most often associated with various compositional techniques, and name example compositions --look at a music score and determine whether it was most likely composed in the 19th or the 20th century, and explain why Methodology 1) We will study the scores of several different pieces of music from the 19th and 20th centuries. 2) There will be a number of worksheets based on exercises from your textbook, which will allow you to demonstrate your understanding of the material in each chapter. 3) You will be asked to compose some short musical examples to demonstrate some of the techniques we cover in class. You will not be expected to perform your compositions (but you are welcome to do so if you wish). 4) There will be some quizzes, two tests, and a comprehensive final exam. Text The Elements of Music: Concepts and Applications, Vol. Two (Second Edition). Ralph Turek. New York: McGraw-Hill, Inc. (1996) Grading Test One: 100 points Test Two: 100 points Final Exam (comprehensive): 200 points The remainder of your grade will be based upon other course work, including worksheets, quizzes and compositions—and also student attendance, participation and attitude. Grades for individual assignments, as well as your ongoing overall class grade will be available on the MyBLC website throughout the semester. The following grading scale will be used: 95-100%=A, 90-94%=A-, 88-89%=B+, 83-87%=B, 80-82%=B-, 78-79%=C+, 73-77%=C, 70-72%=C-, 65-69%=D+, 62-64%=D, 60-61%=D-, below 60%=F. Class Attendance Students are expected to be present at all class meetings. It is the responsibility of the student to notify the instructor whenever he or she cannot make class (even when the student must miss class due to an official Bethany event). Beforehand is best, but if you must, you can communicate the reason for your absence afterward. If you do not communicate with the instructor, the absence will be considered unexcused and may affect your grade. Quizzes and tests may not be made up unless the absence is excused. A student who accrues more than three unexcused absences will be asked to drop the course. Assignments If for any reason a student cannot hand in an assignment on time, an extension may be granted if the student discusses it with the instructor before the due date. If the student hands in a late assignment without asking for an extension, the instructor will lower the grade appropriately. MUSC212, Music Theory IV, Spring, 2018 Schedule Week 1: Chapter 10 General characteristics of Romantic music. Enharmonic German Augmented sixth chord (as a V7; as a doubly augmented 4th chord). Enharmonic diminished 7th chord. Week 2: Chapter 11 Expanded tonicization. Harmonic sequencing. Suspension chord. Week 3: Chapter 12, parts 1-3 Altered dominants. Chord mutation. Embellishing diminished seventh chord. Week 4: Chapter 12, parts 4 and 5 Extended dominants (9th, 11th, 13th). Prolonged and simultaneous nonharmonicism. Week 5: Chapter 13 Romantic German Lieder (songs). Week 6: Review and Test One Test One (Chapters 10-13): Friday, February 16. Week 7: Chapter 14, parts 1 and 2 Impressionism. Techniques of Debussy. Modes. Other types of scales. Week 8: Chapter 14, part 3 Planing. Extended triads. Quartal/Quintal harmonies. Added-tone harmonies. Week 9: Chapter 15, parts 1 and 2 Quartal, quintal, and secundal harmonies. Polychords. Freely tonal music (non- functional tonality). Pandiatonicism. Octatonic scale. Week 10: Chapter 15, parts 3 and 4 Polyrhythms and polymeters. Asymmetric meters. Additive formal process. The golden section. Week 11: Chapter 16, part 1 Techniques of Stravinsky. The Rite of Spring. Week 12: Chapter 16, part 2 Techniques of Bartok. Concerto for Orchestra. Week 13: Chapter 16, part 3 Techniques of Messiaen. Quartet for the End of Time. Week 14: Review and Test two Test Two (Chapters 14-16): Wednesday, April 18. Week 15: Chapter 18 12-tone method. Other types of serialism. Week 16: Chapter 19 Post-modernist techniques. Minimalism. Final Exam: Monday, May 7, 3:30-5:30 PM The instructor reserves the right to modify, amend, or change the syllabus as the curriculum and/or program requires. .
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