CURRICULUM REALIGNMENT FOR AN ENTRY-LEVEL MUSIC APPRECIATION COURSE AS PART OF THE DEGREE REQUIREMENTS FOR AN ASSOCIATE OF ARTS DEGREE AT A VOCATIONAL COLLEGE
Erika Danielle Haas
B.A Music Education, Azusa Pacific University, 2007
PROJECT
Submitted in partial satisfaction of the requirements for the degree of
MASTER OF MUSIC
in
Education
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
FALL 2011
CURRICULUM REALIGNMENT FOR AN ENTRY-LEVEL MUSIC APPRECIATION COURSE AS PART OF THE DEGREE REQUIREMENTS FOR AN ASSOCIATE OF ARTS DEGREE AT A VOCATIONAL COLLEGE
A Project
by
Erika Danielle Haas
Approved by:
______, Committee Chair Dr. Ernie Hills
______, Faculty Advisor Prof. Susan Metz
______, Second Reader Dr. Clay Redfield
______Date ii
Student: Erika Danielle Haas
I certify that this student has met the requirements for format contained in the University format
manual, and that this project is suitable for shelving in the Library and credit is to be awarded for
the project.
______, ______Dr. Ernie Hills, Department Chair Date
Department of Music
iii
Abstract
of
CURRICULUM REALIGNMENT FOR AN ENTRY-LEVEL MUSIC APPRECIATION COURSE AS PART OF THE DEGREE REQUIREMENTS FOR AN ASSOCIATE OF ARTS DEGREE AT A VOCATIONAL COLLEGE
by
Erika Danielle Haas
The purpose of this project is to evaluate and restructure an entry-level music
history course offered in accordance with the degree requirements for an Associate of
Arts degree at a vocational college. This new curriculum will provide students with a
comprehensive look at music history as well as fulfilling the requirements set forth by the
college. This curriculum will also satisfy a portion of the humanities requirement for the
Associate of Arts degree. Finally, this class provide students with a competitive education
should they decide to further their education by attending a four-year university.
Prior to the realignment process the author must first take into consideration the existing course materials provided by the college such as the course plan, assignment suggestions, course objectives and benchmarks. The author should also compare the course curriculum to other Music Appreciation courses, focusing on those courses offered at other vocational colleges and two-year colleges. Also important to consider are national and state education standards. Once it is understood what is and should be
iv
required of any student taking the course, the author can then begin to amend the course
around this basic skeletal structure. Using current pedagogical ideas, multimedia
resources, Internet resources and available course materials the curriculum can be
restructured in a way more fitting to the students of the college. The successful reevaluation and restructuring of this curriculum will require evaluation of the existing course materials, current musical education practices and pedagogical ideas, literature, various multimedia course material, Internet based material, and other technological resources.
Delimitations
Although this project has universal applications, the course materials that will be, developed, and restructured, the author created them specifically for use in an accelerated
program at a vocational college in Stockton, California.
, Committee Chair Dr. Ernie Hills
______Date
v
ACKNOWLEDGMENTS
Firstly, I would like to thank my advisor, Prof. Susan Metz. Without her constant support and guidance there is a very good chance I would have given up on this endeavor long ago. I also would like to thank my roommate, Misty Rawlings, who put up with my 2am writing sessions, and usually provided me with coffee on those occasions. I would also like to thank my family. Their constant love and support is the reason I am where I am today. I would especially like to thank my uncle, Wayne Schmidt, who read over many versions of this project and provided many thoughtful comments and suggestions. Finally, I would like to thank all of the teachers and professors throughout my academic career who let their passions shine through. Their passions are the reason I sought to become a teacher, in the hopes that I could someday affect my students the way they have affected me.
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TABLE OF CONTENTS Page
Acknowledgments...... vi List of Figures ...... ix Chapter 1. INTRODUCTION………………………………………………………………………... 1 Need for Study ...... 2 Purpose ……………………………………………………………………………….. 3 Procedures ...... 3 Delimitations…………………………………………………………………………. 7 2. REVIEW OF LITERATURE ...... 8 Review of Existing Course Materials ...... 8 Review of the Existing Course Plan ...... 12 Review of Multimedia Resources ...... 14 Review of Relevant Literature ...... 19 3. METHODOLOGY ...... 25 Music History vs. Music Appreciation ...... 27 Current Standards for Music Appreciation ...... 28 Evaluating Course Assignments ...... 30 Sample Lesson Plan ...... 34 Assessments for Student Achievement ...... 38 4. CONCLUSIONS AND RECOMMENDATIONS ...... 41 Implementation of Curriculum ...... 41 Analysis of Student Feedback ...... 42 Challenges ...... 44 Next Steps of the Project ...... 46 Appendix A. Lesson Plans ...... 49 Appendix B. Listening Log Assignment Template & Guidelines ...... 62 Appendix C. Concert Activity Rubric...... 64 Appendix D. Composer Report Rubric ...... 65 Appendix E. Syllabus...... 67 vii
Appendix F. Original Course Plan ...... 78 Works Cited ………………………………..…………………………………………………104
viii
LIST OF FIGURES Figures Page
1. Figure 1: Visual example of Capstone Activity: Sonata Form……………………………………………….....………………………..16 2. Figure 2: Course Objectives for an entry-level music appreciation course at a vocational college……………………………….… ...... ……………29 3. Figure 3: Sample Lesson Plan for the Classical Period for an entry-level music appreciation course …………… ………….…………………………………. 36 4. Figure 4: Bar Graph showing results from two quarterly LES surveys……………………………….……… ...... …………………………. 45
ix 1
Chapter 1
INTRODUCTION
In this unstable economy, many individuals have lost their job due to layoffs,
budget cuts, and other unforeseen circumstances. In October 2010, the unemployment
rate in the United States was up to 9.6%, which is nearly 5% higher than it was three
years ago. The State of California seems to be in an even worse predicament with its
unemployment rate nearly three percent higher than the national average.1 With so many
looking for work and so few jobs to be found many people are returning to school in
hopes that an education will give them an extra push in this increasingly competitive job
market. Unfortunately, with this volatile economy many of the “usual” options such as
state universities and junior colleges have to turn away many students, both because of
budgetary reasons and because of the sheer volume of students. One local junior college,
San Joaquin Delta College, is feeling the effects of all of this. “All that has changed at the
college, constricted like most other public institutions by the state's budget crisis…These
students - and thousands more accustomed to the ‘good old days’ - must adjust to a new reality. Delta College is no longer a fallback option for higher education. There is no fallback option.”2
With many of the “traditional” options no longer available to prospective
students, they have to turn to less conventional options such as online programs,
1 Employment Development Department, “Labor Market Info Overview.” n.d. http://www.labormarketinfo.edd.ca.gov/ (accessed Nov. 27, 2010). 2 Alex Breitler. “Delta College’s new reality.” The Stockton Record [Stockton,CA] 16 Aug. 2010: N. pag. 27 Nov. 2010
vocational schools, or career colleges. For some students these less conventional
alternatives are their only option. Whatever their reason for venturing away from the
typical collegiate path, it is evident that current and future students are in need of an
alternate education style that will prepare them for both a career and the ever-changing job market.
Need for Study
Many individuals who have suffered in this unstable economy are individuals who support a family, and in some cases are nearing retirement. With so many limitations on these students already, it is difficult to imagine that they would have the time or resources to be able to attend a four-year university to obtain the education they would need to make a career change. Many vocational colleges offer these students the option of quickly completing an education that aids them in finding employment in this competitive job market.
Vocational colleges offer students an alternative route that provides them with an accelerated option to earn a degree or certificate in a specialized area of study. In the employee handbook for Heald College it states, “We are not a typical school. We don't have a football team, a school band, or dorms. Heald is a career college—a regionally accredited, educational institution…students typically attend full time for 18 months or less, and they graduate on time, with real skills and a practical education that has been shaped by our industry partners. When students graduate, they'll be ready for a career or
3
promotion they can be proud of.”3Many vocational colleges offer students specialized diplomas and certificates in the areas of business, technology and healthcare. Recently, however, many vocational schools have been adding to their existing programs for students who wish to further their education. Heald College, for example, has begun offering two degrees, an associate in applied science and an associate of arts in the same disciplines.4
Purpose
The purpose of this project is to evaluate and restructure an entry-level music
history course offered in accordance with the degree requirements for an Associate of
Arts degree at a vocational college.. This new curriculum will provide students with a
comprehensive look at music history as well as fulfilling the requirements set forth by the
college. This curriculum will also satisfy a portion of the humanities requirement for the
Associate of Arts degree. Finally, this class provide students with a competitive education
should they decide to further their education by attending a four-year university.
Procedures
The successful reevaluation and restructuring of this curriculum will require evaluation of the existing course materials, current musical education practices and pedagogical ideas, literature, various multimedia course material, Internet based material, and other technological resources.
3 Heald College. “Employee Handbook.” Jan. 2010. 3 4 Heald College. “The Heald College Faculty Handbook” April 2009. 6-7
4
The author must first take into consideration the existing course materials
provided by the college such as the course plan, assignment suggestions, course
objectives and benchmarks. Many courses have existing Student Learning Outcome’s
(hereafter SLO’s) that determine a student’s progress, the author must learn the course
SLO’s and ensure that these are integrated into any revisions of the materials. The author
should also compare the course curriculum to other music appreciation courses, focusing
on those courses offered at other vocational colleges and two-year colleges. Also
important to consider are national and state education standards for music history and appreciation courses. After gathering information of what is required of any student taking the course, the author can begin to amend the course around this basic skeletal structure. Using current pedagogical ideas, multimedia resources, Internet resources and available course materials the curriculum can be restructured in a way more fitting to the students of the college.
After evaluating the existing course materials, the author will examine the
assignments for the course and determine whether they reinforce the course objectives.
The author will discard assignments that do not support the learning outcomes and will
use current teaching methodologies and musical resources to create new assignments.
The author must also create tests, quizzes, handouts and other supplemental materials
needed for the course.
One major challenge vocational college faculty members face, as opposed to
community colleges and universities, is the length of courses. Heald College, for example, offers 4 quarters per school year, and each of those quarters is 11 weeks long.
5
While this schedule permits students the accelerated degree pace, and it helps Heald live
up to its motto of “Get In, Get Out, Get Ahead,” it requires teachers to pack course
material intended for a 16-17 week class into 11 weeks. The course description of Music
205: History of Music from Chants to Rap, for example, reads, “Students survey the
evolution of western music from the middle ages to the present by identifying and
analyzing musical compositions.”5 By this course description, the teacher of this course is
responsible for teaching approximately 1,500 years worth of musical material in 11
weeks.
With this shortened schedule in mind, the author will divide the course into one-
week segments with each week covering approximately one major musical period.
However, given the breadth of knowledge to be covered some musical periods the author
chose to extend some musical eras over a more than one week. The author suggests the
following: one week for the elements, Renaissance, Middle Ages, Classical, mid-term review, and final presentations; two weeks for Romantic and 20th Century. Naturally,
with such a limited time schedule the curriculum must focus on the major musical figures
and developments of any given era. As musical compositions are an essential part of any
music appreciation class, the author will include recordings of major musical works from
the period as well as providing a listing guide for some of the pieces.
Most colleges and universities give students the opportunity to evaluate their
courses and instructors. These evaluations prove valuable to both the student and
5 Heald College. Music 205: History of Music from Chants to Rap Course Plan. San Fracisco, CA: Heald College, June 2007.
6 instructor. The student is able to convey his or her honest opinion, whether positive or negative, without fear of repercussions because the surveys are anonymous. The instructor can get positive feedback on what worked for most students, as well as constructive criticisms on what may not have worked as well in the classroom. The author has taken data from several of these evaluations and used the acquired data to evaluate student opinions of the course and make changes in hopes of making the class more enjoyable while at the same time maintaining instructional rigor and student learning.
Proving the importance of a music appreciation course can be a daunting task for the instructor. Many students fail to see how they will use knowledge of sonata form and
Puccini’s operas in their future career as a medical assistant or computer technician. Even worse, they protest, the music they will have to study is old, irrelevant, and boring. The music they want to study is the music they hear on their radios and personal media devices. The major struggle for the teacher of the music appreciation course is to prove that this information is indeed relevant and even, perhaps, interesting.
With information gathered from the college (course objectives, SLO’s), opinions gathered from the students in the form of course evaluations, and being aware of the unique challenges in the classroom of a vocational college the author can bring the evaluated and revised curriculum to the vocational college classroom. The curriculum will be field tested and evaluated by the students and modifications made as deemed necessary.
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Delimitations
Although this project has universal applications, the author will utilize the course materials that are developed and restructured specifically in an accelerated program at a vocational college in Stockton, California.
8
Chapter 2 REVIEW OF LITERATURE
Review of Existing Course Materials
A course textbook is a central part of any course curriculum. According to
Wilbert McKeachie, “The textbook exerts a greater influence on what students learn than the teaching method.”6 The remainder of the curriculum, such as the course plan, objectives, assignments, and exams, centers upon the selected textbook. Many music appreciation textbooks include a general overview of various musical periods and styles as opposed to delving into detail of one particular area. This layout gives the beginning music student the opportunity to explore the great diversity of music. The textbook that was chosen for the music appreciation course under review is Roger Kamien’s Music: An
Appreciation. 9th ed. (New York: Mc-Graw Hill, 2008). This textbook is divided into ten units: elements, Middle Ages, Renaissance, Baroque, Classical, Romantic, 20th Century and Beyond, jazz, rock, and nonwestern music. Each of these units contains a number of chapters that discuss various aspects of the unit in greater detail.
Part I, the Elements, includes eleven chapters that introduce the student to the fundamentals of music. The first nine chapters introduce the students to musical terminology such as pitch, dynamics, melody, and harmony. These chapters also introduce students to instrumental and vocal categories as well some basic aspects of musical form. The tenth chapter examines various aspects of performing such as
6 Wilbert J. McKeachie. Teaching Tips: A Guidebook for the Beginning College Teacher. 8th ed. Lexington, MA: D.C Heath and Co, 1986.
9
improvisation and embellishments. It also introduces the role of the performer and the
conductor. In addition, it addresses the major differences between a recorded
performance and live performances. The final chapter of this section introduces students
to the material covered throughout the rest of the course, the stylistic periods of musical history.
Part II introduces students to their first stylistic period, The Middle Ages. The first chapter introduces students to some of the aspects of intellectual thought and daily life during this time. The second chapter addresses Gregorian chant, the church modes, and several musical examples demonstrating these topics. The third chapter examines secular music during the Middle Ages and its role in courtly life. The fourth chapter introduces the Notre Dame School and the development of organum. The final chapter broaches the ars nova (new art) and the transitional period leading from the Middle Ages to the Renaissance. It also discusses major composers of this style such as Francesco
Landini and Guillaume de Machaut.
Part III continues the study of the stylistic periods by introducing the students to the Renaissance. The first chapter points out major characteristics of Renaissance music and introduces some new vocabulary that is unique to Renaissance music, such as
polyphonic texture, a’cappella, and word painting. Chapter two discusses sacred music of
the Renaissance such as the Mass and the motet and discusses composers Josquin
Desprez and Giovanni Pierluigi da Palestrina. The third chapter examines secular music
in the Renaissance such as the madrigal and instrumental music. Finally, this section
closes with a transitional chapter discussing the Venetian school, which helps lead
10 students into Part IV. Part IV includes 16 chapters discussing different aspects of
Baroque music as well as major composers of the era. This section opens with a chapter, as in previous units, that presents the major characteristics of Baroque music, new vocabulary, and forms of the Baroque period. Several chapters within this section further discuss forms such as Concerto Grosso, Fugue, Sonata, and Oratorio. This section also introduces students to a major development of the Baroque period, opera.
Part V continues by discussing the Classical period following the same format as previous sections. This particular section includes more detail into forms of the Classical period and emphasizes the importance of form and symmetry in Classical music to the students. Form is a major part of this unit of the textbook as form was a major development of the Classical period. Part V also introduces students to the three “giants” of Classical music: Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van
Beethoven.
Parts VI and VII continue much in the same style acquainting students with The
Romantic Period, and The 20th Century before 1945. When we reach Part VIII, the reader begins to notice subtle differences in the organization of the chapters. Part VIII, entitled jazz, includes chapters that delve into the variety of styles of jazz music; styles ranging from ragtime, to swing, to blues, and New Orleans. Part IX discusses the value of music in modern media such as movies and television, and also includes a section on musical theatre.
The final section (Part XI) of the book is entitled Nonwestern music. This section includes four chapters, and each chapter deals with a different area of world music.
11
Chapter one, as in earlier sections introduces students to various characteristics of nonwestern music, as well as different instruments, vocabulary, and different musical elements. Chapter two examines the music of Africa. Chapter three approaches the classical music of India. The final chapter discusses Koto music from Japan. While this is not a comprehensive look at nonwestern music, it does help introduce students to music outside the western tradition and exposes them to music they would likely otherwise not experience.
The book also includes a set of recordings used in concurrence with the textbook.
There are two options that the instructor can choose from to accompany Kamien’s text.
The basic set of recordings includes nine CD’s and the brief set includes five CD’s. For the purpose of this course the author has elected to use the brief five CD set.7 This set includes four CDs that contain selected recordings and one CD that contains scenes from three operas discussed in the text. The text includes listening outlines that refer to the track numbers of the CD set and include musical clues to help the students follow along while they are listening to the recordings outside of the classroom. These listening outlines provide the students with specific musical examples and cues and, when applicable, include text and translations. Along with the listening outlines presented in the book, the students also have access to an Online Learning Center that gives access to the listening outlines in an interactive format.
7 Roger Kamien. Music: An Appreciation. 9th ed. Brief Set. Compact Disc (New York: Sony BMG Music Entertainment, 2006).
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Review of the Existing Course Plan
A detailed course plan provides many resources for an instructor that will enable
them to teach the course more effectively. Firstly, a course plan often contains a
description of what the class is and what it will cover. Often this will also include
information about any prerequisites students must take before enrolling in the course. The
course plan will also include materials needed for the class such as textbooks, multimedia
materials, and requirements for the classroom accommodating the course. Some course
plans may include sample activities and exams for the instructor to use or as a model to
create their own assignments. Finally, the course plan will often detail course
requirements and student learning outcomes (hereafter: SLO’s).
For the purposes of this project, the author will be examining a music appreciation
course given at a vocational college as part of the degree requirements for an Associate of
Arts degree (The reader can view the course plan in Appendix F). The introductory section of the course plan opens with a course description that states, “Students survey the evolution of western music from the middle ages to the present by identifying and analyzing musical compositions.”8 The description then delves into slightly more detail
explaining that students will be expected to explore and analyze music from various
stylistic periods for various musical qualities such as texture, harmony, and form. The
course plan then includes a section on prerequisite courses, textbooks and other materials
needed for the course, and course objectives for each major topic of the course.
8 Heald College. Music 205: History of Music from Chants to Rap Course Plan. San Francisco, CA: Heald College, June 2007. 3
13
Following this explanation, the course outline contains a course information sheet that
discusses much of the previously discussed information in a manner more amenable to a
student. In addition, this course information sheet also includes information on the
college’s academic policies. The course objectives discussed earlier in the course plan are
then broken down into five main objectives. The five course objectives established for
this music appreciation class are as follows:
Students will be able to:
• Identify masterpieces of classical music repertoire
• Distinguish the important compositional characteristics between several
stylistic periods of music history
• Compare and contrast music of various periods for texture, rhythm, form,
melodic contour, harmonic orientation, and time of composition
• Evaluate the elements of a live performance
• Define the elements that make up the classical performance tradition 9
Following these objectives, the course plan includes a brief section detailing the
minimum requirements needed by the course instructor to teach the class successfully.
The next section of the course plan provides the instructor with a detailed lesson
plan for each week of the eleven-week course. Each lesson plan contains six segments: topics covered, objectives covered, materials needed for the lesson, activities, notes, and supplemental activities. Following the eleven lesson plans, the course outline includes a sample student syllabus based upon these lesson plans. Finally, the course plan concludes
9 Heald College. Music 205: History of Music from Chants to Rap Course Plan. 6-7
14
with sample instructor activities and exams that can be administered as is, or can be
modified at the instructor’s discretion.’
Review of Multimedia Resources
Technology has become a fundamental aspect of everyday life in today’s society.
Computers and other technological devices are essential to most businesses, medical
providers, and educational institutions. Furthermore, technology can help achieve and
enhance learning objectives in the classroom. The music classroom is no exception to this
idea. In fact, Thomas Rudolph states, “Students can use technology to compose, perform,
and learn music. Technology provides ideal media for music education.”10 Many
publishers of educational material have realized the values of technology in the classroom
and are including technological resources with their published materials. Kamien’s
Music: An Appreciation, published by Mc-Graw Hill Higher Education, is no exception.
This textbook comes with a great variety of technological resources for use by both the instructor and students.
Music: An Appreciation provides students with a link (www.mhhe.com/kamien9)
to an Online Learning Center that provides students with a variety of materials that
expand and enrich the material covered in the text.11 One such resource is the “Listening
Room” software. This resource is intended to accompany the in-text listening outlines.
This software provides students with a visual replica of every listening outline and vocal
10 Thomas E Rudolph. Teaching Music with Technology. 2nd ed. Chicago, IL: GIA Publications Inc., 2004. 3 11 Roger Kamien’s Music: An Appreciation. 9th ed. New York, NY: Mc-Graw Hill Higher Education. 2008. xlii
15
music guide provided within the text. This allows the students to go into even more depth
with listening assignments, and can aid beginning listeners in learning how to listen for
musical cues or for specific musical elements such as dynamics or tempo. In the same
section of the Online Learning, students are provided with some additional recordings to
allow students to further familiarize themselves with the music being covered in the unit.
Also contained in the Online Learning Center is a section devoted to interactive materials to familiarize students with concepts contained in the text. One such section is entitled the “Interactive Elements” section, which provides students with multi-media examples of various elements of music discussed in Part I of the text. In addition to the multi-media examples, the Online Learning Center provides students with animated activities allowing students to interact with concepts covered in the chapter. One such example of these activities is the interactive flash cards. These allow students to test their knowledge of musical vocabulary much in the way that traditional flash cards do. They can flip through the “card deck” as many times as they wish until they feel comfortable with the terms. This interactive section also contains an instrument lab. This instrument lab allows students to hear examples of each of the instruments of an orchestra as well as create music by playing these instruments at different times. This instrument lab also provides links to video demonstrations of a musician playing each instrument. Included in the Part IV section of the text, which covers the Classical Period, this interactive portion of the Online Learning Center provides students with interactive “capstone activities” which allows the student to familiarize themselves with various forms used during the classical period. These capstone activities require a student to listen to a
16 complete movement in the selected form. For example, if students select to familiarize themselves with Sonata form they would be required to listen to the fourth movement of
Mozart’s Symphony No. 40 in G minor. Once the students have heard the entire movement, they are taken to second screen that will test their knowledge of the material they just learned. The Online Learning Center provides them with several short examples of the piece and are then required to connect them to the correct section of the piece. (See following example)
Figure 1: Visual example of Capstone Activity: Sonata Form12
12 Mc-Graw Hill Higher Education, “Music: An Appreciation, Brief, Student Edition.” 2008. http://highered.mcgraw- hill.com/sites/dl/free/007340134x/420088/capstonesonata.html
17
In addition to these interactive materials, the Online Learning Center contains several resources that enhance the material covered in the text, as well as grant students the opportunity to test their knowledge of the class material. There are interactive timelines that allow the students to explore various historical and musical events that affected a particular stylistic period. Finally, this online resource contains chapter specific materials such as various types of quizzes (true/false, multiple choice, etc.), chapter summaries, and other activities that allow students to test their knowledge of any given chapter contained in the textbook.
This Online Learning Center also contains several resources specifically created for the instructor. One such resource is the Instructors Manual that acts as a supplement for the textbook. This manual contains objectives for each chapter of the book, as well as possible lecture topics and main points the instructor should cover. Another resource found on this website is Power Point presentations that can be used as a supplement to the instructor’s classroom lecture. These Power Points contain a variety of information ranging from historical time lines, biographical details about various composers, major historical events, examples of other arts (paint, sculpture, drama, etc.) from the time period, and shortened versions of the listening outlines found within the textbook. These
Power Point presentations come in a format that allows the instructor to add or delete slides at their discretion, and also to add or delete any material based upon their lecture.
18
This Online Learning Center also provides a piece of downloadable software for
instructors called EZ Test.13 This software allows instructors to create exams from book specific items. This software is not limited to the Music: An Appreciation text. Any textbook that provides a test bank in the appropriate format can be loaded into EZ Test and the instructor can create a test based on any loaded text. This software contains a
variety of test question types such as multiple choice, true/false, matching, short answer,
and essay. This software allows the instructor to edit the order of the questions easily and
also allows the instructor to create several versions and provides an answer key for each.
This software also provides instructors with the option to export to course management
websites such as Web CT or Blackboard. EZ Test also permits the instructor to create test
documents in an editable format, such as Microsoft Word, so they can add specific
instructions, or self-created test questions.
As stated earlier in this chapter, the brief set of CDs used in the class contains
clips from three opera performances. One such performance is from Puccini’s La
Bohème. In lieu of showing the provided clips, the author has elected to show a video recording of La Bohème directed by Robert Dornhelm.14 This particular recording differs
from most other recordings of this opera in that it is not a recording of a live
performance, but rather a feature-film. The film features Anna Netrebko as Mimi and
Rolando Villazón as Rodolfo. This DVD has several bonus features that make it useful
for the classroom setting. It includes interviews with both of the leading characters in
13 EZ Test. Computer Software. Ver. 6.2 Lincoln, NE: Mind Vision Software. 2007 14 La Bohème: The Movie. DVD. directed by Robert Dornhelm. West Long Branch, NJ: Kultur International Films, 2009.
19
which they discuss some of the major differences between shooting an opera in a movie
studio as opposed to performing live on stage. The author feels this is especially useful as
a discussion point as the students are required to see a live performance during the
quarter and this discussion helps lead students into various points to look for during a live
musical performance.
Review of Relevant Literature
One very helpful resource during the realignment of this curriculum was Wilbert
J. McKeachie’s Teaching Tips: Strategies, Research, and Theory for College and
University Teachers.15 Dr. McKeachie is Professor Emeritus and a former chairman of the department of Psychology at the University of Michigan. He also served as a
Chairman of the Committee on College and University Teaching, Research and
Publication of the American Association of University Professors. The first edition of his
Teaching Tips first appeared nearly sixty years ago and is currently in its thirteenth edition.
This text acts as a handbook to teachers in the post-secondary world and provides many helpful tips, tools, and resources. The book contains seven parts: Getting Started,
Basic Skills for Facilitating Student Learning, Understanding Students, Adding to Your
Repertoire of Skills and Strategies for Facilitating Active Learning, Skills for Use in
Other Teaching Situations, Teaching for Higher-Level Goals, and Lifelong Learning for the Teacher. While there are valuable resources throughout the entirety of the text, for the
15 Wilbert J McKeachie. Teaching Tips: Strategies, Research, and Theory for College and University Teachers. Eleventh ed. Boston, MA: Houghton Mifflin Company, 2002.
20 purposes of this project, the author found the most valuable information in the first two parts of the book. Part one of Teaching Tips includes three chapters, one of which is the introduction, and deals mainly with preparing for the course. Chapter two, entitled
Countdown for Course Preparation, discusses creating goals and objectives for the course, selecting textbooks and other course materials, drafting syllabi and lesson plans, and selecting technology. One feature that really stood out was McKeachie creates a type of timeline for the instructor beginning at three months before the first class and ending at one week before the first meeting. While part one deals mainly with the time before the first class meeting, part two delves into student learning throughout the course. Part two contains five chapters that discuss topics ranging from how to make lectures more effective, to various ways of assessing learning and dealing with grading and the many ways to grade student work.
Another book that provided the author with several useful ideas was Thomas E
Rudolph’s Teaching Music with Technology. Dr. Rudolph is currently the Director of
Music and middle school classroom and instrumental music instructor for Haverford
Township School District. Within this school district, he has integrated several aspects of music technology into elementary and secondary classrooms. He has consulted with dozens of companies including Apple Computer, Korg, SoundTree, Roland, Bose
Corporation. In 1995, he was one of the founders of the Technology Institute for Music
Educators and is now serving as the President of this organization.16 While the majority of this content addressed music technology as an independent course, there were two
16 Rudolph, Teaching Music with Technology, 316.
21
chapters the author used to create some new activities for the music appreciation course.
Chapter eleven addresses multimedia. As Rudolph says, “It is difficult to give a simple,
one-sentence definition of multimedia. In the purest sense, multimedia is created when
two or more media are used simultaneously.”17 As discussed earlier in this chapter,
several types of multimedia are used throughout the course, such as movies, CDs, MP3s,
online exercises, and PowerPoint presentations. In fact, Rudolph encourages his readers
to use multimedia to enhance existing lessons. Teaching Strategy #122 states, “Use
multimedia tools to create custom lessons and presentations. Also, encourage students to
use multimedia as a medium for creative projects.”18 This strategy not only inspired the author to use multimedia in her lectures and presentations, but to add a multimedia
component to the composer report assignment. (The reader can view the rubric for this
assignment in Appendix D). The second chapter the author found exceptionally helpful
was chapter thirteen. This chapter deals mainly with instructors and students using online
resources. This book was printed in 2004 so some of the information in the text appears
dated; however, the teaching strategies suggested are still very applicable in the
classroom. For example, Teaching Strategy #125 suggests using e-mail as the primary
source of communication between instructor, student, and fellow classmates.19 Teaching
Strategy #133 suggests the use of the Internet to explore video, sound, images, and
information related to the class.20 This teaching strategy is seen in several areas of the
17 Rudolph, Teaching Music with Technology, 199. 18 Ibid, 211. 19 Ibid, 235 20 Ibid, 247
22
course. Firstly, as discussed earlier in the chapter, the Online Learning Center allows
students to explore concepts further covered in the classroom, using internet capabilities
to do so. In addition, the author created a simple class website where students can download past lecture PowerPoint’s, assignment rubrics, or an electronic copy of the syllabus.
The author also examined several articles relating to the subject of music
appreciation in the classroom. Many of the articles mainly addressed music appreciation
in the middle school or secondary classroom; however, many of those same concepts can
easily be transferred into the collegiate classroom. One such article was Edith Borroff’s
“A New Look at Teaching Music History.”21 While it is true that the article discusses
music history many of the ideas addressed also apply in a music appreciation classroom.
In this article Borroff argues that music history is still being taught in a nineteenth-
century fashion and something must be done to change that paradigm. “…our
assumptions about music are still solidly based in nineteenth-century definitions of music. Departure from this traditional outlook will thus require two things: renouncing the nineteenth century as the defining period of music, and focusing on the United States where, it is generally assumed, the new style will be implemented most powerfully.”22
Throughout the article, while she still advocates the learning of historical musical stylistic
periods, she suggests learning them in concurrence with music of non-Western cultures
and popular music. This, she suggests, is one of the most powerful teaching tools in a
21 Edith Borroff. “A New Look at Teaching Music History.” Music Educators Journal 79, no. 4 (1992): 41-43 22 Borroff, “A New Look at Teaching Music History,” 41.
23 classroom, “Comparison is perhaps the most useful technique for introducing youngsters to musical concepts.”23 This comparison idea inspired the author some compare and contrast assignments throughout the course to point out major differences and similarities between musical stylistic periods. For example, one such assignment asks the students to compare and contrast music from the Classical period to that of the Romantic. Also, throughout the quarter the author takes care to point out especially notable pieces and where they have been used in popular culture. For example, many students recognize
Tchaikovsky’s 1812 Overture from the movie V for Vendetta or any other number of movies or commercial advertisements.
Another article the author examined for the purposes of this project was entitled
“Music Education in the Twenty-First Century” by Bennett Reimer.24 This article addresses an idea similar to that in Borroff’s article, that music education has not changed as the time has changed, and that is an issue that must be addressed and remedied. Reimer argues that music education has continually provided students with the opportunity to perform, which is a valuable skill. However, he also argues that the focus in popular culture has shifted from performance to listening. Reimer states, “We can continue to offer fine performance opportunities while also meeting the musical needs of our culture beyond performing.”25 He then continues to address various ways teachers can incorporate listening into classrooms and also suggests that the spectrum of music
23 Borroff “A New Look at Teaching Music History,” 42. 24 Bennett Reimer. “Music Education in the Twenty-First Century.” Music Educators Journal 84, no. 3 (1997): 33-38. 25 Ibid. 34
24
courses offered in public schools needs to be widened. Courses should offer several ways
for students to experience music such as composing, listening, and understanding. This
article addressed five “myths” surrounding listening: that listening is passive, that it is
uncreative, that the teaching and learning of listening is boring, listening cannot be
assessed, and that all that needs to be done to teach a student how to listen is to teach
them to perform.26 Once Reimer addresses these “myths” he offers instructors several ways for addressing and overcoming theses myths. These suggestions proved especially helpful to the author as music appreciation is a listening-centered course.
Finally, the author examined many projects and theses to gain a better
understanding of examining and realigning a music appreciation curriculum. Also, many
of these projects and theses gave the author a better idea of how to approach the
curriculum and make it more attainable to the students.
26 Reimer, “Music Education in the Twenty-First Centurty,” 34-37.
25
Chapter 3
METHODOLOGY
When considering any aspect of curriculum adjustment, it is paramount to consider the standards and objectives already in place. These include the objectives set forth by the individual academic institution, as well as any established by government agencies or accreditation committees. While post-secondary schools are not governed by the same state and national standards that influence much of K-12 education there are guidelines they must follow if they wish to gain/maintain their accreditation. Many institutions of higher education seek accreditation from various organizations to create a more uniform curriculum and to demonstrate a higher standard of education. The
National Association of Schools of Music (hereafter NASM) gives this example, “The
National Association of Schools of Music was founded in 1924 for the purpose of securing a better understanding among institutions of higher education engaged in work in music; of establishing a more uniform method of granting credit; and of setting minimum standards for the granting of degrees and other credentials.”27 There are various agencies and organizations that provide accreditation for academic institutions, often based on a specific area of study. For the purpose of this project, the author examined standards and objectives from two such organizations: the NASM and the
Western Association of Schools and Colleges (hereafter WASC).
27National Association of Schools of Music. “NASM Handbook 2010-2011.” December 2010. 1
26
Since there are no set government standards regarding higher education, the foundation for accreditation often rests on the individual institution’s pre-set standards. In the NASM Handbook, for example, it states, “The accreditation of institutions with schools and departments of music is based upon: The goals and objectives set forth by the individual school.”28 Once the standards have been evaluated, the committee then examines how the goals and objectives relate to other similar institutions and how well they are reflected within the curriculum. The author must make sure that the institution’s course objectives are integrated into any revisions or additions that are made to any curriculum. For the purposes of this project, the author examined the course standards set for a music appreciation course at a vocational school, as well as accreditation standards set forth by NASM.
Most institutions of higher learning divide their standards into various categories.
One vocational school, for example, divides the music appreciation course standards into three categories: requirements, objectives, and student learning outcomes (SLO’s). It is important to understand the differences between the different course standards. Course requirements are assignments or activities the student must accomplish to satisfactorily complete the course. Course objectives are specific steps for reaching the course requirements or goals that are normally measured by time as well as other assessments.29
Student Learning Outcomes articulate what the student should be able to accomplish after successfully completing the course. The author has examined each element these
28 National Association of Schools of Music. “NASM Handbook 2010-2011.” December 2010, 43 29 Ibid. 49
27
standards for a music appreciation course at a vocational college and how they relate to
the guidelines set forth by NASM and WASC.
Music History vs. Music Appreciation
In recent years there has been some discussion that the lines dividing music history and music appreciation have been blurred. While it is certainly important to address certain historical elements in a music appreciation, the major difference between the two courses is the focus on listening. In fact, the Oxford Companion to Music defines music appreciation as, “the process of learning how to listen to serious music. It implies not only enjoyment of music, but also the knowledge that can help those without previous training to go beyond enjoyment to ‘understanding.’”30 There are many different schools
of thought in regards to what musical masterworks are the essentials for any music
student to be exposed to. However, most music educators agree that introductory music
courses should focus more on how and what to listen for in music rather than on
historical facts and events; whereas music history places more of an emphasis upon these
historical facts and events and how they influenced music of that time. Music educator,
Joseph Kerman says, “It is repeatedly said and seems to be widely agreed that
introductory music courses should emphasize listening to music rather than facts about it.
30 Megan Prictor. "appreciation of music." In The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online, http://www.oxfordmusiconline.com.proxy.lib.csus.edu/subscriber/article/opr/t114/e34 8 (accessed June 24, 2011).
28
While some theoretical and historical material is generally include in these courses, most
teachers feel that their essential focus should be on aesthetic experience.”31
Current Standards for Music Appreciation
With Kerman’s thoughts in mind, a greater emphasis should be placed on the
listening aspects of a music appreciation course and many of the objectives are based
around various aspects of active listening. Since course objectives often cover a specific
unit or section of the course, the course objectives for most music appreciation courses
have been divided by major musical period. The entry-level music appreciation course has divided the course objectives thusly:
Topic Objective (Begins with “Student will be able to...”) Elements of • Define pitch, tone, intervals, octave, melody, harmony, key, Music texture, form, and style, and identify in music • Describe rhythm by defining beat, meter, measure, downbeat, accent, syncopation, tempo, and metronome • Identify notations for pitch, rhythm, silence, and meter in musical scores • Compare and contrast the major instrument categories (string, woodwind, etc.) • Explain consonance and dissonance Middle Ages and • Describe the musical features of compositions from the Middle the Renaissance Ages and Renaissance • Identify the Gregorian chant, secular music, troubadours and trouveres, estampie, organum, and Agnus Dei in music • Explain key features from the school of Notre Dame • Identify sacred Renaissance music, Palestrina, and madrigals The Baroque • Compare and contrast characteristics of baroque music with those Period from the Renaissance • Explain the role of music in baroque society • Describe and identify baroque musical forms: concerto, ritornello, fugue, opera, sonata, suite, chorale, church cantata, oratorio • Identify music from major composers of the period: Purcell,
31 Joseph Kerman. Listen. (New York: Worth Publishers, Inc.,1973), v
29
Vivaldi, Bach, Handel The Classical • Explain the difference between music from the baroque and Period Classical periods by describing the different characteristics • Explain the role of composer, patron, and public in the classical period • Describe and identify classical musical forms: sonata, minuet, trio, rondo, symphony, concerto, and chamber music • Identify music from major composers of the classical period: Haydn, Mozart, Beethoven The Romantic • Describe the societal forces that lead to the transition from Period classical music to the romantic period • Contrast the romantic composers and their public with those of the classical period • Describe and identify the characteristics of music from the romantic period • Describe major forms of music from the romantic period: art songs, and program music • Describe and identify music from major composers of the romantic period: Schubert, Schumann, Chopin, Liszt, Mendelssohn, Berlioz, Dvorak, Tchaikovsky, Brahms, Verdi, Puccini, and Wagner The Twentieth • Compare and contrast musical styles from 1900-1950 and 1950 – Century present • Explain key characteristics of music from the 20th century • Define major musical forms of the 20th century: impressionism, neoclassicism, expressionism, musical theater, jazz, rock, and rap • Describe and identify music from key composers of the twentieth century: Debussy, Stravinsky, Schoenberg, Berg, Webern, Bartok, Ives, Gershwin, Still, and Copland Figure 2: Course Objectives for an Entry-Level Music Appreciation Course at a vocational college.32 These course objectives exemplify what Kerman expressed. Many of them require the student to develop various skills in regards to listening to pieces of music. These objectives also help fulfill the guidelines set forth by NASM for general education music courses. According to the NASM Handbook, “The institution should provide non-major
32 Heald College. Music 205: History of Music from Chants to Rap Course Plan. San Francisco, CA: Heald College, June 2007. 3-4
30 students with opportunities to develop awareness and understanding of music as an integral part of the liberal education and the human experience.”33
Evaluating Course Assignments
Once the course standards have been established, the instructor or curriculum developer can then begin to create and revise assignments and activities. When evaluating any activity for a particular course several aspects must be considered. Music educator Charles Hoffer offers a few suggestions to determine the applicability of any given task in a music course. Firstly, is the assignment educational? Will this assignment help the student in achieving the course goals and objectives, or this assignment something the student could learn (or has learned) on their own? Secondly, is it valid both to the course and to the student’s education as a whole? Hoffer points out, “The call for validity is a logical one. Why teach something under the name of music that is not really part of the field of music? It is neither logical nor honest to transform a subject, even in the hope of aiding learning.”34 Thirdly, is it relevant to the subject matter, goals, and objectives?
Most course outlines provide the instructor with suggested or sample assignments and, on occasion, the course textbook and materials offer suggestions as well. Ultimately, however, it is up to the instructor to determine which assignments and activities will best serve the students and the learning objectives and outcomes. For the entry-level music
33 National Association of Schools of Music. “NASM Handbook 2010-2011.” 74 34 Charles R. Hoffer, Introduction to Music Education (Long Grove, IL: Waveland Press Inc. 1993). 74
31
history course, the author examined the suggested course assignments and revised as
needed.
According to the course schedule, week one is dedicated to the elements of music.
Most of the objectives for this unit involve the student learning basic musical vocabulary
terms such as rhythm, pitch, and melody. Also, the student should learn and be able to
identify the major instrument categories such as woodwind, brass, and string. One
assignment that is suggested in the course plan for this unit is to have the student create a
list of all music that he/she has heard over a two-day period. That includes music heard in
TV advertisements, movies, and the supermarket. It does not, however, include music that they listen to of their own choosing.35 While this assignment does help call attention
to the music surrounding the student on a daily basis, it does not seem to fit with the
objectives for the unit. According to the previously noted ideas from Charles Hoffer, this
assignment, while perhaps educational, is not relevant to this unit. The author closely
examined the unit objectives to create a new assignment. Since the unit asks the student
to become familiar with musical terminology as well as orchestral instruments, the author
combined these two objectives to create the assignment. After a lecture that covers
musical terminology and examines different instrument sections of the modern orchestra,
the students are to select an instrument that interests them. The teacher can also refer the
students to the chapter in the book that covers instruments. Once the student has selected
an instrument they are to do a small amount of research, both in the course textbook as
well as other sources, and write a short paper (no more than three pages) discussing the
35 Heald College. Music 205: History of Music from Chants to Rap Course Plan. 10
32
instrument. The paper should include the development of the instrument, the typical
range of the instrument, what section the instrument falls into, and any other information
the student wishes to include. The instructor should emphasize the use of musical
terminology within the paper so student become used to using these terms in their writing
for the course.
Listening in a music appreciation course, however, should not be confused with
simply listening for pleasure. This is not to say that listening in a music appreciation
course will not bring the students pleasure. It simply means that listening should have a
more academic approach. The instructor needs to teach the students what to listen for in
the music and how to connect what they hear to what they have learned in the class.
Joseph Kerman explains it this way, “Whenever possible, these points [relevant course
topics] are brought up in direct reference to the effects they create, in the hope of linking
‘technical,’ objective matters with aesthetic experience.”36 With this in mind, the author
created listening logs to use several different times throughout the course. This activity is
by no means an original creation of the author; rather it is a variation of an assignment that other instructors use in their music appreciation courses. The author created a template for students to follow when writing their own listening logs. (The reader can view this template in Appendix B) The instructor can use listening logs as a weekly assignment, or for individual pieces. The purpose of the listening log is two-fold. Firstly,
this assignment ensures that the students listen to the assigned pieces. Secondly, they help
the student focus on the “technical” aspects of listening to music.
36 Kerman, Listen, v
33
The listening logs should include several key pieces of information. Firstly, the
student should include the information of the piece(s) they are listening to, such as
composer, title, and performer(s). Secondly, the student should include their musical
observations. These are not to be confused with their opinions of the music. Rather, these
observations should make use of the terms and concepts they have learned in class. The
author has also provided an example of an exemplary listening log for students to
examine as they write their own. The students may also wish to examine the listening outlines provided in the course textbook, especially during the early stages of the course.
The listening outlines provided in the textbook point out key musical points, forms, and elements. They also describe musical events as they occur in a way that allows even the beginning musical student to follow them.37 Thirdly, the student may include additional information if applicable. One example of such information would be, if the piece came from a larger work such as an opera the student may wish to explain the plot of the opera and where the piece falls within the plot. Another example might include some information on the composer that is relevant to the piece. Lastly, the student should include a summary of their experience. This is the section where they can include their opinions of the piece if they wish, as well as their thoughts while listening to the music.
There are two requirements listed in the course plan for the entry-level music appreciation class that students must complete to finish the course successfully. The first requirement involves students listening and participating in class discussions about various musical masterworks. That requirement was addressed by the assignment of the
37 Roger Kamien, Music: An Appreciation. 9th ed. (New York: McGraw-Hill 2008), xxxviii
34
listening logs as well as in-class discussion. The second requirement involves the student
attending a live musical performance and reflecting upon their experience.38 Included in the music appreciation curriculum is a suggested assignment that instructors can use to fulfill the second course requirement. The author has evaluated the existing concert attendance activity and made revisions as necessary based on student needs and class time constraints.
Based on requirements previously set by the instructor, the concert attendance
activity suggested in the course curriculum requires students to attend a live musical
performance of their choosing. (The reader can view the rubric for this assignment in
Appendix C.) Once they have attended a performance they must write a two to three page paper based upon their experience. The paper should include an introduction in which the student discusses the concert environment, what pieces were performed, the performing ensemble, and any other key details. Then the student should discuss the music using terms discussed in class. Finally, the student should discuss their response to the performance as well as any other details they wish to include. Once the student has completed the written portion of the activity, they will create an oral presentation to illustrate what they experienced at the performance to the class.39
Sample Lesson Plan
This lesson plan focuses on the Classical Period in music history. For the
purposes of this course, the Classical Period encompasses musical works written during
38 Heald College. Music 205: History of Music from Chants to Rap Course Plan. 3 39 Ibid. 21
35 the years 1750-1820.40 According to the course objectives, by the end of this lesson students should be able to explain the difference between Baroque and Classical music, explain the changing roles of composer and patron, identify and describe various musical forms (e.g. Sonata, Trio, Rondo, etc.), and identify music by the major composers of the period. The lesson plan follows in Fig. 3-2: (The reader can view further course lesson plans in Appendices 1-11.) Classical Period Lesson Plan Topics Covered Classical Music (1750-1820) Objectives • Explain the difference between music from the baroque and Classical periods by describing the different characteristics • Explain the role of composer, patron, and public in the classical period • Describe and identify classical music forms (ex: Sonata, Rondo, Trio) • Identify music from the major composers of the classical period Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part V, Chapters 1-12 (pp.197-269) Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Before delving into the music of the Classical Period, draw the student’s attention to historical and societal differences between the Baroque and Classical Periods. o Also, point out major historical moments (e.g. French & American Revolution) o Point out key aspects of Classical Style, and how
40 Kamien. Music: An Appreciation. 200
36
these differ from Baroque characteristics o Explain different musical forms and when possible play examples. . Sonata Form . Theme & Variations . Minuet & Trio . Rondo • Listening Activities (those not completed in class should be completed on the students own time): o Mozart, Symphony No. 40 in G Minor, CD #2 o Haydn, Symphony No. 94 in G Major (Surprise), CD #2 o Mozart, Eine kleine Nachtmusik, CD #2 o Beethoven, String Quartet in C Minor, Op. 18, No. 4, CD #2 o Beethoven, Symphony No. 5, First Movement, CD #2 o Beethoven, Symphony No. 5, Second Movement, CD #2 o Mozart, Don Giovanni, CD #3 o Mozart, Piano Concerto No. 23 in A Major, CD #3 Assignments • Any listening activities not completed in class • Students will write a brief summary (no more than 3 pages) discussing the differences you hear/notice between Baroque and Classical music. Be specific using terms we have discussed in class! Also, please include your opinion on which era you like better, and explain why. Assessment • Quiz on Baroque/Classical Periods • Mid-Term covering the Elements of Music, the Middle Ages, the Renaissance, the Baroque, and the Classical eras. Supplemental • Provide students with a study guide covering the Classical Materials Period and/or the material covered on the Mid-Term exam • If time allows show scenes from Amadeus or similar movie that displays society, dance, and music of the time Figure 3: Sample Lesson Plan for the Classical Period for an entry-level music appreciation course.
The first objective, which requires students to be able to articulate the differences between the Classical and Baroque era, is addressed in several ways. Initially, the
37 required reading from the course textbook touches on some of the stylistic differences between the two periods which will prepare the students for the lecture. The instructor should then build on those topics and delve into greater detail during the lecture. Also, the instructor should include some of the central differences in the PowerPoint to help solidify the new material. Finally, the lesson assignment requires the student to use vocabulary learned in the class to write a summary discussing the key differences they have discovered.
The second objective requires the student to be able to distinguish the role of composer, patron, and the public. This objective is also addressed within the textbook, and lends itself to be easily included in the lecture. If the instructor wishes, he/she can include the changing role of the composer, patron, and public, with the previous objective dealing with the differences between the Baroque and Classical periods.
The third objective asks students to identify Classical music forms. This objective is addressed in the reading, lecture, and listening. The course text devotes several chapters to explaining various Classical forms so the student should have a reasonable grasp of the structure of these styles. However, the instructor should take care to play musical examples that clearly display the traits of the form in question. For example, the author uses Mozart’s Symphony No. 40 in G minor-First Movement to demonstrate
Sonata (or Sonata-Allegro) form. While the music is playing it is often helpful to have a visual aid that gives the students verbal clues to follow while listening. The author uses slides in the PowerPoint lecture to aid the students listening, as well as referring them to the listening outlines in their textbook.
38
Finally, the last objective for this lesson requires students to be able to identify music by the major composers of the Classical period. For the purposes of this class, the author has chosen to focus on three main composers: Franz Joseph Haydn, Wolfgang
Amadeus Mozart, and Ludwig van Beethoven. Kamien acknowledges these three composers as representative of the period. “These traits can be found in the fully developed classical style in music, which we will focus on…its master composers were
Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.”41 These composers are discussed within the course text, and all of the listening activities for this unit are pieces by these three composers. The instructor should also delve into greater detail about these composers lives and, if possible, play other pieces not included in the listening activities.
Assessments for Student Achievement
Without assessments, an instructor would have no way of knowing if students had successfully completed the course objectives. Hoffer says, “The two aspects of teaching are, or should be, that closely related. In fact, assessment is not even possible unless the objectives have been clearly stated.”42 Hoffer even goes a step further and gives three reasons why assessments are an essential part of successful education. Firstly, as previously noted, they provide the instructor with a qualitative measurement of how well students have achieved the course objectives. Secondly, they provide the instructor with a greater breadth of knowledge. It may assist the instructor in realizing what, if anything
41 Kamien. Music: An Appreciation. 200 42 Hoffer. Introduction to Music Education. 29
39 needs to be changed when they teach this class in the future. Thirdly, better assessments can lead to more valid grading of students work. While assessments and grading are not the same, Hoffer acknowledges, “by providing information assessment contributes to better grading.”43
With this knowledge in mind, the author has created two major assessments to be given during the course. The first assessment is a mid-term exam to be given approximately six weeks into the quarter. (The reader can view the exam and its answer key in Appendices 14 & 15.) The mid-term will include the Elements of music, Middle
Ages, Renaissance, Baroque, and Classical periods. A large portion of this exam was made utilizing the software EZ Test. EZ Test is software that is offered to instructors and schools who have purchased textbooks from the McGraw Hill Company. It allows instructors to create tests from a bank of questions provided with the text, or from questions they have created themselves.44 This particular mid-term exam is a combination of questions taken from the test bank provided and original questions. The total exam is 70 questions, broken down as follows: 37 multiple choice, 28 true/false, two fill-in-the-blank, two short answer, and one essay. Since the exam covers such a wide breadth of knowledge, the author has created a study guide to aid students in studying for this exam.
The second major assessment is the final. However, unlike the mid-term assessment, the author has created a final project for students to complete, in lieu of a
43 Ibid. 30 44 EZ Test. Computer Software. Ver. 6.2 Lincoln, NE: Mind Vision Software. 2007
40 written exam. (The reader can view the requirements for this project in Appendix D) The final project includes a paper and a presentation on a composer of the student’s choosing.
Once each student has selected a different composer they will write a six to eight page paper discussing their composer. They will also give a five to seven minute presentation to the class about their selected composer. The paper should include basic biographical information such as birth and death dates, place of residence, and employment. It should also include their major musical works, influences, and their influence on future composers. The presentation should essentially be a short version of their paper. The student should “teach” the class about their selected composer. They can include audio or video clips if they wish, and they are required to create a visual aid to accompany their presentation.
41
Chapter 4 CONCLUSIONS AND RECOMMENDATIONS
Implementation of Curriculum
This project was implemented as an endeavor to examine and potentially improve the existing music appreciation curriculum at a vocational college. Many students who pass through the hallways of a vocational college or trade school have had little to no experience with any type of musical education. In addition to having little experience with music education, the author noticed that many students have not been exposed to classical music. (In this context, the author is referring to classical in its generic sense, meaning the music opposite of popular music.)45 This music appreciation course is intended to expose students to several varieties of music that they may otherwise not be exposed to, while fulfilling the requirements to earn an Associate of Arts (hereafter A.A.) degree in the state of California.
Vocational schools are in constant competition with junior colleges to accept and retain students. Because of this competition, many vocational schools are adding additional programs and degrees, like the A.A degree, to appeal to a wider variety of students and better prepare the current students at the college. Heald College is one such vocational college to recently implement an A.A program. The A.A program was first implemented in Stockton in April 2009. Since this is still a fledgling program, many of the course plans have not been tested in a classroom setting. Since these course plans
45 "Classical." In The Oxford Dictionary of Music, 2nd ed. rev., edited by Michael Kennedy. Oxford Music Online, (accessed September 19, 2011)
42 have not been tested, instructors will often learn from the students and make adjustments in the plans for future quarters. These types of learning experiences are what inspired the author to take a closer look into curriculum development. I saw several areas of the existing course plan that I felt could be improved based upon student feedback and classroom experience which led to the development of this project.
Analysis of Student Feedback
As is the case in many institutions of higher learning, students are provided the opportunity to state their opinions of the course and the instructors teaching methods. At
Heald College these evaluations are called Learning Environment Surveys (hereafter
LES’s). These surveys have two categories: Instructional components and Non-
Instructional components. The Instructional components comprise 15 categories ranging from the instructors knowledge of the subject, to the class assignments, to the instructor’s classroom discipline and behavior. The Non-Instructional components only have 3 categories, they are: quality of the textbook, whether the class followed the syllabus structure, and the quality of the classroom facilities. Every category has four possible responses: strongly agree, agree, disagree, and strongly disagree. Each of those responses can be rated on a scale from one to ten. The responses are then totaled as a class and are given an overall result on a scale that is very similar to a grade point average. For example, if a teacher scored a 4.0 on their LES, that would be the equivalent of having all of their students respond to every category as strongly agree with a level of ten. In addition to these numerical responses, students also have the option to leave more
43 specific comments in each category. This, however, is completely optional and is not factored into the final numerical result.
The first quarter the author taught this class, and also the first quarter it was offered was April 2009. The instructional average for the class was 2.58. The college average, however, was calculated at 3.52. Since there was such a large disparity between the college average and the instructional average, the author took careful note of the student comments and set forth to make revisions and adjustments for the next time the course was offered in hopes of creating a better experience for the students. Some of the most helpful comments suggested providing more clarification on class assignments, providing study guides for tests, and the opportunity to turn in a rough draft of a major assignment before the due date. The author considered many student comments, and consulted other instructors for suggestions.
Approximately one year later, the author examined the results from the LES from the revised curriculum. The instructional average on this survey was 3.89, while the collegiate instructional average was only 3.42. (See comparison in Fig. 4-1) The author felt that, based on student responses, the revisions the course were successful. It is important to remember that while these responses indicate improvements, many instructors continually review and revise curriculum each term the course it taught. Julie
Stout states, “Like many of my faculty colleagues, I continually revise my courses and try
44 new schemes to move students up the ladder toward greater self-motivation and more complex thinking.”46
Comparison of Quarterly LES Results
4.0
3.5
3.0
2.5
2.0
1.5
1.0
0.5
0.0 Demonstrates Uses a variety Checks Uses Clearly College Instructional knowledge of of teaching student textbooks and explains Instructional Average for subject methods understanding materials assignments Average this Course April-09 3.3 2.8 during2.8 lesson purchased3.4 2.5 3.5 2.58 April-10 4.0 3.7 3.9 3.9 3.8 3.4 3.89
Figure 4: Bar Graph showing results from two separate quarterly LES surveys.
Challenges
The original challenge of the project was two-fold. Firstly, the author was new to teaching at the collegiate level and secondly, this was the first time this course had ever been taught at the college. Any time an instructor begins teaching in a new environment a
46 Julie C. Stout. “Radical Course Revision: A Case Study.” The National Teaching and Learning Forum 10, no. 4 (2001): 1-2.
45 unique set of problems present themselves. On top of lesson planning and preparing for a course, the instructor must learn the environment of the new school, policies and codes of conduct, new systems and routines, and various other elements that make the campus unique. To help remedy this situation, many campuses will provide the new instructor with a mentor or some type of experience faculty that answer questions and help solve problems that may arise. This was the case with the author, she was provided with a faculty mentor who was very helpful in familiarizing her with the campus and normal policies and procedures. Also, many other experienced faculty members offered their knowledge and expertise and were very helpful in adjusting the author to her new environment. The main challenge with teaching a course that has not been previously taught is there was no such advice to be sought. While many colleagues were helpful in providing general information about teaching at the collegiate level no one could provide specific information about the music appreciation course. To help resolve this issue the author spoke with other instructors at junior colleges in the area who had, or were currently, teaching music appreciation courses. These faculty members were invaluable in this realignment process and consequently the author learned quite a bit about her own teaching style and learning style.
Another major challenge the author faced was the time constraints. Most collegiate semesters are 16-17 weeks long. However, many vocational colleges offer shortened semesters due to their accelerated programs. Heald College, for example, offers
11-12 week semesters. With the loss of approximately five weeks it became essential to sift through the course benchmarks and learning objectives to best determine what
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material must be covered and which material must, necessarily, be left out. The original
course plan provided by the college was very useful in developing a basic frame upon
which the author built the course around.
Finally, an additional challenge this instructor faced was making this information
relevant to the students in the class. Since this course is being offered at a vocational
college where students have already selected their field of study (e.g. Medical Assisting,
Pharmacy Technician, etc.) they fail to understand how music could ever be relevant in their studies. The author addressed this issue in several ways. Firstly, she made an effort to point out that in this volatile economy many students, and people in general, are having difficulties finding any type of employment, much less employment in a specific field. Each course, each experience, and each extra-circular activity both at the college and in their daily lives provides them with a marketable skill that others may not have.
Once the students began to view the class as a valuable skill, rather than a requirement, they seemed to be more involved in the course as a whole. Also, the author took care to point out that occasionally a course may open their eyes to a new course of study. The author uses herself as a major example of this, as she had originally planned to be a nursing major, until she had a music teacher who had such an impact on her life that she switched her goals entirely.
Next Steps of the Project
As stated earlier in the chapter, the most instructors continually review and revise curriculum each time they teach a course. The author is no exception to this rule. After using the realigned curriculum in the classroom, the author began to think of new ways
47 she could improve the class for the next group of students. One example of this is the
Listening Log assignments. In the original plan the instructor only used this four separate times in the class. However, after using these assignments for the first time, the author realized how successful and useful they were and plans to incorporate them many more times throughout the quarter.
As many music educators are aware, music education, and the arts as a whole, is losing importance in the public school system. It seems as if each new day a news story appears about yet another district cutting their arts programs. The author once had a professor in college who always said, “The reason so many people don’t think music is important is because no one ever made it important to them. So it’s your job to change that.” While it is true that most students in the authors classroom will not suddenly decide to pursue music as a course of study, hopefully music will gain importance to them in some way. Some students have started enrolling their children in music lessons after taking the course; others say they would like to attend more live musical performances.
While these may seem to be small steps, the author hopes they will lead to a wider appreciation of music, and they can then make music important to someone else.
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APPENDICES
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APPENDIX A Week 1: The Elements Topics Covered Course Overview Heald Course Information Sheet Course Requirements Elements of Music: Rhythm, Notation, Melody, Key, Texture, Form, and Style Objectives • Define pitch, tone, intervals, and octave, and begin to identify in music • Compare and contrast the major instrument categories (string, woodwind, etc.) • Define melody, harmony, key, texture, form, and style, and identify in music • Describe rhythm by defining beat, meter, measure, downbeat, accent, syncopation, tempo, and metronome • Identify notations for pitch, rhythm, silence, and meter in musical scores • Explain consonance and dissonance • Identify musical stylistic periods (Middle Ages, Renaissance, Baroque, etc.) Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • Course Syllabus • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set • Students will have read Part I, Chapters 1-10 Procedures Course Overview • Review Course Information Sheet • Go over Course Requirements • Introduce the textbook layout and student CDs • Review textbook section: “Listening Outline,” (pages 9-10) • Introduce Listening Log assignment and layout In Class • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Introduce major concepts in Part I, Chapters 1-2 o Introduce and define vocabulary (ex: key, tone, harmony, texture, etc.) o Introduce the major musical stylistic periods • Listening Activities (those not completed in class should be
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completed on the students own time): o Stravinsky, The Firebird, Scene 2, CD #1 o Ellington, C-Jam Blues, CD #1 o Britten, The Young Person’s Guide to the Orchestra, CD #1 o Chopin, Prelude in E Minor for Piano, CD #1 o Bizet, Farandole from L’Arlésienne Suite No. 2, CD #1 o Tchaikovsky, Dance of the Reed Pipes from Nutcracker Suite, CD #1 o Beethoven, Contradance No. 7 in E Flat Major for Orchestra Assignments • Any listening activities not completed in class • Choose any instrument from a standard orchestra, research it and write a 1-2 page summary about the instrument. How did the instrument come about, what is it known for, what section of the orchestra is it in, etc. • Read Part II, Chapters 1-5 for next week Assessment • None this week Supplemental • Provide students with a sample Listening Log for reference Materials • Provide students with a list of possible concerts for the Concert Activity assignment due Week 9.
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Week 2: The Middle Ages Topics Covered The Middle Ages (450-1450) Objectives • Describe the musical features of compositions from the Middle Ages and Renaissance • Identify Gregorian chant, secular music, troubadours and trouveres, estampie, organum, and Agnus Dei in music • Explain key features from the School of Notre Dame Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part II, Chapters 1-5 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Point out major historical figures (e.g. Charlemagne & Constantine) and events (e.g. Split of Catholic & Orthodox Church, The Crusades). o Discuss the development of chant o Discuss the role of music in courtly activities • Listening Activities (those not completed in class should be completed on the students own time): o Alleluia: Vidimus Stellam, CD #1 o Hildegard of Bingen, O successors, CD #1 o Estampie, CD #1 o Machaut, Puis qu’en oubli, CD #1 o Machaut, Agnus Dei from Notre Dame Mass, CD #1 Assignments • Any listening activities not completed in class • Listening Log #1 Assessment • None this week Supplemental • Provide students with a study guide covering the Middle Ages Materials • Provide students with visual images of instruments from this time period, either from a text book or visit the following website: http://www.music.iastate.edu/antiqua/instrumt.html.
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Week 3: The Renaissance Topics Covered The Renaissance (1450-1600) Objectives • Identify sacred Renaissance music, Palestrina, and madrigals • Compare and contrast characteristics of baroque music with those from the Renaissance • Identify key features of the Venetian School Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part III, Chapters 1-4 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Review how the Notre Dame School led from Middle Ages to the Renaissance o Discuss major features of Renaissance music o Discuss the difference between sacred and secular music o Point out the difference between Monophonic & Polyphonic texture • Listening Activities (those not completed in class should be completed on the students own time): o Josquin, Ave Maria…Virgo Serena, CD #1 o Palestrina, Kyrie from Pope Marcellus Mass, CD#1 o Weelkes, As Vesta Was Descending, CD#1 o Bach, Brandenburg Concerto No. 5, CD #1 o Bach, Organ Fugue in G Minor (Little Fugue), CD #1 Assignments • Any listening activities not completed in class. • Students will write a 1-2 page essay addressing the topic “The term Renaissance means re-birth, why was this time period a rebirth for music, as well as the other arts (painting, sculpture, drama, etc)?” Assessment • Quiz #1 covering the Elements, Middle Ages, and Renaissance Supplemental • Provide students with a study guide covering the Renaissance Materials • Have students go to the following web site to review the “Parts of the Mass”: http://wmich.edu/mus-gened/mus170/Mass.html
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Week 4: The Baroque Period Topics Covered The Renaissance (1600-1750) Objectives • Compare and contrast characteristics of baroque music with those from the Renaissance • Explain the role of music in baroque society • Describe and identify baroque musical forms: concerto, ritornello, fugue, opera, sonata, suite, chorale, church cantata, oratorio • Identify music from major composers of the period: Purcell, Vivaldi, Bach, Handel Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part IV, Chapters 1-16 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Review how the Venetian school led from the Renaissance to the Baroque Period o Discuss major features of Baroque music o Discuss the development of Opera o Discuss Baroque Forms: . Concerto . Ritornello . Fugue . Sonata . Suite . Chorale . Church Cantata . Oratorio • Listening Activities (those not completed in class should be completed on the students own time): o Monteverdi, Tu sé morta from Orfeo, CD #1 o Purcell, Dido’s Lament, CD #1 o Vivaldi, La Primavera, from The Four Seasons, CD #2 o Bach, Wachet auf, ruft uns die Stimme, CD #2 o Handel, Ev’ry Valley Shall Be Exalted, from Messiah, CD #2 o Handel, Hallelujah Chorus from Messiah, CD #2
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Assignments • Any listening activities not completed in class. • Write a brief summary (no more than 3 pages) discussing the differences you hear/notice between Medieval, Renaissance, and Baroque music. Be specific! Also, please include your opinion on which era you like better, and explain why. Assessment • None this week Supplemental • Provide students with a study guide covering the Baroque Materials Period • Instructors may wish to show selected scenes from the film L’Orfeo or another representative film
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Week 5: The Classical Period Topics Covered Classical Music (1750-1820) Objectives • Explain the difference between music from the baroque and Classical periods by describing the different characteristics • Explain the role of composer, patron, and public in the classical period • Describe and identify classical music forms (ex: Sonata, Rondo, Trio) • Identify music from the major composers of the classical period Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part V, Chapters 1-12 (pp.197-269) Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Before delving into the music of the Classical Period, draw the student’s attention to historical and societal differences between the Baroque and Classical Periods. o Also, point out major historical moments (e.g. French & American Revolution) o Point out key aspects of Classical Style, and how these differ from Baroque characteristics o Explain different musical forms and when possible play examples. . Sonata Form . Theme & Variations . Minuet & Trio . Rondo • Listening Activities (those not completed in class should be completed on the students own time): o Mozart, Symphony No. 40 in G Minor, CD #2 o Haydn, Symphony No. 94 in G Major (Surprise), CD #2 o Mozart, Eine kleine Nachtmusik, CD #2 o Beethoven, String Quartet in C Minor, Op. 18, No. 4, CD #2 o Beethoven, Symphony No. 5, First Movement, CD #2
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o Beethoven, Symphony No. 5, Second Movement, CD #2 o Mozart, Don Giovanni, CD #3 o Mozart, Piano Concerto No. 23 in A Major, CD #3 Assignments • Any listening activities not completed in class • Students will write a brief summary (no more than 3 pages) discussing the differences you hear/notice between Baroque and Classical music. Be specific using terms we have discussed in class! Also, please include your opinion on which era you like better, and explain why. Assessment • Quiz on Baroque/Classical Periods • Upcoming Mid-Term covering the Elements of Music, the Middle Ages, the Renaissance, the Baroque, and the Classical eras. Supplemental • Provide students with a study guide covering the Classical Materials Period and/or the material covered on the Mid-Term exam • If time allows show scenes from Amadeus or similar movie that displays society, dance, and music of the time
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Week 6: Mid-Term Exam Topics Covered • Prepare for Mid-Term Exam Objectives • Review of Previous Objectives Materials Needed Music: An Appreciation 9th Ed Textbook Music: An Appreciation Brief CD Set CD Player or Computer with CD Capabilities Computer with PowerPoint Capabilities & Projector Study Guides Anticipatory Set Students will have read previous assigned readings and reviewed provided study guides Procedures • Instructor will provide students with a study guide for the exam. • Students will divide into groups and instructor will assign each group a section of the study guide to work on. • Students will the re-convene and discuss, as a class, their findings for the study guide. Instructor will oversee and guide discussion and answer any questions • Instructor will to take care to point out key terms and concepts that will be on the mid-term • During the second class session the instructor will administer the exam Assignments • Study and review for mid-term exam Assessment • Mid-term exam covering Elements, Middle Ages, Renaissance, Baroque, and Classical Periods Supplemental • N/A Materials
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Week 7: The Early Romantic Period Topics Covered The Early Romantic Period (1820-approx 1850) Objectives • Describe the societal forces that lead to the transition from classical music to the romantic period • Contrast the romantic composers and their public with those of the classical period • Describe and identify the characteristics of music from the romantic period • Describe major forms of music from the romantic period: art songs • Describe and identify music from major composers of the romantic period: Schubert, Schumann, Chopin, Berlioz Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part VI, Chapters 1-9 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Discuss the societal differences between composers of Classical & Romantic period o Discuss the heightened emotional qualities and other characteristics of Romantic Music o Discuss the development of art songs & song cycles • Listening Activities (those not completed in class should be completed on the students own time): o Schubert, Erlkönig, CD #3 o Clara Wieck Schumann, Liebst du um Schönheit, CD #3 o Chopin, Nocturne in E Flat Major, Op. 9, No. 2, CD #3 o Chopin, Étude in C Minor, Op. 10, No. 12 (Revolutionary), CD #3 o Berlioz, Symphonie Fantastique, CD #3 Assignments • Any listening activities not completed in class. • Listening Log #3 • Remind students of concert attendance & composer research Assessment • None this week
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Week 8: The Late Romantic Period Topics Covered The Early Romantic Period (1850-1900) Objectives • Describe the societal forces that lead to the transition from classical music to the romantic period • Contrast the romantic composers and their public with those of the classical period • Describe and identify the characteristics of music from the romantic period • Describe Opera & Program Music • Describe and identify music from major composers of the romantic period: Dvorak, Tchaikovsky, Brahms, Verdi, Puccini, and Wagner Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part VI, Chapters 10-20 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Discuss the new role of opera o Explain & Discuss Program Music o Discuss the development of art songs & song cycles • Show Puccini’s La Bohème (or other representative opera) • Listening Activities (those not completed in class should be completed on the students own time): o Smetana, The Moldau, CD#3 o Dvořák, Symphony No. 9 in E Minor (From the New World), CD #3 o Brahms, Symphony No. 3 in F Major, CD #3 o Puccini, La Bohème, CD #3 o Wagner, Die Walküre, CD #4 Assignments • Any listening activities not completed in class. • Listening Log #4 • Remind students of concert attendance & composer research Assessment • None this week Supplemental • Instructor can either show a full length opera, or show clips Materials from several Romantic operas to demonstrate the development of Opera over the centuries
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Week 9: Early 20th Century Topics Covered Early 20th Century Music (1900-1950) Objectives • Compare and contrast musical styles from 1900-1950 • Explain key characteristics of music from the 20th century • Define major musical forms of the 20th century: Impressionism, Neoclassicism, Expressionism • Describe and identify music from key composers of the twentieth century: Debussy, Stravinsky Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part VII, Chapters 1-7 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Discuss the changing idea of what constitutes music o Discuss the many new musical styles: . Impressionism . Expressionism . Neoclassicism . Serialism . Atonal . Etc. • Listening Activities (those not completed in class should be completed on the students own time): o Debussy, Prélude à L’Après-midi d’un Faune, CD #4 o Stravinsky, Le Sacrfe du Printemps, CD #4 o Schoenberg, Pierrot lunaire (Moonstruck Pierrot), CD #4 o Schoenberg, A Survivor from Warsaw, CD #4 Assignments • Any listening activities not completed in class. • Concert Activity Report due this week • Remind students of composer report Assessment • Quiz #3 covering Romantic & Early 20th Century music Supplemental • Instructor may wish to show video clips of performances of Materials some of the pieces discussed in class. Or other composers not covered (Ex. John Cage’s Water Walk or 4’33)
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Week 10: Late 20th Century Topics Covered Early 20th Century Music (1950-present) Objectives • Compare and contrast musical styles from 1950-present • Explain key characteristics of music from the 20th century • Define major musical forms of the 20th century: jazz, musical theater, etc • Describe and identify music from key composers of the twentieth century: Schoenberg, Berg, Webern, Bartok, Ives, Gershwin, Still, Copland Materials Needed • Music: An Appreciation 9th Ed Textbook • Music: An Appreciation Brief CD Set • CD Player or Computer with CD Capabilities • Computer with PowerPoint Capabilities & Projector Anticipatory Set Students will have read Part VII, Chapters 8-17 Procedures • Begin class with a question and answer time as needed • Begin lecture using PowerPoint provided with course materials, or one of the Instructor’s own. o Discuss the many new musical styles: . Jazz . Musical Theatre . Rock . Pop . Etc • Listening Activities (those not completed in class should be completed on the students own time): o Webern, Third Piece from Five Pieces for Orchestra, CD #4 o Bartók, Concerto for Orchestra, CD #4 o Still, Afro-American Symphony, CD #4 o Copland, Appalachian Spring, CD #4 Assignments • Any listening activities not completed in class. • Composer Report due this week Assessment • None this week Supplemental • Instructor may wish to allow time in class for students to work Materials on composer paper, complete peer edits, and allow the instructor to read rough drafts.
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APPENDIX B
Music 205 Listening Log Guidelines For each piece make sure you include: Composer Title of piece o And title of full work if applicable (i.e. “Nessun Dorma” from Turandot) Who performed the piece Musical Observations Comments of your opinion of the piece A summary of the overall experience
Here’s an example of an excellent listening log: Composition: Composer Performer(s):
Eine Kleine Nachtmusik Wolfgang Amadeus Vienna Philharmonic Mozart Orchestra James Levine, Conductor Musical Observations: This work was originally orchestrated for a chamber ensemble of two violins, viola, and cello with optional double bass. This is an energetic and precise interpretation. It was presented here with multiple players on each part. The texture is homophonic and the form is that of the multi-movement, classical period serenade follows: 1. Adagio 2. Romance: Andante 3. Menuetto: Allegro - Trio 4. Rondo: Allegro
Personal Observations: This piece is one of Mozart’s better known works. It has a playful, child-like quality that made the piece very enjoyable for me to listen to. I also really enjoyed hearing the leaps and jumps in the strings, they helped add to the playful quality that I mentioned earlier.
Here is a blank template for you to fill out in class as we listen to assigned pieces: Composition: Composer Performer(s):
Musical Observations:
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Personal Observations:
Composition: Composer Performer(s):
Musical Observations:
Personal Observations:
Composition: Composer Performer(s):
Musical Observations:
Personal Observations:
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APPENDIX C
Concert Activity Assignment Assignment Description You are required to attend one live musical performance during the quarter and report on their experience. For the purposes of this class, the concert should be similar to the music we have discussed in class, as opposed to a pop/rock concert. Jazz, Ballet, and Musical Theatre is acceptable. If you are unsure if the concert you have selected is suitable, check with your instructor. You will then write a report detailing your concert experience. Students may go individually or in groups. Your report should include: • An introduction. o Include the names of the performers or performance group, piece(s) performed, location and description of the concert hall, audience, etc. • Technical description of the music. o What period(s) was it from? What elements could you identify (i.e., rhythm, consonance/dissonance, harmony, instrumentation, etc.)? • Evaluate the performance objectively, o How did it sound? Was it in tune? Did the performance seem technically demanding? Was the conductor affective in her/his role? • Your response to the music. o Did you enjoy the performance? What about the performance space? What did you like? What didn’t you like? How did the rest of the audience respond to the performance? • A Summary/Conclusion. o In general terms, state your reactions to this concert experience. Was this a new experience for you? Was the experience different than you expected? Was it an enjoyable experience? Would you recommend the experience to others? Now that you’ve been to a classical concert, do you think you will attend classical concerts in future? Also, please make sure you attach your ticket stub and/or program to the paper to receive credit for the assignment. The paper should be AT LEAST 2 full pages in length, although please make sure you completely address each point listed above.
Deliverables • Minimum 2 page paper in MLA format • Ticket stub and/or concert program attached to the report
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APPENDIX D
Composer Report Assignment Assignment Description Choose a composer from the list provided, or one of your own choosing. (Note: If you chose a composer not on the list, prior approval must come from the instructor) Then research a bit more about their life, music, and significance. Include birth and death dates, a brief summary of their musical study and employment, significant influences (like family or other composers), and lasting impressions. Make sure to include major works by this composer, and any historical information pertaining to the composers life. Also, feel free to include oddities and fun facts about the composers. There are two parts to this assignment: a paper and a presentation.
Paper The report should be typed and double-spaced. The paper should be in MLA format. If you need assistance with MLA format there are examples provided in the LRC. The paper should be 5-7 pages of content in length (title page and works cited page do not count!). Remember, 4 pages and one line on the 5th page does not count as 5 pages! Do not add extra spaces between paragraphs. Full credit will NOT be given to papers that are not of appropriate length or format. Use at least 4 sources, and cite them in your paper. ONLY ONE source may be an internet source – Printed texts should be used as your primary resources. Keep in mind, if a source exists in print (ex. Newspaper article, Journal article, eBook) it is NOT considered an internet source. Feel free to cite textbooks (including the one for this class) or other published books, as well. This paper is to be YOUR work and thoughts, not your direct quotation of someone else’s. Though the use of quotes from your research can be used, be sure to SHOW that they are quotes, cite your source, and include thoughts and wording of your own. Suspected plagiarism will result in the grade of a ZERO on this paper.
Turnitin.com You MUST submit an electronic copy of your paper to Turnitin.com. If you neglect to do this you will NOT receive credit for the paper. I will provide you with instructions on how to create a student account, and also how to submit your paper. If you have any questions about this step please feel free to ask me, or stop by the LRC and they can help as well.
Presentation You must also do a presentation in front of the class on your selected composer. This presentation should be 5-7 min long and should give the class a good idea of who the composer was. Include major facts about the composer, major places of employment, major works (you may play audio clips if you wish). If you choose to use audio/video clips keep in mind-your presentation cannot be 6 minutes of video. Keep the clips to an appropriate length for your presentation. You also need to have some kind of visual aid
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for your presentation. It can be Power Point, a Poster board, etc. Essentially your presentation should be a summary of the paper. You are “teaching” the class about your composer.
Deliverables • 5-7 page paper in MLA format • At least 4 outside sources • Works Cited Page • Submitted to Turnitin.com • 5-7 minute presentation with visual aid
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APPENDIX E
Course Syllabus MUSIC 205 - History of Music: From Chants to Rap
Course Description Students survey the evolution of western music from the middle ages to the present by identifying and analyzing musical compositions. The course explores basic elements of music, including structure of musical compositions as well as orchestral instrumentation. For each musical period, students explore styles, characteristics, and major composers. Emphasis is placed on becoming a knowledgeable and discerning listener. 4 Units
Prerequisites/Co-Requisites ENGL 155 College Composition and Research.
Student Learning Outcomes Upon completion of this course, students should be able to:
• Identify masterpieces of classical music repertoire. • Distinguish the important compositional characteristics between several stylistic periods of music history. • Compare and contrast music of various periods for texture, rhythm, form, melodic contour, harmonic orientation, and time of composition. • Evaluate the elements of a live performance. • Define the elements that make up the classical performance tradition.
Instructor Information Erika Haas Phone: (209)625-9620 E-mail: [email protected] or [email protected] (Please use the G-mail address first!!) Office Hours: By appointment only Class Website: https://sites.google.com/site/ehaashealdclasses/
Topics Covered
• Elements of Music o Define pitch, tone, intervals, octave, melody, harmony, key, texture, form, and style, and identify in music o Describe rhythm by defining beat, meter, measure, downbeat, accent, syncopation, tempo, and metronome o Identify notations for pitch, rhythm, silence, and meter in musical scores
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o Compare and contrast the major instrument categories (string, woodwind, etc.) o Explain consonance and dissonance
• Middle Ages and the Renaissance o Describe the musical features of compositions from the Middle Ages and Renaissance o Identify the Gregorian chant, secular music, troubadours and trouveres, estampie, organum, and Agnus Dei in music o Explain key features from the school of Notre Dame o Identify sacred Renaissance music, Palestrina, and madrigals
• The Baroque Period o Compare and contrast characteristics of baroque music with those from the Renaissance o Explain the role of music in baroque society o Describe and identify baroque musical forms: concerto, ritornello, fugue, opera, sonata, suite, chorale, church cantata, oratorio o Identify music from major composers of the period: Purcell, Vivaldi, Bach, Handel
• The Classical Period o Explain the difference between music from the baroque and Classical periods by describing the different characteristics o Explain the role of composer, patron, and public in the classical period o Describe and identify classical musical forms: sonata, minuet, trio, rondo, symphony, concerto, and chamber music o Identify music from major composers of the classical period: Haydn, Mozart, Beethoven
• The Romantic Period o Describe the societal forces that lead to the transition from classical music to the romantic period o Contrast the romantic composers and their public with those of the classical period o Describe and identify the characteristics of music from the romantic period o Describe major forms of music from the romantic period: art songs, and program music o Describe and identify music from major composers of the romantic period: Schubert, Schumann, Chopin, Liszt, Mendelssohn, Berlioz, Dvorak, Tchaikovsky, Brahms, Verdi, Puccini, and Wagner
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• The Twentieth Century o Compare and contrast musical styles from 1900-1950 and 1950 – present o Explain key characteristics of music from the 20th century o Define major musical forms of the 20th century: impressionism, neoclassicism, expressionism, musical theater, jazz, rock, and rap o Describe and identify music from key composers of the twentieth century: Debussy, Stravinsky, Schoenberg, Berg, Webern, Bartok, Ives, Gershwin, Still, and Copland
• Oral and Written Communication o Use appropriate language when discussing features of music and giving an oral presentation o Create written papers using proper English, formatting, and style
• Internet o Use the Internet to complete research assignments on historical and current music topics
• Critical Thinking o Apply critical thinking skills to music appreciation and evaluation in the discussions and written report
Textbook(s)
Bundle ISBN: 0-07-331824-8
This bundle consists of: Kamien, R. (2008). Music: An Appreciation (9th ed). New York: McGraw Hill. ISBN 0073526568 Kamien, R. (2008). 5 Audio CD Set (6th ed). New York: McGraw Hill. ISBN 0073265454 Grading Exams & Quizzes 20% Projects and Assignments 70% Participation 10%
A grade of 90 percent or higher earns an A grade; 80 to 89 percent earns a B grade; 70 to 79 percent earns a C grade; 60 to 69 percent earns a D grade. A minimum grade of C is required in major courses or courses that are prerequisites for advanced courses.
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Course at a Glance Schedule & Assignments subject to change at instructor’s discretion. All assignments will be due on the Thursday of the week it is due, unless otherwise specified. Week Chapter(s) Assignments/Activity
1 Part I, Chapters 1-10 Part I, Chapters 1-10 Read Part I, Chapters 1-10 and The Elements of Music Part II, Chapters 1-5 for next week
Complete Listening Assignments • Stravinsky, The Firebird, Scene 2, CD #1 • Ellington, C-Jam Blues, CD #1 • Britten, The Young Person’s Guide to the Orchestra, CD #1 o Chopin, Prelude in E Minor for Piano, CD #1 o Bizet, Farandole from L’Arlésienne Suite No. 2, CD #1 o Tchaikovsky, Dance of the Reed Pipes from Nutcracker Suite, CD #1 o Beethoven, Contradance No. 7 in E Flat Major for Orchestra,
Choose any instrument from a standard orchestra, research it and write a 1-2 page summary about the instrument. How did the instrument come about, what is it known for, what section of the orchestra is it in, etc. 2 Part II, Chapters 1-5 Part II, Chapters 1-5 The Middle Ages Read Part III, Chapters 1-4 for next week
Complete Listening Assignments o Alleluia: Vidimus Stellam, CD #1 o Hildegard of Bingen, O successors, CD #1 o Estampie, CD #1 o Machaut, Puis qu’en oubli, CD #1 o Machaut, Agnus Dei from Notre Dame Mass, CD #
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Listening Log #1
3 Part III, Chapters 1-4 Quiz #1 The Renaissance Part III, Chapters 1-4 Read Part IV, Chapters 1-16 for next week
Complete Listening Assignments o Josquin, Ave Maria…Virgo Serena, CD #1 o Palestrina, Kyrie from Pope Marcellus Mass, CD#1 o Weelkes, As Vesta Was Descending, CD#1 o Bach, Brandenburg Concerto No. 5, CD #1 o Bach, Organ Fugue in G Minor (Little Fugue), CD #1
The term Renaissance means re-birth, why was this time period a rebirth for music, as well as the other arts (painting, sculpture, drama, etc)? Discuss in a 1-2 page essay. Have a composer chosen for the report 4 Part IV, Chapters 1-16 Part IV, Chapters 1-16 Read Part V, Chapters 1-9 for next week The Baroque Period Complete Listening Assignments o Monteverdi, Tu sé morta from Orfeo, CD #1 o Purcell, Dido’s Lament, CD #1 o Vivaldi, La Primavera, from The Four Seasons, CD #2 o Bach, Wachet auf, ruft uns die Stimme, CD #2 o Handel, Ev’ry Valley Shall Be Exalted, from Messiah, CD #2 o Handel, Hallelujah Chorus from Messiah, CD #2
Write a brief summary (no more than 3 pages) discussing the differences you hear/notice between Medieval, Renaissance, and Baroque music. Be specific! Also, please include your opinion on which era you like better, and explain why.
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5 Part V, Chapters 1-12 Quiz #2 Part V Ch. 1-12 The Classical Period Read Part VI, Chapters 1-9 for next week
Complete Listening Assignments o Mozart, Symphony No. 40 in G Minor, CD #2 o Haydn, Symphony No. 94 in G Major (Surprise), CD #2 o Mozart, Eine kleine Nachtmusik, CD #2 o Beethoven, String Quartet in C Minor, Op. 18, No. 4, CD #2 o Beethoven, Symphony No. 5, First Movement, CD #2 o Beethoven, Symphony No. 5, Second Movement, CD #2 o Mozart, Don Giovanni, CD #3 o Mozart, Piano Concerto No. 23 in A Major, CD #3
Listening Log # 2 6 MID-TERM EXAM & REVIEW!! The mid-term will cover the Elements of Music, the Middle Ages, the Renaissance, the Baroque, and the Classical eras.
7 Part VI, Chapters 1-9 Part IV, Chapters 1-9 The Romantic Period Read Part VI, Chapters 10-20 for next week Part I Complete Listening Assignments o Schubert, Erlkönig, CD #3 o Clara Wieck Schumann, Liebst du um Schönheit, CD #3 o Chopin, Nocturne in E Flat Major, Op. 9, No. 2, CD #3 o Chopin, Étude in C Minor, Op. 10, No. 12 (Revolutionary), CD #3 o Berlioz, Symphonie Fantastique, CD ##
Listening Log #3
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8 Part VI, Chapters 10-20 Watch La Bohème in Class The Romantic Period Part VI, Chapters 10-20 Part II Read Part VII, Chapters 1-7 for next week
Complete Listening Assignments o Smetana, The Moldau, CD#3 o Dvořák, Symphony No. 9 in E Minor (From the New World), CD #3 o Brahms, Symphony No. 3 in F Major, CD #3 o Puccini, La Bohème, CD #3 o Wagner, Die Walküre, CD #4
Listening Log #4 9 Part VII, Chapters 1-7 Quiz # 3 The Twentieth Century Part VII, Chapters 1-7 Part I Part VII, Chapters 8-17 for next week
Complete Listening Assignments o Debussy, Prélude à L’Après-midi d’un Faune, CD #4 o Stravinsky, Le Sacrfe du Printemps, CD #4 o Schoenberg, Pierrot lunaire (Moonstruck Pierrot), CD #4 o Schoenberg, A Survivor from Warsaw, CD #4
Work on Composer Report Concert Activity Report Due! 10 Part VII, Chapters 8-17 Part VII, Chapters 8-17 The Twentieth Century Read Part VII, 18-19; Part VIII, Chapters 1, 7; Part IX, Part II Chapter 1 for next week
Complete Listening Assignments o Webern, Third Piece from Five Pieces for Orchestra, CD #4 o Bartók, Concerto for Orchestra, CD #4 o Still, Afro-American Symphony, CD #4 o Copland, Appalachian Spring, CD #4
COMPOSER REPORT PAPER DUE!! 11 Composer Report Presentations
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Listening Logs You are to listen to your listening assignments. On at least 4 occasions you will write a listening log. You will need to focus on the music, so listen when you have an uninterrupted opportunity. Do not attempt to do this assignment while driving, working, doing other homework, or anything that will divert your attention from your focused listening. For all of the pieces in a given week write OBJECTIVE observations of the piece being performed, using musical terminology. Instrumentation, texture, form, dynamics, etc., are some of the possibilities for this section. NO SUBJECTIVE COMMENTS! If your observations do not match the composition, I WILL know that you did not actually listen to the piece. FYI: Comments such as, "I liked this song." do not qualify as musical observations (this is a personal comment, not a musical observation). Observations must be musical in nature, i.e., the composition's texture, instrumentation/orchestration, historical period, form, performer's/conductor's interpretation, etc.
Hand-written papers WILL NOT BE ACCEPTED.
Instructor’s Classroom Policies 1. The Golden Rule: Do unto others as you would have them do unto you. If you want to be respected, respect others. If you want to be treated like the intelligent, professional student that you are, please act that way. 2. COMMUNICATE!- I am not a mind-reader, nor is anyone else in the class. The only way we can know what everyone is thinking and feeling is to communicate. 3. Cell phones, including text messaging, or computer use not related to class activities may not be used during class. Students who engage in these activities during class will receive reduced credit on assignments and projects assigned during that class meeting 4. Be here and be on time. To be early is to be on time, to be on time is to be late. If something happens that causes you to be late, see Rule #2. Regular and punctual attendance and appropriate preparation for each class session is required. 5. Attitude is everything! No matter what our talent, intelligence, or experience if we do not bring a positive attitude through the door, it affects the class. Everyone has problems, bad days, etc- please leave them at the door on your way in, and if you really want you can pick them up on the way out. 6. Academic honesty is an essential value at Heald. The consequence for academic dishonesty will be automatic failure of the course. Examples of academic dishonesty (cheating and plagiarism) include, but are not limited to: Inventing data for a paper, report, or project; or using material submitted for another class to satisfy requirements of this class. 7. Late Work/Make-up Work- Any homework turned in after MIDNIGHT on the day that it is due is considered late. I do accept assignments by e-mail, so if you must be absent when an assignment is due e-mail your assignments, or drop them in my box, to avoid late penalties. I deduct 10% for each week the assignment is late. If, however, you have extenuating (i.e. Hospital admittance, car accident, etc.) circumstances that cause
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your homework to be late-refer to rule #2. Also, I will not accept any late work during the last week of school. Any and all make-up work must be turned into me by the last day of class during Week 10. 8. Above all- Never be afraid to fail! The only way to fail, is if you do not try. If you have a question, never be afraid to ask. The only “stupid” question is the one that is never asked!
Heald Policies Extra Credit Heald does not grant “extra credit” points.
Makeup policy Each student has the opportunity to make up one missed major in-class graded event. Your instructor will inform you of which graded events fall into this category in this course. For other make up policies or late assignments, please consult with your instructor or the Director of Academic Affairs.
Alternative Credit Some of Heald’s courses offer a challenge exam that is available before the start of the quarter or early in the first week of instruction. Please see the Academic Affairs Office or your instructor for more information.
Transfer credit may be accepted upon receipt of an official transcript according to the policy in the Heald College Catalog. See your campus registrar for details.
Attendance Policies and standards at Heald College prepare graduates to meet the demands of future employers. Attendance is considered in the evaluation of each student’s performance when making recommendations to employers.
Students are required to attend all classes on required attendance days and are expected to be ready for class at the scheduled time. Students who are tardy or leave early may miss graded events that will negatively impact their overall course grade. Refer to the Attendance Policy in the Heald College Catalog for details of the Attendance and Tardy policies.
Professional Appearance At Heald College, student professional appearance standards have been established to be at or above those normally required for employment in business, industry, and healthcare in the area. The dress standard helps prepare a student for the workplace and fosters a professional appearance, which is a positive factor in job placement. The professional appearance policy is discussed in the enrollment process and is available in the Academic Affairs office.
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Information Technology Policy The use of any computer software or information technology equipment (computer, router, switch, etc.) by students shall be in compliance with all laws and Heald policies. Students may not violate any intellectual property rights and may not compromise or tamper with or utilize the software or equipment for inappropriate or unauthorized purposes. All such property belongs to Heald or is under Heald control and may be inspected or monitored by Heald personnel at any time and for any purpose. When a violation of this policy occurs, disciplinary action may be taken.
Request for Special Assistance It is the student’s responsibility to make his/her disability known and to present certified documentation of the disability. A student who chooses to make his/her disability known and seeks accommodation should contact the Academic Affairs Department immediately upon recognizing the need for an accommodation. An Academic Affairs Department Representative will discuss the recommended accommodations with the student to determine a reasonable means for delivering a specific accommodation. Documentation of recommended accommodations from a physician or other healthcare professional will be required prior to provision of the accommodation.
Academic Integrity True learning can take place only when students do their own work honestly, without copying from other students or other sources. Heald College enforces the highest standards of academic integrity, both to preserve the value of the education offered and to prepare students to become productive members of the workforce and society. At Heald, it is considered a breach of academic honesty for students to employ any form of deception in the completion of academic work, including, but not limited to: • copying work, ideas, or projects from any other person or media • allowing another person to copy or borrow original work in any form • allowing another person to copy answers on a quiz or test or to communicate with another person during a quiz or test • representing the work of another team member as one’s own • stopping or delaying another student in the completion of any work • plagiarism in any form, including failing to give credit to the source of thoughts, words, ideas, or work from any other person, printed material, or web site
When a violation of this policy occurs, disciplinary action will be taken. Subject to the severity of the violation or repeated/multiple occurrences, academic dishonesty may result in an “F” grade for an assignment, project, assessment, or the course itself, or may result in dismissal from the College. All violations of the Academic Integrity Policy are documented and made a permanent part of a student’s record. Further information is available from the campus director of academic affairs or a Director of Academic Affairs.
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Other Heald Policies and Procedures Please refer to the Heald catalog for other policies and procedures not mentioned in this Syllabus.
Portfolio
A portfolio represents the assembly of – and reflection upon – the depth and breadth of learning that has taken place at Heald College during your program of study. It can be used during the job interview process to highlight the skills and knowledge gained throughout your education. You should start saving key assignments from each class in your first quarter at Heald College. Each student can select those documents that best highlight their skill development throughout their time at Heald. In general, the Portfolio should contain evidence of learning related to your program’s outcomes including written communication, business, computer and keyboarding skills, as well as interpersonal skills and teamwork. Consult with your instructor on strategies for collecting evidence. We recommend creating both an electronic and paper storage system and storing evidence as you complete each course in your program. You can create a folder in your P: drive titled “Portfolio” in which to place portfolio documents. You can also buy a two- inch binder and start saving paper copies of your work.
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APPENDIX F
Original Course Plan Provided by the College
History of Music: From Chants to Rap MUSIC 205
Course Plan MUSIC 205 History of Music: From Chants to Rap
Course Information Course Description Students survey the evolution of western music from the middle ages to the present by identifying and analyzing musical compositions. The course explores basic elements of music, including structure of musical compositions as well as orchestral instrumentation. For each musical period, students explore styles, characteristics, and major composers. Emphasis is placed on becoming a knowledgeable and discerning listener. 4 Units Prerequisites or Co-requisite ENGL 155 College Composition and Research
Course Requirements Students are required to satisfactorily accomplish the following to meet the course requirements: • Attend a minimum of one live concert performance. Prepare a report and give an oral presentation about the presentation attended. • Participate in discussions about the music assigned as Listening Assignments.
Course Objectives Topic Objective (Begins with “Student will be able to...”) Elements of Music • Define pitch, tone, intervals, octave, melody, harmony, key, texture, form, and style, and identify in music • Describe rhythm by defining beat, meter, measure, downbeat, accent, syncopation, tempo, and metronome • Identify notations for pitch, rhythm, silence, and meter in musical scores • Compare and contrast the major instrument categories (string, woodwind, etc.) • Explain consonance and dissonance Middle Ages and the • Describe the musical features of compositions from the Renaissance Middle Ages and Renaissance
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• Identify the Gregorian chant, secular music, troubadours and trouveres, estampie, organum, and Agnus Dei in music • Explain key features from the school of Notre Dame • Identify sacred Renaissance music, Palestrina, and madrigals The Baroque Period • Compare and contrast characteristics of baroque music with those from the Renaissance • Explain the role of music in baroque society • Describe and identify baroque musical forms: concerto, ritornello, fugue, opera, sonata, suite, chorale, church cantata, oratorio • Identify music from major composers of the period: Purcell, Vivaldi, Bach, Handel The Classical Period • Explain the difference between music from the baroque and Classical periods by describing the different characteristics • Explain the role of composer, patron, and public in the classical period • Describe and identify classical musical forms: sonata, minuet, trio, rondo, symphony, concerto, and chamber music • Identify music from major composers of the classical period: Haydn, Mozart, Beethoven The Romantic • Describe the societal forces that lead to the transition from Period classical music to the romantic period • Contrast the romantic composers and their public with those of the classical period • Describe and identify the characteristics of music from the romantic period • Describe major forms of music from the romantic period: art songs, and program music • Describe and identify music from major composers of the romantic period: Schubert, Schumann, Chopin, Liszt, Mendelssohn, Berlioz, Dvorak, Tchaikovsky, Brahms, Verdi, Puccini, and Wagner
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The Twentieth • Compare and contrast musical styles from 1900-1950 and Century 1950 – present • Explain key characteristics of music from the 20th century • Define major musical forms of the 20th century: impressionism, neoclassicism, expressionism, musical theater, jazz, rock, and rap • Describe and identify music from key composers of the twentieth century: Debussy, Stravinsky, Schoenberg, Berg, Webern, Bartok, Ives, Gershwin, Still, and Copland Oral and Written • Use appropriate language when discussing features of Communication music and giving an oral presentation. • Create written papers using proper English, formatting, and style Internet • Use the Internet to complete research assignments on historical and current music topics Critical Thinking • Apply critical thinking skills to music appreciation and evaluation in the discussions and written report ANGEL • Use ANGEL to retrieve course information and participate in online activities as assigned by the instructor Heald Course Information Sheet
Course Information Sheet MUSIC 205 History of Music: From Chants to Rap Course Students survey the evolution of western music from the middle Description ages to the present by identifying and analyzing musical compositions. The course explores basic elements of music,
including structure of musical compositions as well as orchestral instrumentation. For each musical period, students explore styles, characteristics, and major composers. Emphasis is placed on becoming a knowledgeable and discerning listener. 4 Units Textbook(s) Music: An Appreciation with 5 CDs, Kamien, McGraw-Hill, 2008, ISBN 0-07-331824-8. Course This course increases students’ listening skills and understanding Purpose of the evolution of western music from the middle ages to the present.
Grading Exams 50-60% Projects & 30-40%
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Assignments Participation 10% A grade of 90 percent or higher earns an A grade; 80 to 89 percent earns a B grade; 70 to 79 percent earns a C grade; 60 to 69 percent earns a D grade. A minimum grade of C is required in major courses or courses that are prerequisites for advanced courses. Extra Credit Heald does not grant “extra credit” points. Makeup Each student has the opportunity to make up one missed major in- policy class graded event. Your instructor will inform you of which graded events fall into this category in this course. For other make up policies or late assignments, please consult with your instructor or a dean. Alternative Transfer credit will be accepted upon receipt of an official Credit transcript from a regionally accredited institution, credit may be granted for an equivalent course completed within the last ten years with a grade of “C” or better. Attendance Policies and standards at Heald College prepare graduates to meet the demands of future employers. Attendance is considered in the evaluation of each student’s performance when making recommendations to employers. Students are required to attend all classes on required attendance days and are expected to be ready for class at the scheduled time. Students who are tardy or leave early may miss graded events that will negatively impact their overall course grade. Refer to the Attendance Policy in the Heald College Catalog for details of the Attendance and Tardy policies. Professional At Heald College, student professional appearance standards have Appearance been established to be at or above those normally required for employment in business, industry, and healthcare in the area. The dress standard helps prepare a student for the workplace and fosters a professional appearance, which is a positive factor in job placement. The professional appearance policy is discussed in the enrollment process and is available in the Academic Affairs office. The use of any computer software or information technology Information equipment (computer, router, switch, etc.) by students shall be in Technology compliance with all laws and Heald policies. Students may not Policy violate any intellectual property rights and may not compromise or tamper with or utilize the software or equipment for
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inappropriate or unauthorized purposes. All such property belongs to Heald or is under Heald control and may be inspected or monitored by Heald personnel at any time and for any purpose. When a violation of this policy occurs, disciplinary action may be taken. Request for If you believe you have a disability that may require Special accommodation, we encourage you to contact the Academic Assistance Affairs office immediately. Speak with the person designated as the campus coordinator of disability services so as to ensure adequate time to arrange for the appropriate accommodation. You will be asked to present documentation from a qualified examiner. Academic True learning can take place only when students do their own work Integrity honestly, without copying from other students or other sources. Heald College enforces the highest standards of academic integrity, both to preserve the value of the education offered and to prepare students to become productive members of the workforce and society. At Heald, it is considered a breach of academic honesty for students to employ any form of deception in the completion of academic work, including, but not limited to: • copying work, ideas, or projects from any other person or media • allowing another person to copy or borrow original work in any form • allowing another person to copy answers on a quiz or test or to communicate with another person during a quiz or test • representing the work of another team member as one’s own • stopping or delaying another student in the completion of any work • plagiarism in any form, including failing to give credit to the source of thoughts, words, ideas, or work from any other person, printed material, or web site When a violation of this policy occurs, disciplinary action will be taken. Subject to the severity of the violation or repeated/multiple occurrences, academic dishonesty may result in an “F” grade for an assignment, project, assessment, or the course itself, or may result in dismissal from the College. All violations of the Academic Integrity Policy are documented and made a permanent part of a student’s record. Further information is available from the campus director of academic affairs or a dean.
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Other Heald Please refer to the Heald catalog for other policies and procedures Policies and not mentioned in this Course Information Sheet. Procedures
Learning Students will be able to: Outcomes • Identify masterpieces of classical music repertoire • Distinguish the important compositional characteristics between several stylistic periods of music history • Compare and contrast music of various periods for texture, rhythm, form, melodic contour, harmonic orientation, and time of composition • Evaluate the elements of a live performance • Define the elements that make up the classical performance tradition
6/29/2007
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Textbook(s) & Course Materials Music: An Appreciation Brief w/ MMC 5.0 & 5 CDs, Kamien, McGraw-Hill, 2006, ISBN 0-07-331824-8
Course Materials Instructor's Manual(s) and additional support materials. For support tools and links: http://www.mhhe.com/kamien6
Grade Distribution Exams 50-60% Projects & Assignments 30-40% Participation 10% A grade of 90 percent or higher earns an A grade; 80 to 89 percent earns a B grade; 70 to 79 percent earns a C grade; 60 to 69 percent earns a D grade. A minimum grade of C is required in major courses or courses that are prerequisites for advanced courses. Please refer to the catalog for additional information. Grades are broken down into three categories: exams, projects & assignments, and participation. To allow for flexibility within this structure, these three categories are intentionally broad. For example, exams may include all tests given: quizzes, weekly tests, a midterm test, and a final exam. The specific percentages given to each test are to be assigned by the instructor; however, the total must be within the specified range. Projects and Assignments may include all graded class activities and must also be worth the specified percentage range identified above. The participation portion may include quizzes, homework assignments, worksheets, and any other items the instructor may choose to include. Oral or group presentations may be included as part of the project percentage. Classroom Requirements Standard lecture classroom. Instructor will need equipment to play music for the students using either a CD player or a computer with sound capability and speakers.
During Week 1 or Week 2, instructor will need access to multimedia projection equipment with speakers (In-Focus), or the instructor will need to take the students to the LRC to demonstrate the Multimedia Companion CD.
COURSE DOCUMENTS
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Instructional Guide Week 1 Topics Course Overview Covered Heald Course Information Sheet ANGEL Course Requirements Elements of Music: Sound and Performance Media Objectives • Use ANGEL to retrieve course information and participate in Covered online activities as assigned by the instructor • Define pitch, tone, intervals, and octave, and identify in music • Compare and contrast the major instrument categories (string, woodwind, etc.) Materials Heald Course Information Sheet, Student Syllabus, Portfolio Handout, Music: An Appreciation with CD set and Multimedia Companion CD, Handouts Activities Course Overview • Review Course Information Sheet • Go over Course Requirements • Review Course Content in ANGEL In Class • Introduce the textbook layout and student CDs (see Notes below.) • Review textbook section: “Listening Outline,” pages 9-10, (see Notes below.) • Using a multimedia projection system (In-focus): (see Notes below) o Introduce and demonstrate the use of the Multimedia Companion CD o Introduce students to the textbook companion website at http://www.mhhe.com/kamien6 for support tools and links. • Introduce major concepts in Part I, Chapters 1-2 • Introduce and review the Concert Activity Assignment due in Weeks 8 and 9 (see Activities/Assignments in this course plan.) Assignment • Read Part I, Chapters 1-10, pages 6-57 • Read Part II, Chapter 1, pages 61-78 • Listening Assignment #1: o Stravinsky, The Firebird, Scene 2, CD #1 o Ellington, C-Jam Blues, CD #1
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o Britten, The Young Person’s Guide to the Orchestra, CD #1 • Using the Multimedia Companion CD, explore “Video Demonstrations” in “Instruments” menu area. (Students may need to go to the LRC if no computer with multimedia capability is available at home), (see Notes below.) • Create a list of all the music heard over a two-day period such as TV and movie soundtracks, advertisements, elevator music, music in offices and reception areas. (This is not to include recordings or radio.) Notes • Instructor will need to explain the layout of the textbook and its division into Parts I-VII with separate Chapters within each part. • The students are provided a set of five CDs with very short examples of the music they are studying. Each week students will be assigned music assignments using these CDs. • The textbook sections titled “Listening Outlines” correspond to the music on the CDs provided with the textbook. These outlines provide additional information and guidance about the music the students are listening to. • A multimedia projector (In-Focus) with speakers will be needed in Week 1 or Week 2 to demonstrate the Multimedia Companion disk. If this equipment is not available, the instructor should schedule time in the LRC. • Advise students who are not able to play CDs at home that they will need to procure headphones to use in the LRC. • Important! In the following weeks more than one chapter from the text is covered. Students may not read all assigned material, so it is important that the instructor focuses on the most important concepts and terminology. The instructor needs to be sure the course objectives are met but does not have to cover all material in-depth. • During this and each subsequent week, instructor should play selections from the listening assignments during class to augment and facilitate discussion of the textbook material. If instructor has access to additional relevant listening examples, these should be brought in and shared with the class as well. Week 2 Topics Elements of Music: Rhythm, Notation, Melody, Key, Texture, Covered Form, and Style; Music in the Middle Ages
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Objectives • Define melody, harmony, key, texture, form, and style, and Covered identify in music • Describe rhythm by defining beat, meter, measure, downbeat, accent, syncopation, tempo, and metronome • Identify notations for pitch, rhythm, silence, and meter in musical scores • Explain consonance and dissonance • Describe the musical features of compositions from the Middle Ages and Renaissance • Identify Gregorian chant, secular music, troubadours and trouveres, estampie, organum, and Agnus Dei in music • Explain key features from the School of Notre Dame • Use appropriate language when discussing features of music and giving an oral presentation. Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts from: o Part I, Chapters 3-10, pages 32-59. o Part II, Chapter 1, pages 61-78. • Group discussions: o Discuss the elements in the types of music heard in Listening Assignment #1. Assignments • Read Part II, Chapter 2, pages 78-89. • Read Part III, Chapters 1-5, pages 96-114. • Listening Assignment #2: o Chopin, Prelude in E Minor for Piano, CD #1 o Bizet, Farandole from L’Arlésienne Suite No. 2, CD #1 o Tchaikovsky, Dance of the Reed Pipes from Nutcracker Suite, CD #1 o Beethoven, Contradance No. 7 in E Flat Major for Orchestra, CD #1 o Alleluia: Vidimus Stellam, CD #1 o Hildegard of Bingen, O successors, CD #1 o Estampie, CD #1 o Machaut, Puis qu’en oubli, CD #1 o Machaut, Agnus Dei from Notre Dame Mass, CD #1 • Prepare for Quiz 1. Supplement Using the information at the following Web site of Medieval and al Activities Renaissance Musical Instruments, have the students select one instrument that interests them. Ask them to write a paragraph describing the instrument and why they find it interesting or
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different. http://www.music.iastate.edu/antiqua/instrumt.html. Week 3 Topics Music in the Renaissance Covered Baroque Music: in society, the concerto grosso and ritornello form, fugue, elements of opera Objectives • Identify sacred Renaissance music, Palestrina, and madrigals Covered • Compare and contrast characteristics of baroque music with those from the Renaissance • Explain the role of music in baroque society • Describe and identify musical forms: concerto, ritornello, fugue, opera Materials Music: An Appreciation, CD set, handouts Activities In Class • Discuss major concepts in: o Part II, Chapter 2, pages 80-91. o Part III, Chapters 1-5, pages 98-116. • Group discussions: o Discuss features of the music heard in Listening Assignment #2. • Separate class into three parts and have students sing a simple round (i.e., Row, Row, Row Your Boat). Discuss the form of the “round” and its similarity to the “fugue.” Assignments • Listening Assignment #3: o Josquin, Ave Maria…Virgo Serena, CD #1 o Palestrina, Kyrie from Pope Marcellus Mass, CD#1 o Weelkes, As Vesta Was Descending, CD#1 o Bach, Brandenburg Concerto No. 5, CD #1 o Bach, Organ Fugue in G Minor (Little Fugue), CD #1 • Read Part III, Chapters 6-15, pages 114-147. • Prepare for Quiz 2. Supplement Have students go to the following web site to review the “Parts of al the Mass”: http://wmich.edu/mus-gened/mus170/Mass.html. Activities Assessment Quiz 1 (See Assessments section of this course plan for Sample Quiz 1.) Notes Instructor should check in with students about attending a performance as assigned in the Concert Activity Assignment. Instructor may need to help identify a variety of possible performances by bringing in the local newspaper. Week 4
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Topics Opera, sonata, suite, chorale, church cantata, oratorio, and Covered significant composers of the baroque era Objectives • Describe and identify musical forms: sonata Covered • Identify music from major composers of the period: Purcell, Vivaldi • Describe and identify musical forms: suite, chorale, church cantata, oratorio • Identify music from major composers of the period: Bach, Handel Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts in Part III, Chapters 6- 15, pages 114-147. • Group discussions: o Discuss the features of the music heard in Listening Assignment #3 Assignments • Read Part IV, Chapters 1-11, pages 154-191. • Listening Assignment #4: o Monteverdi, Tu sé morta from Orfeo, CD #1 o Purcell, Dido’s Lament, CD #1 o Vivaldi, La Primavera, from The Four Seasons, CD #2 o Bach, Wachet auf, ruft uns die Stimme, CD #2 o Handel, Ev’ry Valley Shall Be Exalted, from Messiah, CD #2 o Handel, Hallelujah Chorus from Messiah, CD #2 • Prepare for Quiz 3. Supplement Instructors may wish to show selected scenes from the film al Activities L’Orfeo or another representative film (see Notes below.) Assessment Quiz 2 Notes The films suggested in the Supplemental Activities are available for rent at a variety of locations including some local video stores and libraries. Week 5 Topics Classical music through Mozart Covered Objectives • Explain the difference between music from the baroque and Covered Classical periods by describing the different characteristics • Explain the role of composer, patron, and public in the classical period • Describe and identify classical music forms: sonata, minuet, trio, rondo
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• Identify music from the major composers of the classical period: Haydn, Mozart Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts in Part IV, Chapters 1- 11, pages 154-191. • Group discussions: o Discuss features of the music heard in Listening Assignment #4. Assignments • Read Part IV, Chapter 12, pages 193-205. • Read Part V, Chapters 1-7, pages 213-235. • Listening Assignment #5: o Mozart, Symphony No. 40 in G Minor, CD #2 o Haydn, Symphony No. 94 in G Major (Surprise), CD #2 o Mozart, Eine kleine Nachtmusik, CD #2 • Prepare for Quiz 4. Supplement Show scene(s) from the film Amadeus or another film al Activities representative of the music, dance, and society of the classical period. Assessment Quiz 3 Notes Instructor should check in with students about their required attendance at a live performance as assigned in the Concert Activity Assignment in Week 1. Week 6 Topics Beethoven; Romanticism, and Romantic music through Chopin Covered Objectives • Describe and identify classical musical forms: symphony, Covered concerto, chamber music • Identify music from major composers of the classical period: Beethoven • Describe the societal forces that lead to the transition from classical music to the romantic period • Contrast the romantic composers and their public with those of the classical period • Describe and identify the characteristics of music from the romantic period • Describe major forms of music from the romantic period: art songs • Describe and identify music from major composers of the romantic period: Schubert, Schumann Materials Music: An Appreciation, CD set, handouts
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Activities In Class • Introduce and discuss major concepts in: o Part IV, Chapter 12, pages 193-205. o Part V, Chapters 1-7, pages 213-235. • Group Discussions: o Discuss features of the music heard in Listening Assignment #5. Assignments • Read Part V, Chapters 8-16, pages 236-269. • Listening Assignment #6: o Beethoven, String Quartet in C Minor, Op. 18, No. 4, CD #2 o Beethoven, Symphony No. 5, First Movement, CD #2 o Beethoven, Symphony No. 5, Second Movement, CD #2 o Mozart, Don Giovanni, CD #3 o Mozart, Piano Concerto No. 23 in A Major, CD #3 o Schubert, Erlkönig, CD #3 o Clara Wieck Schumann, Liebst du um Schönheit, CD #3 • Prepare for Quiz 5. Assessment Quiz 4 Notes Instructor should check in with students about their required attendance at a live performance as assigned in the Concert Activity Assignment in Week 1. Week 7 Topics Liszt, Mendelssohn, program music, Berlioz, Nationalism, Covered Dvořàk, Tchaikovsky, Brahms, Verdi Objectives • Describe major forms of music from the romantic period: Covered program music • Describe and identify music from major composers of the romantic period: Chopin, Liszt, Mendelssohn, Berlioz, Dvorak, Tchaikovsky, Brahms, Verdi Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts in Part V, Chapters 8- 16, pages 236-269. • Group discussions: o Discuss the features of the music heard in Listening Assignment #6. Assignments • Read Part V, Chapters 17-18, pages 270-285. • Read Part VI, Chapters 1-6, pages 293-318. • Listening Assignment #7:
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o Chopin, Nocturne in E Flat Major, Op. 9, No. 2, CD #3 o Chopin, Étude in C Minor, Op. 10, No. 12 (Revolutionary), CD #3 o Berlioz, Symphonie Fantastique, CD #3 o Smetana, The Moldau, CD#3 o Dvořák, Symphony No. 9 in E Minor (From the New World), CD #3 o Brahms, Symphony No. 3 in F Major, CD #3 • Prepare for Quiz 6. Assessment Quiz 5 Notes Instructor should check in with students about their required attendance at a live performance as assigned in the Concert Activity Assignment in Week 1. Week 8 Topics Opera (Puccini, Wagner); 20th century musical styles; Covered Impressionism and symbolism (Debussy); Neoclassicism (Stravinsky) Objectives • Describe and identify music from major composers of the Covered romantic period: Puccini, Wagner • Compare and contrast musical styles from 1900-1950 and 1950-present • Explain key characteristics of music from the 20th century • Define major musical forms of the 20th century: Impressionism, Neoclassicism, Expressionism • Describe and identify music from key composers of the twentieth century: Debussy, Stravinsky Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts in: o Part V, Chapters 17-18, pages 270-285. o Part VI, Chapters 1-6, pages 293-318. • Group Discussions: o Discuss features of the music heard in Listening Assignment #7. • Review (written and oral presentation) requirements for Concert Activity Assignment (see Activities/Assignments in the course plan.) Assignments • Read Part VI, Chapters 7-16, pages 318-360. • Listening Assignment #8: o Puccini, La Boheme, CD #3 o Wagner, Die Walküre, CD #4
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o Debussy, Prélude à L’Après-midi d’un Faune, CD #4 o Stravinsky, Le Sacrfe du Printemps, CD #4 • Prepare oral presentation for Concert Activity assignment. • Prepare for Quiz 7. Supplement Show selected scene(s) from film Die Walküre or other al Activities representative work. Assessment Quiz 6 Week 9 Topics Expressionism (Schoenberg, Berg, Webern) Covered Music from the 1940s (Bartók, Ives, Gershwin, Still, Copland) Musical styles since 1945 Objectives • Describe and identify music from key composers of the Covered twentieth century: Schoenberg, Berg, Webern, Bartok, Ives, Gershwin, Still, Copland • Use appropriate language when discussing features of music and giving an oral presentation. Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts in Part VI, Chapters 7- 16, pages 318-360. • Group Discussions: o Discuss the features of the music heard in Listening Assignment #8. • Oral presentations for Concert Activity assignment. • Assign students to listen to rap music (see Notes below.) Assignments • Read Part VI, Chapters 17-20, pages 360-401. • Listening Assignment #9: o Schoenberg, Pierrot lunaire (Moonstruck Pierrot), CD #4 o Schoenberg, A Survivor from Warsaw, CD #4 o Webern, Third Piece from Five Pieces for Orchestra, CD #4 o Bartók, Concerto for Orchestra, CD #4 o Still, Afro-American Symphony, CD #4 o Copland, Appalachian Spring, CD #4 • Complete listening of rap music. • Complete written paper for Concert Activity Assignment. • Prepare for Quiz 8. Assessment Quiz 7 Oral Presentations for Concert Activity Assignment Notes Students should listen to examples of rap that can be found on the radio, on CDs, or by accessing the following web site: http://www.npr.org/templates/story/story. php?storyId=5079081.
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Students will discuss their impressions of Rap music in the following week during the in-class group discussions. Week 10 Topics 20th Century music since 1945; jazz; musicals and film music; Covered rock, Rap Objectives • Define major musical forms of the 20th century: jazz, musical Covered theater, rock, Rap Materials Music: An Appreciation, CD set, handouts Activities In Class • Introduce and discuss major concepts in Part VI, Chapters 17- 20, pages 360-401. • Group Discussions: o Discuss features of the music heard in Listening Assignment #9. o Discuss features of rap music and students’ attitudes toward rap music. • Oral presentations of Concert Activity Assignment (continued) Assignments • Listening Assignment #10: o Varèse, Poème èlectronique (Electronic Poem), CD #4 o Zwilich, Concerto Grosso 1985, CD #4 o Adams, Short Ride in a Fast Machine, CD #4 o Smith, Lost Your Head Blues, CD #4 o Louis Armstrong and His Hot Five, Hotter Than That, CD #4 o Bernstein, Tonight Ensemble from West Side Story, CD #4 • Prepare for Final Exam Supplement Groups identify similarities and differences in 20th century al Activities compositional styles (“classical” music of the period, rock, rap, jazz, etc.). Assessment Quiz 8 Oral Presentations for Concert Activity Assignment Written paper for Concert Activity Assignment Week 11 Topics Review for final exam Covered Activities In class • Group Discussion: o Discuss features of the music heard in Listening Assignment #10 • Review activities for Final Exam Assessment Final Exam
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Student Syllabus Wee Chapter(s) Assignments/Activity k 1 Part I, Chapters 1-2 Part I, Chapters 1-2 Read Part I, Chapters 1-10 and Part II, Chapter 1 for next week Complete Listening Assignments 2 Part I, Chapters 3-10 Part I, Chapters 3-10 and Part II, Chapter 1 Part II, Chapter 1 Complete Listening Assignments 3 Part II, Chapter 2 Quiz 1 Part III, Chapters 1-5 Part II, Chapter 2 and Part III, Chapters 1-5 Read Part III, Chapters 6-15 for next week Complete Listening Assignments Prepare for Quiz 2 4 Part III, Chapters 6-15 Quiz 2 Part III, Chapters 6-15 Read Part IV, Chapters 1-11 for next week Complete Listening Assignments Prepare for Quiz 3 5 Part IV, Chapters 1-11 Quiz 3 Part IV, Chapters 1-11 Read Part IV, Chapter 12 and Part V, Chapters 1-7 for next week Complete Listening Assignments Prepare for Quiz 4 6 Part IV, Chapter 12 Quiz 4 Part V, Chapters 1-7 Part IV, Chapter 12 and Part V, Chapters 1-7 Read Part V, Chapters 8-16 for next week Complete Listening Assignments Prepare for Quiz 5 7 Part V, Chapters 8-16 Quiz 5 Part V, Chapters 8-16 Read Part V, Chapters 17-18 and Part VI, Chapters 1-6 for next week Complete Listening Assignments Prepare for Quiz 6 8 Part V, Chapters 17-18 Quiz 6 Part VI, Chapters 1-6 Part V, Chapters 17-18 Part VI, Chapters 1-6 Read Part VI, Chapters 7-16 Complete Listening Assignments Prepare for Quiz 7
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9 Part VI, Chapters 7-16 Quiz 7 Part VI, Chapters 7-16 Complete Listening Assignments Prepare for Quiz 8 10 Part VI, Chapters 7-16 Quiz 8 Part VI, Chapters 7;-16 Complete Listening Assignment Prepare for Final Exam 11 Final Exam
COURSE ACTIVITIES/ASSIGNMENTS Required Activities/Assignments
Concert Activity Assignment Written Paper and Oral Presentation
Overview: Students are required to attend one live musical performance during the quarter and report on their experience. Students may go individually or in groups.
Written Assignment: Students will complete a typed paper, 2-3 pages in length, double-spaced, Times Roman font, and should include the following:
• An introduction. Include the names of the performers or performance group, piece(s) performed, location and description of the concert hall, audience, etc.
• Technical description of the music. What period(s) was it from? What elements could you identify (i.e., rhythm, consonance/dissonance, harmony, instrumentation, etc.)?
• Your response to the music. Did you enjoy the performance? What about the performance space? What did you like? What didn’t you like? How did the rest of the audience respond to the performance?
• Optional information to be included: Students may choose to attend more than one performance. In this case the report could include a comparison and contrast of the different concerts and musical forms.
Assessment:
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Written papers will be assessed on content including ideas, originality, and supporting information. In addition the paper will be graded on grammar, punctuation, spelling, paragraph structure, and professional appearance.
Oral Presentation Each student will prepare an oral presentation using visual aids based on the live performance attended to present to the class. If students attended as a group, the group (2-3 students) may present together, but each member of the group must participate in the presentation. The presenter(s) should provide background information on the form of music and/or the performance group. The presenter(s) should also play a sample of the type of music heard in the performance.
Assessment: Assessment for the oral presentations will be based on thoroughness of content, organization, visual aids, language, and delivery.
Assessment Rubric for Written Paper for Concert Activity Assignment
(Assignment is worth 100 points) E = Excellent (10 points); S = Satisfactory (7 points); N = Needs Improvement (4 points); O = Omitted (0 points) Area Criteria Evaluation Points Content Point of the paper is clear. E S N O (30 points) Details and specifics are included in writing. E S N O Content is appropriate. E S N O Organization Introduction gains attention and goodwill, E S N O (30 points) sets the tone, builds credibility. Transitions lead smoothly from one detail to E S N O another. Ending (conclusion) ties the paper together. E S N O Grammar and Grammar use is correct. Word use is formal E S N O Word Use and appropriate to topic. (20 points) Capitalization Capitalization and punctuation are correctly E S N O and Punctuation used.
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(20 points) Total Points (100 points)
Comments
100
Assessment Rubric for Oral Presentation for Concert Activity Assignment
Name of Presenter: ______
Topic: ______
Date: ______
Assessment (assignment is worth 100 points) E = Excellent (10 points); S = Satisfactory (7 points); N = Needs Improvement (4 points); O = Omitted (0 points) Area Criteria Progress Content Point of the presentation is clear. E S N O Details and specifics make presentation memorable. E S N O Content is appropriate for audience. E S N O Organization Introduction gains attention and goodwill, sets the E S N O tone, builds credibility and leads into the speech. Transitions lead smoothly from one detail to E S N O another. Ending (conclusion) ties the speech together. E S N O Language Language is professional and appropriate to topic. E S N O Delivery Speaker is enthusiastic about topic. E S N O Nonverbal: Speaker looks at audience, has good E S N O posture, and uses appropriate body language and/or gestures. Verbal: Presentation is fluent and articulate; speaker E S N O speaks at appropriate volume, words are pronounced clearly. Total Points
Comments
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ASSESSMENT EXAMPLES Instructors may create their own quizzes and exams, or they may select questions from the Test Bank provided with the textbook materials.
Quizzes
Sample Quiz 1 Part I, Chapter 1
True/False Indicate whether the sentence or statement is true or false.
_____ 1. An interval is the distance between any two tones.
_____ 2. A percussive accent is known as “timbre.”
_____ 3. Sound that has a definite pitch, or frequency, is known as a tone.
_____ 4. Changes in tone color have nothing to do with the emotional impact of music.
_____ 5. Indefinite pitches are unimportant in music.
Multiple Choice Identify the letter of the choice that best completes the statement or answers the question.
_____ 6. Timbre is synonymous with a. sound b. vibrations c. tone color d. dynamic accent
_____ 7. Degrees of loudness and softness in music are called a. dynamics b. pitches c. notes d. tone colors
_____ 8. The relative highness or lowness of a sound is called a. timbre b. pitch c. dynamics
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d. octave
_____ 9. The Italian dynamic markings traditionally used to indicate very soft, loud, and very loud are (respectively) a. piano, mezzo forte, forte b. mezzo piano, forte, fortissimo c. pianissimo, piano, forte d. pianissimo, forte, fortissimo
_____ 10. The pitch of a sound is decided by the ______of its vibrations. a. amplitude b. timbre c. frequency d. dynamics
Answer Key for Sample Quiz 1 Part I, Chapter 1
True/False
1. T 2. F 3. T 4. F 5. F
Multiple Choice
6. C 7. A 8. B 9. D 10. C
Exams
Sample Final Exam
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Select two (2) of the following writing topics. Write your responses using complete sentences, correct grammar, and punctuation.
1. Discuss the music of any one of the musical periods covered in this class (Middle Ages, Renaissance, Baroque, Classical, Romantic, 20th Century.) Include information about rhythm, major musical forms, instruments, major composers, and anything else that you think is relevant to the music of the period.
2. Compare and contrast the 20th century musical forms of jazz, rock, and rap. What, if any, characteristics do they have in common? What distinguishes them from each other?
3. Explain the role of the composer, the patron, and the public in the Classical period.
4. Discuss the role of silence in music.
Assessment Rubric for Sample Final Exam
This exam consists of essay questions; therefore, responses will vary. (95%) Content and quality of written responses. (5%) Proper use of language including complete sentences, grammar, and punctuation.
Additional Resources: “Has Hip Hop Lost Touch with Reality?” Radio Recording by Oliver Wang http://www.npr.org/templates/story/story.php?storyId=5079081
Yale-New Haven Teachers Institute, “The Evolution of Rap Music in the United States” by Henry A. Rhodes http://www.yale.org/ynhti/curriculum/units/1993/4/93.04.04.x.html
Music Notes by Thinkquest, “Music Theory” http://library.thinkquest.org/15413/theory/theory.htm
Guide to Medieval and Renaissance Musical Instruments http://www.music.iastate.edu/antiqua/instrumt.html.
CHALLENGE EXAM This class is not challengeable.
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COURSE DEVELOPMENT INFORMATION Acknowledgement to Contributors Many thanks for Ginger Maradiaga, Dean at the San Francisco campus, for developing this course plan.
Course Developer’s Notes Students will enjoy and learn to appreciate listening to and understanding a wide selection of musical forms from the middle ages through the present. Encourage the students to not only listen carefully to the assigned listening exercises and samples on the CDs that came with the textbook, but to consider listening to the full versions of these pieces. Public libraries offer a large selection of music CDs. Students could ask friends and family members about their favorite forms of music that may be different from the music they regularly listen to.
It is important that the instructor give equal weight to each of the musical periods covered in the course, while encouraging students to talk about their musical experiences against the backdrop of historical musical forms. In addition, many of our students may listen to forms of music from different countries and cultures. They should be invited to bring that music in and share it with the class.
Best Practices Heald instructors are strongly encouraged to submit their best practices to the CAO Academics Curriculum Development Team.
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