DOCSLIB.ORG

Music Sl Year 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Sl Year 1 FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION INTERNATIONAL BACCALAUREATE PROGRAM IB MUSIC SL: YEAR 1 Grade Level: 11 Credits: 2.5 BOARD OF EDUCATION ADOPTION DATE: AUGUST 27, 2018 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS FREEHOLD REGIONAL HIGH SCHOOL DISTRICT Board of Education Mr. Michael Messinger, President Mr. Peter Bruno, Vice President Mr. Carl Accettola Mrs. Diana Cappiello Mr. Samuel Carollo Mrs. Amy Fankhauser Mrs. Kathie Lavin Mr. Heshy Moses Mrs. Jennifer Sutera Central Administration Mr. Charles Sampson, Superintendent Dr. Nicole Hazel, Chief Academic Officer Ms. Shanna Howell, Director of Curriculum and Instruction Mr. Oscar Diaz, Administrative Supervisor of Curriculum & Instruction Ms. Stephanie Mechmann, Administrative Supervisor of Curriculum & Instruction Ms. Renee Schneider, District Supervisor of Instruction Curriculum Writing Committee Mr. Edward Gattsek Supervisor Mr. Michael Dillon IB MUSIC SL, YEAR 1 COURSE PHILOSOPHY Music functions as a means of personal and communal identity and expression, and embodies the social and cultural values of individuals and communities. This scenario invites exciting exploration and sensitive study. Music, and all of its associations, may vary considerably from one musical culture to another: yet music may share similarities. Such richness offers a variety of ways to encounter and engage with a constantly changing world. A vibrant musical education fosters curiosity and openness to both familiar and unfamiliar musical worlds. Through such a study of music we learn to hear relationships of pitch in sound, pattern in rhythm and unfolding sonic structures. Through participating in the study of music we are able to explore the similarities, differences and links in music from within our own culture and that of others across time. Informed and active musical engagement allows us to explore and discover relationships between lived human experience and specific sound combinations and technologies, thus informing us more fully of the world around us, and the nature of humanity. The Diploma Programme music course provides an appropriate foundation for further study in music at university level or in music career pathways. It also provides an enriching and valuable course of study for students who may pursue other careers. COURSE DESCRIPTION The IB Diploma Programme standard level music course seeks to develop students’ knowledge and potential as musicians, both personally and collaboratively. IB Diploma Programme music students are required to study musical perception and actively listen to a wide range of music from different parts of the world, musical cultures and time periods. They also develop aural perception and understanding of music by learning about musical elements, including form and structure, notations, musical terminology and context. Through the course of study, students become aware of how musicians work and communicate. This course also provides all students with the opportunity to engage in the world of music as lifelong participants. In addition, the course enables students to enjoy lifelong engagement with the arts, become informed, reflective and critical practitioners in the arts understand the dynamic and changing nature of the arts explore and value the diversity of the arts across time, place and cultures express ideas with confidence and competence develop perceptual and analytical skills develop their knowledge and potential as musicians, both personally and collaboratively. 1 COURSE SUMMARY COURSE GOALS CG1: Students will demonstrate informed, reflective, and critical viewpoints through performances, original creations, and critiques. CG2: Students will express value for the diversity of arts across time, place, and cultures. CG3: Students will develop perceptual and analytical skills, and express ideas with confidence and competence. COURSE ENDURING UNDERSTANDINGS COURSE ESSENTIAL QUESTIONS CEU1: Cultural and historical events impact the creation and understanding CEQ1a: Why should I care about music? of musical works. CEQ1b: Does music lead culture or does culture lead music? CEU2: Musicians and composers intentionally manipulate musical elements CEQ2a: How does a combination of musical elements serve to create music? during the creation and performance of musical works. CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEU3: Musical critiques mirror one’s own perceptions and biases, resulting in CEQ3a: What’s the difference between a thoughtful and a thoughtless artistic various valid interpretations. judgment? CEQ3b: How many valid analyzes or criticisms can one musical work generate? CEU4: To effectively communicate and/or understand ideas, concepts, and CEQ4a: What is music sense? messages through a musical work, one must demonstrate a mastery of CEQ4b: How do people feel about music they do not understand? analysis, critique, technique, and global understanding. 2 UNIT GOALS AND PACING UNIT TITLE UNIT GOALS DURATION 1: Music History Students will study and make connections between the music of composers of the common practice period. 30 sessions LG1: Students will develop perceptual and analytical skills as it relates to harmony and voice leading in the 2: Music Theory common practice period in order to extrapolate and infer origin, time period, composer, historical context. 30 sessions LG2: Students will create original works, using these perceptual and analytical skills. 3 IB MUSIC SL 1 DURATION: UNIT 1: MUSIC HISTORY 30 sessions UNIT OVERVIEW UNIT LEARNING GOALS Students will analyze and make connections between composers’ musical and compositional styles of the common practice period. ENDURING UNDERSTANDINGS ESSENTIAL QUESTIONS CEU1: Cultural and historical events impact the creation and CEQ1a: Why should I care about music? understanding of musical works. CEQ1b: Does music lead culture or does culture lead music? CEU2: Musicians and composers intentionally manipulate musical CEQ2a: How does a combination of musical elements serve to create music? elements during the creation and performance of musical works. CEQ2b: Do composers write for a specific purpose? CEQ2c: How do underlying structures unconsciously guide the creation of musical works? CEU3: Musical critiques mirror one’s own perceptions and biases, CEQ3a: What’s the difference between a thoughtful and a thoughtless artistic resulting in various valid interpretations. judgment? CEQ3b: How many valid analyzes or criticisms can one musical work generate? 4 UNIT LEARNING SCALE 4 In addition to score 3 performances, the student can demonstrate highly developed connections and analyses of common practice period (IB mark 5) techniques in a historical perspective. 3 The student can produce work that shows: (IB mark 3-4) ● effective connections between typical common practice period techniques of composition; ● effective analysis of various musical compositions from a historical perspective. 2 The student sometimes needs assistance from a teacher, makes minor mistakes, and/or can do the majority of level 3 performances. (IB mark 2) 1 The student needs assistance to avoid major errors in attempting to reach score 3 performances. (IB mark 1) 0 Even with assistance, the student does not exhibit understanding of the performances listed in score 3. 5 COMMON ASSESSMENT ALIGNMENT DESCRIPTION 1.3.12.B.1 Students will select a work from two different composers who are typical of their musical historical period (including, but not limited to 1.4.12.A.1 Medieval, Baroque, Classical, Romantic, Contemporary, etc.) and provide a detailed analysis of the composers’ use of musical elements (form, 1.4.12.B.2 rhythm, harmony, etc.) contained therein. The analysis will describe and illustrate common compositional techniques, cultural and historical 11-12.WHST.2 influences and other key connections. DOK 4 In preparation for Musical Links Investigation (IB Requirement), students will demonstrate knowledge of musical time periods and styles by listening to a musical work not previously covered in coursework and provide a detailed analysis of what is heard. Sample analysis questions include: 1.1.12.B.1 ● What instruments are used? 1.3.12.B.1 ● What is the style? 1.4.12.A.1 ● In what year/music period does this piece originate? Does the time influence the work? DOK 3 ● In what form is it composed? ● What composer or in whose style is it composed? ● What else do you hear? ● What other pieces sound similar? 6 TARGETED UNIT STANDARDS DECLARATIVE KNOWLEDGE PROCEDURAL KNOWLEDGE NEW STANDARDS TO INTRODUCE historical periods of music Listen and analyze various musical scores for 1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, musical elements musical elements in historical context (DOK 3) intervals, chords, and harmonic progressions are organized and significant historical periods in world manipulated to establish unity and variety in genres of musical history/US history Identify forms in music including sonata form, compositions. ABA, rondo, ternary, theme and variation and concerto (DOK 1) Analyze themes and motives of the classical string quartet as well as identify ostinato patterns (DOK 3) specific ground-breaking Describe examples of music changing/ 1.2.12.A.1 Determine how dance, music, theatre, and visual art performances revolutionizing culture
Load more

Recommended publications
  • Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings
    Fakult¨at fur¨ Elektrotechnik und Informationstechnik Computational Methods for Tonality-Based Style Analysis of Classical Music Audio Recordings Christof Weiß geboren am 16.07.1986 in Regensburg Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) Angefertigt im: Fachgebiet Elektronische Medientechnik Institut fur¨ Medientechnik Fakult¨at fur¨ Elektrotechnik und Informationstechnik Gutachter: Prof. Dr.-Ing. Dr. rer. nat. h. c. mult. Karlheinz Brandenburg Prof. Dr. rer. nat. Meinard Muller¨ Prof. Dr. phil. Wolfgang Auhagen Tag der Einreichung: 25.11.2016 Tag der wissenschaftlichen Aussprache: 03.04.2017 urn:nbn:de:gbv:ilm1-2017000293 iii Acknowledgements This thesis could not exist without the help of many people. I am very grateful to everybody who supported me during the work on my PhD. First of all, I want to thank Prof. Karlheinz Brandenburg for supervising my thesis but also, for the opportunity to work within a great team and a nice working enviroment at Fraunhofer IDMT in Ilmenau. I also want to mention my colleagues of the Metadata department for having such a friendly atmosphere including motivating scientific discussions, musical activity, and more. In particular, I want to thank all members of the Semantic Music Technologies group for the nice group climate and for helping with many things in research and beyond. Especially|thank you Alex, Ronny, Christian, Uwe, Estefan´ıa, Patrick, Daniel, Ania, Christian, Anna, Sascha, and Jakob for not only having a prolific working time in Ilmenau but also making friends there. Furthermore, I want to thank several students at TU Ilmenau who worked with me on my topic. Special thanks go to Prof.
    [Show full text]
  • In Ludus Tonalis
    Grand Valley Review Volume 23 | Issue 1 Article 4 2001 The rC eative Process vs. The aC non Kurt J. Ellenberger Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/gvr Recommended Citation Ellenberger, Kurt J. (2001) "The rC eative Process vs. The aC non," Grand Valley Review: Vol. 23: Iss. 1, Article 4. Available at: http://scholarworks.gvsu.edu/gvr/vol23/iss1/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Grand Valley Review by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. by Kurt J. Ellenberger frenzied and unforh The Creative Process vs. for "originality" (as trinsic value in and greatest composers a The Canon in a variety of differe as a testament to thE Hindemith Recycles in Ludus Tonalis in our own contempc necessary for today' s ways in which this w he contemporary composer faces many ob­ confines of a centuri Tstacles in the struggle towards artistic inde­ apparently still capab pendence. Not the least of these is the solemn music) in the hopes th realization that one's work will inevitably be might show themsel compared to the countless pieces of music that expression of our ow define the tradition of musical achievement as canonized in the "Literature." Another lies in the he need for one's mandate (exacerbated in this century by the T logical outgrowtl academy's influence) that, to qualify as innova­ ently a powerful 01 tive or original, a work must utilize some new influence.
    [Show full text]
  • Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, Op. 21, No. 1
    FORMAL AND HARMONIC CONSIDERATIONS IN CLARA SCHUMANN'S DREI ROMANZEN, OP. 21, NO. 1 Katie Lakner A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2015 Committee: Gregory Decker, Advisor Gene Trantham © 2015 Katie Lakner All Rights Reserved iii ABSTRACT Gregory Decker, Advisor As one of her most mature works, Clara Schumann’s Drei Romanzen, op. 21, no. 1, composed in 1855, simultaneously encapsulates her musical preferences after half a lifetime of extensive musical study and reflects the strictures applied to “women’s music” at the time. During the Common Practice Period, music critics would deride music by women that sounded too “masculine” or at least not “feminine” enough. Women could not write more progressive music without risking a backlash from the music critics. However, Schumann’s music also had to earn the respect of her more progressive fellow composers. In this piece, she achieved that balance by employing a very Classical formal structure and a distinctly Romantic, if somewhat restrained, harmonic language. Her true artistic and compositional talents shine forth despite, and perhaps even due to, the limits in which her music had to reside. iv Dedicated to Dennis and Janet Lakner. v ACKNOWLEDGMENTS Thanks the Gregory Decker and Gene Trantham for their incredible patience and guidance throughout the writing of this paper. Thanks to Dennis and Janet Lakner and Debra Unterreiner for their constant encouragement and mental and emotional support. Finally, special thanks to the baristas at the Barnes and Noble café in Fenton, MO, for providing the copious amounts of caffeine necessary for the completion of this paper.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]
  • Simulating Melodic and Harmonic Expectations for Tonal Cadences Using Probabilistic Models
    JOURNAL OF NEW MUSIC RESEARCH, 2017 https://doi.org/10.1080/09298215.2017.1367010 Simulating melodic and harmonic expectations for tonal cadences using probabilistic models David R. W. Searsa,MarcusT.Pearceb,WilliamE.Caplina and Stephen McAdamsa aMcGill University, Canada; bQueen Mary University of London, UK ABSTRACT ARTICLE HISTORY This study examines how the mind’s predictive mechanisms contribute to the perception of Received 5 November 2016 cadential closure during music listening. Using the Information Dynamics of Music model (or Accepted 14 July 2017 IDyOM) to simulate the formation of schematic expectations—a finite-context (or n-gram) model KEYWORDS that predicts the next event in a musical stimulus by acquiring knowledge through unsupervised Cadence; expectation; statistical learning of sequential structure—we predict the terminal melodic and harmonic events statistical learning; from 245 exemplars of the five most common cadence categories from the classical style. Our segmental grouping; findings demonstrate that (1) terminal events from cadential contexts are more predictable than n-gram models those from non-cadential contexts; (2) models of cadential strength advanced in contemporary cadence typologies reflect the formation of schematic expectations; and (3) a significant decrease in predictability follows the terminal note and chord events of the cadential formula. 1. Introduction regularities that listeners will learn and remember. The tonal cadence is a case in point. As a recurrent temporal In the intellectual climate now prevalent, many scholars formula appearing at the ends of phrases, themes and view the brain as a ‘statistical sponge’ whose purpose is larger sections in music of the common-practice period, to predict the future (Clark, 2013).
    [Show full text]
  • A Foundational Approach to Core Music Instruction in Undergraduate Music Theory Based on Common Universal Principles
    A FOUNDATIONAL APPROACH TO CORE MUSIC INSTRUCTION IN UNDERGRADUATE MUSIC THEORY BASED ON COMMON UNIVERSAL PRINCIPLES Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Christy Jo Talbott, B.A., B.S., M.M. The Ohio State University 2008 Dissertation Committee: Gregory M. Proctor, Ph.D., Advisor Approved by Burdette Green, Ph.D. Daniel Avorgbedor, Ph.D. __________________________ Advisor Music Graduate Program Copyright by Christy Jo Talbott 2008 ABSTRACT Music is a large subject with many diverse subcategories (Pop, Classical, Reggae, Jazz, and so on). Each subcategory, classified as a genre for its unique qualities, should relate in some way to that broader subject. These unique properties, however, do not negate all possible relationships among the genres. That these subcategories fit under a “music” label implies that they contain commonalities that transcend their differences. If there is, then, a set of commonalities for this abstract concept of music, then an examination of musics from diverse cultures should illuminate this fact. This “set of commonalities” for a real subject called music should not be limited to the Germanic tradition of the 16th-18th century or to Parisian art song of the 19th but, instead, is open to a world repertoire unbounded by era or nation. Every culture has invented a music of its own. The task here is to show that, from a variety of sources, a basic set of elements is common across cultures. In addition, those elements do not distinguish one category from another but, instead, collectively suggest a set of common principles.
    [Show full text]
  • Music Theory 2-4
    FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT MUSIC THEORY 2-4 HONORS MUSIC THEORY 2-4 Grade Level: 10-12 Credits: 5 BOARD OF EDUCATION ADOPTION DATE: AUGUST 27, 2012 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS Board of Education Mr. Heshy Moses, President Mrs. Jennifer Sutera, Vice President Mr. Carl Accettola Mr. William Bruno Mrs. Elizabeth Canario Mrs. Kathie Lavin Mr. Ronald G. Lawson Mr. Michael Messinger Ms. Maryanne Tomazic Mr. Charles Sampson, Superintendent Ms. Donna M. Evangelista, Assistant Superintendent for Curriculum and Instruction Curriculum Writing Committee Mr. Anthony Limaldi Mr. Edward Gattsek Supervisors Ms. Deana Farinick Ms. Judith Lagana Ms. Judith Newins Mr. Stanley Koba Ms. Michelle Lilley Ms. Stephanie Kayafas Music Theory II-IV and Honors Level(s) - Introduction Music Theory II-IV Course Description & Philosophy This is a one year, five credit course which satisfies the 5 credit graduation requirement for fine and performing arts. Music Theory explores various styles of musical composition. It is a rigorous course with a structured and regimented method. The main composition style that will be explored is that which was used by composers during the Common Practice Period (1500-1913) In addition, some contemporary techniques will be explored. Composition and analysis will constitute the bulk of the course work and nightly homework will be assigned. A musical background and/or working knowledge of musical rhythm and at least one musical clef: treble or bass, will be helpful, but not necessary. The level of musicianship ranges from students who understand the fundamentals of music to students who can create original works for large ensembles.
    [Show full text]
  • Teaching Traditional Music Theory with Popular Songs
    s leaching Traditional Music Theory with Popular Songs: Pitch Structures Heather Maclachlan 1' his chapter provides a guideline for teaching conventi�nal, common­ Pr actice period music theory concepts using well-known English-language P opular songs. I developed the lessons included here in the a-ucible of the u niversity classroom while teaching music theory to undergraduate students t � Cornell University in 2007. This approach to teaching theory, therefore, as the advantage of having been created in conjunction with recent stu- d e�ts, who ultimately demonsu·ated mastery of the concepts presented and en1oyed doing so. While this tactic has not been tested with a large enough r g oup of students to provide reliable data, it is clear that the students who P�rticipated in these lessons deeply appreciated the oppo1tunity, and they at � � �s much on their course evaluations, all of which were quite positive. ndiv1duals made comments like, "It was ina-edible to hear what we were 1 earning in pieces that we knew," and "The teacher should write her own �eJctbook using examples from modern m\tSic! ! ! " This chapter represents a trst attempt at presenting this approach to a larger audience. BENEFITS OF INCORPORATING CONTEMPORARY-POP SONGS INTO TRADITIONAL MUSIC-THEORY CLASSES 'l'h. story of how I came to use this approach to music theory demonstrates s e orne important pedagogical principles. I was working as a teaching assis­ t ant for a professor of music theory who had developed a clear and consis­ t ent approach to the topic. Over the course of about 20 years, he honed his curriculum.
    [Show full text]
  • Studies in the History of the Cadence Caleb Michael Mutch Submitted In
    Studies in the History of the Cadence Caleb Michael Mutch Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 1 © 2015 Caleb Michael Mutch All rights reserved 2 ABSTRACT Studies in the History of the Cadence Caleb Michael Mutch This dissertation traces the development of the concept of the cadence in the history of music theory. It proposes a division of the history of cadential theorizing into three periods, and elucidates these periods with four studies of particularly significant doctrines of musical closure. The first of these periods is the pre-history of the cadence, which lasted from the dawn of medieval music theory through the fifteenth century. During this time theorists such as John of Affligem (ca. 1100), whose writings are the subject of the first study, developed an analogy between music and the classical doctrine of punctuation to begin to describe how pieces and their constituent parts can conclude. The second period begins at the turn of the sixteenth century, with the innovative theory expounded by the authors of the Cologne school, which forms the subject of the second study. These authors identified the phenomenon of musical closure as an independent concept worthy of theoretical investigation, and established the first robustly polyphonic cadential doctrine to account for it. For the following three centuries theorists frequently made new contributions to the theorizing of the cadence in their writings, as exemplified by the remarkable taxonomy of cadences in the work of Johann Wolfgang Caspar Printz (1641-1717), the subject of the third study.
    [Show full text]
  • Things I Think About, and Don't Think About, When I Compose
    Things I Think about, and Don't Think about, When I Compose By David Temperley To illustrate what my music is like, it is best to start with an example (see fig. 1).1 This passage illustrates several important things about my music. First, it is highly tonal. For the most part, I use the harmonic system of common-practice tonality, the system used by European composers from Bach to Brahms. My treatment of motives, my use of instruments, and my handling of rhythm, phrase structure and form are also rooted in the music of the common-practice period. My music also departs from the common-practice idiom in some impor­ tant ways. In particular, it is heavily influenced by recent popular music, especially rock. This is not particularly evident in figure 1, but is somewhat so, especially in the syncopated rhythm. It can be seen that the melody re­ ally falls into two melodic lines, as shown in figure 2. The top line is synco­ pated in the manner of rock; some notes that seem accented occur just be­ fore strong beats, such as the C and B~ marked with asterisks. Such syncopated notes are heard as belonging on the strong beat after the beat they occur on. I find this kind of syncopation enormously suggestive, and use it in countless different ways. For one thing, syncopation allows for great rhythmic variety; for example, the rhythm of the upper line in figure 2 would never be found in a common-practice piece. I often employ syn­ copation in meters not commonly found in rock, like 9/8, 12/8 (see fig­ ure 5), and 3/2.
    [Show full text]
  • Music: Its Language, History, and Culture
    City University of New York (CUNY) CUNY Academic Works Open Educational Resources Brooklyn College 2015 Music: Its Language, History, and Culture Douglas Cohen CUNY Brooklyn College Brooklyn College Library and Academic IT How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bc_oers/4 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC: ITS LANGUAGE, HISTORY, AND CULTURE A Reader for Music 1300 RAY ALLEN DOUGLAS COHEN NANCY HAGER JEFFREY TAYLOR Copyright © 2006, 2007, 2008, 2014 by the Conservatory of Music at Brooklyn College of the City University of New York. Original text by Ray Allen, Douglas Cohen, Nancy Hager, and Jeffrey Taylor with contributions by Marc Thorman. ISBN: 978-0-9913887-0-7 Music: Its Language, History and Culture by the Conservatory of Music at Brooklyn College of the City University of New York is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/deed.en_US. Based on a work at http://www.music1300.info/reader. Permissions beyond the scope of this license may be available at http://www.music1300.info/reader. Cover art and design by Lisa Panazzolo Photos by John Ricasoli CONTENTS Introduction 1 Chapter 1: Elements of Sound and Music 3 Elements of Sound: Frequency, Amplitude, Wave Form, Duration 3 Elements
    [Show full text]
  • Advanced Placement Music Theory 2014-2015 Time: 3Rd Period Location: 901 & 901G Instructor: Mr
    Crosby High School Choral Music Department—Page 1 of 4 Advanced Placement Music Theory 2014-2015 Time: 3rd Period Location: 901 & 901G Instructor: Mr. West Conference: 1st period and by appointment Contact: [email protected] Prerequisites: Advanced Placement Music Theory students should meet both of the following criteria: 1) at least one year enrollment in Music Theory/Piano or an ensemble course (band or choir) and 2) concurrent enrollment in an ensemble course (band or choir) for this school year. Students should come prepared with a basic knowledge of music fundamentals (notation, etc.). Where there are deficiencies, students should be prepared to spend additional time at the start of the year honing those skills and understanding those concepts. Course Description: AP Music Theory is designed as a college-level course. The course is aligned with the first-semester music theory at the college and university level. Students who successfully complete the course and the AP exam may earn placement into second-semester Music Theory (music majors or minors) and/or earn college fine arts credit (non-music majors). Aims of the Course: The ultimate goal of the AP Music Theory course is to develop a student’s ability to recognize, understand, and describe the basic materials and processes of music that are heard or presented in a score. The course seeks to instill mastery of the rudiments and terminology of music, including hearing and notating pitches, intervals, scales and keys, chords, meter, and rhythm. Building on this foundation, the course will progress to include more sophisticated and creative tasks, such as melodic and harmonic dictation, composition of a bass line for a given melody (implying appropriate harmony), realization of a figured bass, realization of a Roman numeral progression, analysis of repertoire (including melody, harmony, rhythm, texture, and form), and sight-singing.
    [Show full text]