DORDT COLLEGE MUS MUSIC THEORY I FALL 2012 SYLLABUS AND CLASS SCHEDULE MB 29, MWF 12:00-12:50

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1 DORDT COLLEGE MUS MUSIC THEORY I FALL 2012 SYLLABUS AND CLASS SCHEDULE MB 29, MWF 12:00-12: Course Objectives: The student will be able to: 1) Understand and use the technical language and basic materials of music (i.e., Creational Structure) 2) Recognize and apply basic chord structures and counterpoint (i.e., Creational Development) 3) Write exercises and short compositions using diatonic materials (i.e., Creational Development) 4) Analyze music in terms of musical techniques and concepts (i.e., Contemporary Response) 5) Evaluate musical and aesthetic principles in the light of Christian faith and revelation while pursuing Christ-centered renewal in all areas of life (i.e., Religious Orientation and Contemporary Response) Texts: The following texts must be purchased and ready for use on the first day of class. Earlier editions are not acceptable. As a convenience, the textbook has been placed on reserve in the library. Clendinning/Marvin - The Musicians Guide to Theory and Analysis, 2nd Edition - ISBN: Clendinning/Marvin - The Musicians Guide Workbook, 2nd Edition - ISBN: Instructor: John MacInnis john.macinnis@dordt.edu MB 28 Office hours 10 a.m. and 3 p.m. Grading Scheme: 30% - Workbook Assignments (see below for further details) 30% - Unit Exams - Three Unit Exams (9%+10%+11%) will cover all reading assignments and class discussions. - All students must attend scheduled exams. 20% - Composition Projects

2 2 (10%) Unit Composition Projects (10%) Semester Composition Project 20% - Participation - The instructor and students will work together and strive for a classroom environment that maximizes teaching and learning in a courteous and positive forum allowing for productive discussion. - Students should come to class prepared to offer informed opinions on topics under discussion. - The instructor will administer daily quizzes to be included in the participation grade. - Students should keep personal conversations to an absolute minimum while class is in session. - Students should refrain from the use of computers or cell phones for conversation ing, chatting, texting while class is in session. Grading Scale: A (95-100) A- (90-94) B+ (86-89) B (83-85) B- (80-82) C+ (76-79) C (73-75) C- (70-72) D+ (66-69) D (63-65) D- (60-62) F (0-59) Attendance/Lateness: Attendance will be taken at the beginning of each class. Attendance at each class is mandatory, but each student will be allowed to miss three class periods for illnesses/poor health without penalty. If a student misses class for a health related reason, he or she must notify the instructor by within one week, or the absence will be considered unexcused. Every unexcused absence will result in the lowering of the student s final semester grade by 1%. Please submit all requests to miss class for non-health related reasons by at least twenty-four hours in advance for consideration. Late requests may not be granted. Since attendance is a factor in each student s grade, responding as present for an absent student will constitute cheating. Every instance of recorded lateness will result in the lowering of a student's total semester grade by 0.5%. If a student is late for class, it is the student s responsibility to see the instructor immediately after class; otherwise, the student will be counted as absent. Do not assume that the instructor has seen you enter late and has changed the role accordingly. Sometimes a student must miss class in order to perform jury duty or one of the other many responsibilities of adult life; explanations of these situations must be sent immediately to the instructor by . Workbook Assignments: Workbook assignments must be completed before class begins. On a typical day, some assignments will be collected and checked by the instructor and others will be graded in class. Illegible or unnamed assignments will not be graded. Late assignments will be accepted only in extreme circumstances and with approval from the instructor. All students must play through workbook assignments before submitting them for grading.

3 3 Composition Projects: All composition projects must be submitted electronically using Sibelius Notation Software. Project #1 - Compose a song melody setting a poem of your own choosing/composing. The poetic text should no less than 28 syllables. It is suggested that you use the song, "Amazing Grace" as a model for your work; look at how its syllables, meter, phrases, etc. work to gain ideas for your own song. There is no need to compose accompanying chords. All that is required is your song melody and its text. Criteria for subsequent composition projects will be distributed as the semester progresses. Notes On Evaluation: 1) At institutions of higher learning like Dordt College superior grades are awarded for superior work. 2) Always bear in mind that how you receive evaluation and criticism says much about you. Education is intended to be stretching, and it takes humility and maturity to receive instruction. 3) Students who apply their creative powers in rising to meet challenges (rather than in seeking to escape them) are categorically better prepared for future successes. Academic Integrity: All students must abide by the highest standards of academic integrity. The instructor assumes that all students understand the full meaning of the term plagiarism, and that it will not be tolerated in any form or for any reason, ignorance included. There is no situation in which presenting another s work (including words or ideas) as one s own is acceptable. Use proper citation so that you can benefit from the work of others while still crediting the source. All work for this course is expected to be original to and for this course. All submitted work must be completed solely by the individual student who claims authorship. Any form of academic dishonesty will result in a grade of zero for that particular assignment and an uncomfortable meeting with the instructor and dean. In some instances, the student may suffer a failing grade in the class and/or suspension. Academic Accommodation: Students who need assistance or accommodations based on the impact of a documented disability must contact the Coordinator of Services for Students with Disabilities and bring appropriate paperwork to the instructor during the first week of class. Coordinator for Services for Students with Disabilities Mrs. Marliss Van Der Zwaag Office: CA168 (ASK Center), Office Phone: Ext mvdzwaag@dordt.edu

4 4 Course Syllabus and Schedule: By attending and participating in class all students declare their knowledge and understanding of the syllabus and their willingness to abide by all its policies. Except for changes that substantially affect implementation of evaluation, this syllabus is a guide for the course and is subject to change with advance notice. The class schedule may be altered as the semester progresses. All assignments are to be completed before each class period. Preparation for Class: To truly benefit from Music 103 students should plan on investing 2+ hours outside of class for every hour in class. Those hours of preparation should consist of the following activities. 1) Read the assigned portion of The Musician's Guide to Theory and Analysis. 2) Underline important terms and ideas and prepare notecards to quiz yourself at a later time, or utilize study tools on the textbook website. 3) Listen to the music tracks cited in the text and available on the MGTA CD included with the textbook. 4) Complete the assigned segments in the workbook, referencing your text for concepts you don't understand. 5) Quiz yourself and a friend before class using your notecards. 6) Push yourself. How do the concepts you are learning play out in music you are learning in choir, orchestra, or in the practice studio? How else could you use the theoretical ideas learned in class in your own music making? Where did these theoretical concepts come from? Why and to what ends have worldviews of the past and present used these theoretical ideas? (How you perform on this last point, how you push yourself beyond merely passing this class is how you distinguish yourself as a diligent student, inquiring mind, and insightful human being.) DATE: TOPIC: MGTA READING: WORKBOOK ASSIGNMENT: W 8/29 Introduction Why Study Music Theory? Course Syllabus Preface (xxiii-xxxi) F 8/31 Pitch and pitch class, piano keyboard, whole and half steps, flats and sharps, clefs, Chapter 1 1.1, 1.2 staff notation, octave designations M 9/3 Simple meters: the beat and its divisions, conducting patterns, notation of durations Chapter 2 1.3, 1.4 W 9/5 Meter signatures, counting systems 1.5 F 9/7 Beat subdivisions, rhythm notation, syncopation, hemiola, and beat units other than 2.1, 2.2 the quarter note M 9/10 Diatonic and chromatic collections Chapter 3 2.3, 2.4 Discuss Unit Composition Project #1 W 9/12 Key signatures and scale degrees 2.5, 3.1 F 9/14 Major scales and the major pentatonic 3.2, 3.3 M 9/17 Introduction to compound meters: meter signatures, notation, counting Chapter 4 3.4, 3.5 W 9/19 Notes and rests in compound meters 4.1 F 9/21 Syncopation in compound meters, mixing beat divisions 4.2, 4.3

5 5 M 9/24 Completion of Chapter 4 4.4, 4.5 Unit Composition Project #1 W 9/26 Review for Unit 1 Exam Review Chapters 1 4 Practice Exam Unit 1 Composition Projects F 9/28 Unit 1 Exam M 10/1 Introduction to minor scales: parallel and relative minor Chapter W 10/3 Key signatures, three forms of minor, scale degrees 5.2 F 10/5 Reading Day: No Class M 10/8 Minor pentatonic, diatonic modes 5.3, 5.4 W 10/10 Introduction to interval labeling systems; identifying and writing intervals Chapter 6 5.5, 5.6 F 10/12 Diminished and augmented intervals; inversion; enharmonic intervals and interval 6.1, 6.2 class M 10/15 Concluding topics in Chapter 6 6.3, 6.4 W 10/17 Introduction to triads Chapter 7 6.5, 6.6 F 10/19 Triads in a key context 7.1 M 10/22 Chord symbols and figured bass for triads 7.2, 7.3 W 10/24 Introduction to seventh chords Chapter 8 7.4, 7.5 F 10/26 Identifying and writing seventh chords 8.1, 8.2 M 10/29 Roman numerals for seventh chords, inversion, popular music chord symbols 8.3, 8.5 W 10/31 Harmonizing a melody 8.4 F 11/2 No Class: Christianity and Popular Culture Conference M 11/5 Conclude triads and seventh chords 8.6 Unit Composition Project #2 W 11/7 Review for Unit 2 Exam Review Chapters 5-8 Practice Exam Unit 2 Composition Projects F 11/9 Unit 2 Exam (Cumulative) M 11/12 Introduction to first-species (note-against-note) counterpoint Chapter W 11/14 First-species counterpoint 9.2, 9.3 F 11/16 First-species counterpoint 9.4, 9.5 M 11/19 Second-species counterpoint Chapter W 11/21 Thanksgiving Holiday: No Class F 11/23 Thanksgiving Holiday: No Class M 11/26 Thanksgiving Holiday: No Class W 11/28 Second-species counterpoint 10.1, 10.2 F 11/30 Fourth species counterpoint 10.3, 10.4 M 12/3 Fourth-species counterpoint 10.5 W 12/5 Third- and fifth-species counterpoint 10.6 F 12/7 Third- and fifth-species counterpoint 10.7 Semester Composition Project

6 6 M 12/10 Review for Unit 3 Exam Review Chapters 9-10 Practice Exam W 12/12 Semester Composition Project Performances F 12/14 Review Day: No Class T 12/10 Unit 3 Exam (Cumulative)