SYLLABUS
for
MUS211 Fall Semester
and MUS212 Spring Semester

• 1 course each semester
• Required of Music Majors
• Students must achieve a minimum grade of C- in order for these courses to count in the Music Major or Music Minor.IF YOU ARE PURSUING A MUSIC MAJOR AND RECEIVE A GRADE FOR THEORY I, II, or III THAT IS LESS THAN A "C-," YOU SHALL NOT REGISTER FOR THE NEXT COURSE IN THE SEQUENCE BEFORE YOU RETAKE THAT COURSE AND RECEIVE A "C-" OR BETTER. If you proceed with a grade that is less than a C-, you will not be able to meet the requirements for the Music Major.
• Period 2 or 3, MTWF, FAM 304, FAM207 and 305
  

• MUSIC EDUCATION STANDARDS ADDRESSED IN THIS COURSE INCLUDE:
  Subp. 3 A. 1 identify and analyze musical forms
  Subp. 3 A. 6 physical response to music through conducting
  Subp. 3 A. 7 reproduce intervals, scales, and chords in written and aural work
  Subp. 3 A. 9 demonstrate use of technology in Finale assignments
  Subp. 3 C. 7 improvise using keyboard instrument in PP assignments

• Dr. Rick Orpen, FAM 207, orpen@gustavus.edu, Phone 7348
• Dr. Yumiko Oshima-Ryan, FAM 305, yumiko@gustavus.edu Ph. 7303
• Yumiko website
  

• Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. Vol. II, 8th ed. Boston: McGraw-Hill, 2009.
• Benward, Bruce, and Marilyn Saker. Workbook to Accompany: Music in Theory and Practice. Vol. II, 8th ed. Boston: McGraw-Hill, 2009.
• Kraft, Leo. A New Approach to Ear Training. 2nd ed. New York: W.W.Norton, 1999.
• Kraft, Leo. Compact Discs to Accompany: A New Approach to Ear Training. 2nd ed. New York: W.W.Norton, 1999.
• Orpen, Rick. Rhythm Etude Reader. Book III. 2004 (Book IV for MUS212).
• Ottman, Robert W. Music for Sight Singing. 7th Ed. Upper Saddle River, NJ: Prentice-Hall, 2007.
• Turek, Ralph. Analytical Anthology of Music. 2nd ed. New York: McGraw-Hill, 1992.
  

• Metronome
• Score paper with black staves (not the tear-out kind)
• 3-ring binder or folder, and pencils

SOFTWARE

• Save all files as .mus files so that they work using Finale.
• Install Finale Workbook on your computer: Load the CD-ROM into your computer (Mac or Windows) and double click the Installer Icon, follow the directions and do a complete installation, YOU WILL NEED TO RESTART YOUR COMPUTER (these instructions are also on the Finale Workbook Tutorial found at the website listed below), THE CD-ROM MAY NEED TO BE IN YOUR COMPUTER DRIVE TO EXECUTE SAVE OR SAVE AS!
• Instructions for setting up sound on your computer are also found on the website tutorial
• Go to http://www.mhhe.com/mtp7
• Select Student Center; select Finale Workbook Tutorial if you need instruction or assistance
• To download assignment templates to your computer: click on Finale Workbook Assignment, choose download all of the templates and you will create a folder with your templates (you may need to check your computer's Downloads folder to find it - "completed_mgh Folder")
• MAKE A DUPLICATE TEMPLATE: You may wish to create a duplicate template before beginning your assignment, in this way you will save the original should you need to return to it.
• IF YOU USE THE LAB COMPUTERS TO DO YOUR ASSIGNMENTS, USE SAVE AS. YOU MAY SAVE THIS TO YOUR HOME DIRECTORY.
• To begin working on an assignment, you must open the Finale Workbook first and then choose Open from the file menu to select your file. SAVE AS .mus FILES!

• These two courses, offered in sequence each year, complete the course of study in music theory. They are the major courses in the materials and structure of music (time, melody, harmony, form) that also address questions about the processes and techniques used in creating musical works and develop a sense for the criteria by which music is evaluated. During the first semester, the emphasis is placed on chromatic material and major musical forms. In addition, there will be work in the skills of dictation, rhythm reading, sight singing and keyboard harmony. The second semester continues this work with an emphasis on contemporary music. Musical compositions in several style periods are analyzed.The following are among the competencies to be developed by the student:
• HARMONY
  Partwrite conventional progressions in four voices
  Partwrite seventh chords and their regular and irregular resolutions
  Partwrite Neapolitan and Augmented Sixth chords and their resolutions
  Partwrite embellishing chords (secondary and leading-tone triads and seventh chords)
  Partwrite the most commonly used ninth, eleventh and thirteenth chords
• ANALYSIS
  Analyze music using roman numeral analysis/figured bass, commercial chord symbols, and Schenkerian-styled linear reduction
  Analyze contemporary music using serial techniques including set theory, 12-tone matrix construction and row identification
  Place works in historical context/draw parallels with other arts/disciplines
• RHYTHM READING AND SIGHT SINGING
  Read rhythmic exercises using conductor's beat and rhythmic syllables
  Read melodic material using Movable Do or "La" and the conductor's beat
• PIANO PROFICIENCY
  Read piano music of moderate difficulty OR piano accompaniments to vocal/choral music or condensed band scores (MUED), transpose piano music, harmonize a melodic line, and improvise a melodic line for a chord progression
• DICTATION
  Write advanced rhythmic, melodic and harmonic dictation exercises as found in Kraft Ear Training®
• FORM
  Identify through analysis and listening the following forms; variation, rondo, sonata form, and several small forms
  Write compositions for piano and other vocal or instrumental ensembles as appropriate
  

• The student will partwrite diatonic and chromatic harmonies using Finale.
• The student will analyze and discuss the larger musical forms.
• The student will notate advanced melodic, rhythmic and harmonic aural music examples.
• The student will use ear training software to improve dictation skills.
• The student will sight sing advanced chromatic musical examples using solfege syllables.
• The student will sight read advanced musical examples in various meters using rhythmic syllables.
• The student will transpose, harmonize, improvise, and sight read piano music at a moderately difficult level. Skills will include simple keyboard accompaniments and playing parts from a musical score.
• The student will compose short pieces using traditional compositional techniques and contemporary practices, notate with Finale, and use a MIDI system for playback.

• Mondays: Skills and Ear Training assignments are presented; dictation quizzes given; bring Orpen, Ottman, Kraft texts and PP materials, score paper and pencils
• Tuesdays and Wednesdays: presentations on theory topics, analysis, and written assignments; written exams
• Thursdays: no class
  
• Fridays: Skills checks are performed and graded during class time. Occasionally assignments are turned in on Fridays.
  

• Students should expect to spend 5-10 hours per week outside of class time working on assignments. To attain mastery of the materials, additional time is almost surely required.
• Students shall notify the instructor in advance if they must miss a class. The student is expected to be at every class session on time.
• An attendance record is kept. It is not likely that the required work will be successfully completed unless regular attendance is maintained.
• Excessive absence (more than two unexcused absences) may result in a lowering of the student's grade at the discretion of the instructor.
• The student who misses a class is responsible for obtaining assignments and submitting them to the instructor the next class day.
  

• Each student will select a classmate as a Practice Partner. Practice Partners will meet a minimum of 2 times each week to assist each other in the preparation of the sight singing, rhythm reading, and piano proficiency assignments. Practice Partners should also work together in preparation for Dictation Quizzes. This is an important commitment and responsibility for you. Keep your scheduled times, inform your partners of any conflict, and offer a time to reschedule.

• Sol-fa syllables are useful in establishing pitch relationships and therefore assist the development of sight reading skills. We will continue to use the movable do system for the second year of theory.
• "Tah" is an effective generic syllable. .

• There will be regularly scheduled hour examinations (50-100 points each) and a final examination (2-300 points).
• There must be a compelling and acceptable reason for missing an examination. This notice must be given in advance. The instructor will decide whether extra-ordinary circumstances warrant administering the examination at a different time. If the missed examination is not made up one week from the date of the miss, the grade will be an F.

• Dictation Quizzes (10-20 points) are given only during the scheduled time. A make-up will not be given. A compelling and acceptable reason must be given in advance for missing a quiz. An unexcused miss is graded as a zero. Only those quizzes taken and zeroes for unexcused misses will be used to compute the grade. Students who take all of the quizzes will have their lowest score removed. The Kraft assignments are the material that is tested on these quizzes.
• Short unannounced Written Quizzes (10 points) on assigned material from the text or general theory topics can be given during a class period. The grading procedures apply as stated above under Dication Quizzes
  

• Assignments which are late will be checked in the usual manner for mistakes but will also receive one letter deduction for each day the assignment is late. For instance, the grade for an assignment that is one day late will not be higher than B.

DISABILITY ACCOMMODATIONS

ALL-COLLEGE POLICIES

See the College Catalogue Statement; Students with disabilities should contact Laurie Bickett (x6286) and we will work together to provide accommodations.

Matters related to All-College Policies (alcohol/drug, sexual harassment, et. al.) will be referred to the Dean of Students.

• Theory Students - All students registered for MUS 111/103, 112/104, 211, and 212 are required to take Piano Proficiency instruction as part of the normal course load. Student scores on checks are factored into the theory grade.
• see PP site Oshima-Ryan
  

• The Music Lab, FAM 304, contains 12 MIDI Workstations.
• These are to be used for music related assignments or projects including but not limited to ear training, composition, arranging, and music papers.
• Students may access their personal email accounts if done outside of classtime, but never during class.
• Under no circumstances should the computers be used to access, create, or disseminate inappropriate matter.

• The Kraft text is the ear training program to be used in preparation for dictation quizzes. The Kraft assignments are tested in the Dictation Quizzes. Any CD player can be used for this study. (Please do not hum or sing in the Music Lab or Student Lounge.)
  • Each problem is played once on the CD.
  • To replay a problem you may obviously use the rewind button to search for the start
  • OR use the index numbers printed in the book to find the beginning if your CD player has index numbers
  • OR use iTunes in the Lab or on a Mac to play the problem; load the CD in the computer tray, double click on the Audio CD icon when it appears, double click on Track 1 (or any other Track you wish to begin with) which will open iTunes and all Tracks will appear in iTunes, double click on the Track in iTunes that you wish to play, use the slider to locate the index number
  • OR set the loop function on your CD player to replay it as many times as you want.

• Written Skills

• Performance Skills

• SIGHT SINGING
  Appropriate and steady conductor's beat
  Proper tempo – bring your metronome
  Correct syllables (Movable Do or "Tah" as requested)
  Good pitch (The quality of the voice is not a factor in judging sight singing.)
  Musical phrasing
  Given A=440, find starting pitch or tonic
• RHYTHM READING
  Appropriate and steady conductor's beat for solo etudes
  Proper tempo – bring your metronome
  Approptiate rhythm syllables as indicated in Rhythm Etude Reader
  Rhythmic precision (attack points)
  Musical phrasing
• PROCEDURES FOR SS AND RR CHECKS
  1. Dr. Orpen will have an UNMARKED book for you to use in checks.
  2. He will ask for two sight reading exercises each from those assigned for SS and RR that week.
  4. A=440 will be sounded for SS. Find the beginning pitch or tonic as appropriate, do any other necessary preparation, conduct one measure at tempo (RR is done with the metronome), and begin. DO NOT STOP ONCE YOU START
  
• YOU ARE ENCOURAGED TO MARK SYLLABLES IN YOUR MUSIC FOR THE PURPOSES OF THIS STUDY! However the testing is done from an unmarked copy.

• Proper tempo
• Appropriate fingering
• Musical phrasing
• PROCEDURES FOR CHECKS ON ASSIGNED MATERIAL:
  1. Have the assigned materials ready when entering the room for the check
  2. Dr Oshima-Ryan will select material for the check from the prepared assignment
  

• Just as sol-fa syllables establish relationships between notation and pitches, counting using rhythm syllables establishes a relationship between notation and duration. It assists the development of sight reading skills. This counting system is derived from the traditional system in percussion instruction.
• Meter signatures establish bar lines identifying the length of a measure. The measure aids the musician in reading music. The division of the measure into equal units of time as reflected in the meter signature's lower number is the beat. Groupings of beats form hyperbeats. Beats and hyperbeats create the pulses which are the conducted or sensed emphases. Subdivision is the division of the beat, hyperbeat, or another level into two or three smaller equal values. Ametrical divisions require tuplets. Understanding the concept of subdivision is important in the study and performance of music with a goal of rhythmic precision. A good concept of musical time springs from a skilled understanding of rhythmic divisions and subdivisions.
• The counting system uses Arabic numerals; 1, 2, 3, etc., for pulses or triplets and, "e, &, a," for the quadruple subdivisions of the beat. The '+' is often used at the third level of subdivision to represent 'and.'
  
• The beat is the number of note values stated in the meter signature that will fill a measure. For example, two quarter notes in 2/4 meter, six eighth notes in 6/8 meter, etc.

• The eighth note triplet is counted 123 and provides the basis for counting all other triplets. (Numerals are used because this allows for a consistent use of the counting system when counting subdivided triplets."Tee" may be substituted for "three" in fast passages.) The placement of a triplet figure in relation to a pulse or a subdivision of that pulse is reflected in the counting system. Therefore, eighth-note triplets in 4/4 meter will be counted - 123,223,323,423.
• Sixteenth-note triplets are triple subdivisions of eighth notes, therefore in 4/4 meter they will be counted - 123&23,223&23,323&23,423&23.
• Quarter-note triplets are triple subdivisions of half notes, therefore in 4/4 meter, each pair of eighth notes in an eighth-note triplet will equal one quarter note in a quarter-note triplet which will be counted - 1 2 3 4 5 6 3 2 3 4 5 6.
• Half-note triplets are triple subdivisions of whole notes. They will be counted -
  1 2 3 4 5 6 3 2 3 4 5 6.