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Music Theory
Course Syllabi
Music Theory I Music Theory II
Advanced Placement Music Theory
Honors Music History FAC Composers' Society
Music Theory I
Course Syllabus
Instructor: Jon Grier
Office Room Number: Room 2
Phone number: 241-3327
Class Time: 10:10-11:05 AM
Required Textbook
Each student maintains a loose-leaf notebook of materials written and compiled specifically for this course by Dr. Grier. These include charts, examples, and worksheets. They are used in class every day, and are provided free of charge. The book will increase in size through the year as tests, quizzes, and other assignments are added (all are 3-hole punched for easy insertion).
Course Description
Oral skills: Sight-singing is taught using solfege, movable "do" system. Melodies, very simple at first, are sung in class as a group and as solos; ancillary drills emphasizing specific problems in sight-singing (larger intervals, difficult rhythms, etc.) as also used.
Aural skills: Melodic dictation is begun using very simple 5-7 note fragments; these are notated without rhythm. Gradually, the fragments are lengthened and rhythm added. Later in the course, triads (major, minor, augmented, diminished) are introduced for identification by ear. These skills are reinforced by the singing of the same items.
Analytical skills: Basics of musical analysis are presented in lecture-demo format, with vocabulary introduced as necessary to the discussion. Illustration is provided on the piano and with recordings. Worksheets of practice problems dealing with current topics are assigned almost daily; these are discussed the next day in class. Whenever possible, singing is used to reinforce the concepts.
Objectives
At the conclusion of this course, the student will:
• understand basic terminology relating to music theory;• know major and minor scales and key signatures;
• demonstrate a knowledge of intervals and triads;
• demonstrate aural skills which include recognition of scales, intervals, triads, simple rhythms and melodies;
• sight-sing simple diatonic melodies;
• demonstrate a basic analytical understanding of diatonic 4-part writing;
• identify the hallmarks of Baroque, Classical, Romantic and 20th century styles.
Course Requirements
A. Attendance and Tardy Policy
*REFER TO FINE ARTS CENTER HANDBOOK*B. Classroom Rules and Expectations
• Students should be seated and ready for sight-singing drills at the scheduled beginning of class.• All students will bring a pencil (NOT pen) and the theory notebook to class every day. Any worksheets assigned for homework will be finished and placed in their proper places in the notebook.
• As with any arts class emphasizing skill acquisition, regular attendance is vital. If you are absent, it is expected that you will ask for the make-up work.
• The instructor is available on most days for extra help from 8:45-9:15 and 11:05-11:30. It is expected that any student requiring extra help will ask for it. Appointments are recommended whenever possible.
• Mature behavior, respectful of colleagues and instructors, is expected at all times.
C. Supplies Necessary for Course
A 3-ring binder at least 1" thick. No other supplies are necessary, though access to a keyboard instrument is vital. The purchase of computer ear-training software is suggested.
Assessment Information and Grading Scale
Student performance is graded using the mandated South Carolina state grading scale. Specifics of student evaluation:
Oral skills: Solo singing quizzes covering a previously announced selection of melodies; rhythm performance quizzes covering previously announced rhythm exercises.Aural skills: Dictation quizzes similar in difficulty and identical in format to drills used in class, covering melody, intervals, triads, and rhythms.
Analytical skills: Generally 1 page quizzes identical in format to the worksheets.
Plan for Routine Communication With Parents
• quarterly Fine Arts Center Newsletter is mailed to all parents of Fine Arts Center students.• parents are contacted promptly in the event of academic or disciplinary problems.
• a log of parent phone calls is maintained in teacher's office.
Major Assignments and Projects Required
A major (2-day) 9-weeks exam and midterm exam are given, and a comprehensive and cumulative final exam is given.
Tentative Course Outline
The pace and content of this course are adjusted as much as possible to the aptitude and background of the class members; all topics and dates are variable.
This course is very cumulative: the majority of these topics are referenced repeatedly after they are introduced. Thus, this schedule lists the approximate points at which each topic is introduced, but not necessarily the points at which they are finished. The course incorporates numerous cursory analyses of pieces to illustrate current topics. Also sprinkled throughout the Theory I curriculum are various sight-singing and ear-training exercises; intensive drilling and testing of musical terminology also occurs throughout the year as new terms are introduced in support of new topics.
WEEKS 1-3 Vocabulary: fundamental elements of
music; basics of musical notation; pitches on the keyboard;
half & whole steps; major scales; key
signatures WEEK 4 Essential elements of Music: pitch,
rhythm, melody, texture, etc. WEEK 5 Rhythmic notation; rhythmic
exercises, sight-singing WEEKS 6-7 Intervals; acoustics WEEK 8 Triads; distinguishing triad
qualities by ear WEEK 9 Review & 9-weeks
exam WEEKS 10-12 Functional harmonic analysis;
4-part harmony concepts and vocabulary. WEEKS 13-15 Rhythmic dictation; Minor scales
& harmony WEEK 16 Music appreciation: music of India
and the Middle East WEEKS 17-18 Review, mop-up and semester
exam. WEEKS 19-22 Begin rhythm unit, terms, notation;
meter identification. WEEK 23 Musical texture WEEK 24 Intro to music of the
Baroque WEEKS 25-27 4-part writing WEEK 28 Intro to music of the Classical
era WEEK 29 Intro to music of the Romantic
Era WEEKS 30-31 Musical texture WEEKS 33-34 Intro to music of th 20th
Century WEEK 35 Intro to Jazz WEEK 36 Music appreciation: The Planets, by
Gustav Holst WEEK 37 Music appreciation: The Rite of
Spring, by Igor Stravinsky WEEKS 37-38 Review and final exam.
Music Theory II
Course Syllabus
Instructor: Dr. Jon Grier
Office Room Number: Room 2
Phone number: 241-3327
Class Time: (in 2002-03, this class is being taught by Mr. Ravnan)
Required Textbook
Each student is given a large looseleaf notebook of materials written and compiled specifically for this course (and AP Theory) by Drs. Grier and Robinson. These include charts, examples, and worksheets, and are organized into 14 topic units. This is used in class every day, and is provided free of charge. The book increases in size through the year as tests, quizzes, and other assignments are added (all are 3-hole punched for easy insertion).
Suggested Auxilliary Materials
Students are strongly encouraged to purchase a copy of the ear-training tutorial program Macgamut. It will be offered to the students at standard retail price (about $28), and comes in both Windows and Macintosh versions on CD-ROM. It is assumed that the student will practice their ear-training skills outside of class, and using a computer tutorial is the best method available.
Course Description:
Successful participants in this class will earn 1 unit of regular elective credit.
Oral skills: Sight-singing is taught using solfege, movable "do" system. Melodies, very simple at first, are sung in class as a group and as solos; ancillary drills emphasizing specific problems in sight-singing (larger intervals, difficult rhythms, etc.) as also used.Aural skills: Melodic dictation is begun using very simple 5-7 note fragments; these are notated without rhythm. Gradually, the fragments are lengthened and rhythm added. Later in the course, triads (major, minor, augmented, diminished) are introduced for identification by ear. These skills are reinforced by the singing of the same items.
Analytical skills: Basics of musical analysis are presented in lecture-demo format, with vocabulary introduced as necessary to the discussion. Illustration is provided on the piano and with recordings. Worksheets of practice problems dealing with current topics are assigned almost daily; these are discussed the next day in class. Whenever possible, singing is used to reinforce the concepts.
Objectives
At the conclusion of this course, the student will demonstrate:
• command of all Theory I topics;• increased use of technical vocabulary to include concepts of texture,
melodic analysis, and compositional devices;
• ability to analyze diatonic chorale harmonizations;
• ability to identify and spell all types of 7th chords;
• an increase of dictation abilities to include more complex melodies;
• an increased ability to sight-sing melodies of greater complexity;
• and an ability to part-write using all diatonic functions and their inversions.
Course Requirements
A. Attendance and Tardy Policy*REFER TO FINE ARTS CENTER HANDBOOK*B. Classroom Rules and Expectations
• Students should be seated and ready for sight-singing drills at the scheduled beginning of class.• All students will bring a pencil (NOT pen) and the theory notebook to class every day. Any worksheets assigned for homework will be finished and returned to their proper places in the notebook.
• Limited, quiet snacking is allowed during class. Gum is not allowed.
• As with any arts class emphasizing skill acquisition, regular attendance is vital. If you are absent, it is expected that you will ask for the make-up work.
• The instructor is available on most days for extra help from 8:45-9:15, 11:05-11:30, 12:45-1:15 and 3:05-3:20. It is expected that any student requiring extra help will ask for it. Appointments are recommended whenever possible.
• Mature behavior, respectful of instructors and colleagues, is expected at all times.
C. Supplies Necessary for Course
No other supplies are necessary, though access to a keyboard instrument is vital. Students will occasionally need to make photocopies of the Listening Log form.
Assessment Information and Grading Scale
Student peformance is graded using the mandated South Carolina state grading scale. Specifics of student evaluation:
Oral skills: Solo singing quizzes covering a previously announced selection of melodies.Aural skills: Dictation quizzes similar in difficulty and identical in format to drills used in class. Students are also required to keep a listening log, in which they will utilize their newly acquired vocabulary and listening skills.
Analytical skills: Generally 1-page quizzes identical in format to the worksheets.
Plan for Routine Communication with Parents
• quarterly Fine Arts Center Newsletter is mailed to all parents of Fine Arts Center students.• parents are contacted promptly in the event of academic or disciplinary problems.
• a log of parent phone calls is maintained in teacher's office.
Major Assignments and Projects Required
A Listening Log of 20 entries is required each 9 weeks; a major (2-day) midterm exam is given, and a comprehensive and cumulative final exam is given.
Tentative Course Outline
WEEKS 1-2 Vocabulary: definition of essential parameters of music; review basics of musical notation.WEEK 3 Begin study of major keys and scales; begin solfege and sight-singing.
WEEK 4 Write and sing scales; introduce relative minor scales and keys.
WEEK 5 Introduce intervals, aural recognition of intervals.
WEEK 6 Interval inversion; introductory acoustics and the harmonic series (optional topic).
WEEKS 7-9 Diatonic modes; modes in the literature; aural recognition of modes.
WEEK 10 Vocabulary unit #2.
WEEKS 11-16 Begin harmony study: triads, functional harmonic analysis; 4-part harmony concepts & vocabulary, 7th chords, and harmonic analysis including 7th chords.
WEEKS 17-18 Review and semester exam.
WEEKS 19-22 4-part writing; begin analysis in minor mode.
WEEK 23 Begin rhythm unit- meter identifications, terms, notation.
WEEKS 24-28 4-part writing; rhythm unit cont'd; analysis of Bach Cantata #140.
WEEK 29 World Music unit: Music of India (time permitting).
WEEKS 30-31 Suspensions & borrowed dominants.
WEEKS 32-34 4-part writing in minor mode, figured bass.
WEEK 35 Musical texture.
WEEKS 36-37 Analysis: Stravinsky's Rite of Spring (or other major work, time permitting)
WEEKS 37-38 Review and semester exam.
This course is very cumulative: the majority of these topics are referenced repeatedly after they are introduced. Thus, this schedule lists the approximate points at which each topic is introduced, but not necessarily the points at which they are finished. The course incorporates numerous cursory analyses of pieces to illustrate current topics. Also sprinkled throughout the Theory II curriculum are various sight-singing and ear-training exercises; intensive drilling and testing of musical terminology also occurs throughout the year as new terms are introduced in support of new topics.
Advanced Placement
Music Theory
Course Syllabus
Instructors: Dr. Jon Grier
Office Room Number: Room 2
Phone numbers: 241-3327
Class Times: 9:15-10:10, 1:15-2:08
Required Textbook
Each student is given a large looseleaf notebook of materials written and compiled specifically for this course by Drs. Grier and Robinson. These include charts, examples, and worksheets, and are organized into 14 topic units. This is used in class every day, and is provided free of charge. The book increases in size through the year as tests, quizzes, and other assignments are added (all are 3-hole punched for easy insertion).
Suggested Auxilliary Materials
Students are strongly encouraged to purchase a copy of the ear-training tutorial program Macgamut. It will be offered to the students at standard retail price (about $28), and comes in both Windows and Macintosh versions on CD-ROM. The regular use of Macgamut by each student as part of their at-home practice routine will greatly enhance their preparedness for the testing of these skills on the AP Exam.
Course Description
Successful participants in this class will earn 1 unit of elective AP credit. Though AP Music Theory roughly parallels the content of a college freshman year theory course, some of the topics included are usually covered quite late in the undergraduate course of study. The material is covered very rapidly so that it can all be fit into the course; copious homework and intensive skills practice are required of the student. Significant critical/analytical/ creative thinking skills are fostered in most parts of the course, and especially in considerations of texture, harmonic progression, formal structuring, instrument transposition, and style. AP Examination questions emphasize the synthesis of musical knowledge into usable musical understanding; the final question on the test asks students to compose music in an 18th century idiom.
In addition, the Music Department maintains a policy of teaching an advanced theory course that is of significant relevance to students who will not go on to major in music. Thus, the subject matter is much wider than required by the AP Music Theory Examination, and the challenge is all the greater for the inclusion of this material.
Oral skills: Sight-singing is taught using solfege, movable "do" system. Melodies, very simple at first, are sung in class as a group and as solos; ancillary drills emphasizing specific problems in sight-singing (larger intervals, difficult rhythms, etc.) as also used. Later in the 2nd semester, melodies in minor mode and sight-singing melodies from AP Examinations of previous years are practiced.Aural skills: Melodic dictation is begun using very simple 5-7 note fragments; these are notated without rhythm. Gradually, the fragments are lengthened and rhythm added. Later, triads and 7th chords, and modes are introduced for identification by ear. These skills are reinforced by the singing of the same items. Identification of intervals is facilitated by the use of familiar melodies that begin with each interval. Harmonic dictation, in which the student must write down the soprano, bass, and harmonic functions from a brief example played on the piano, is a very advanced skill introduced about 6 weeks before the AP Examination.
Analytical skills: Basics of musical analysis are presented in lecture-demo format, with vocabulary introduced as necessary to the discussion. Illustration is provided on the piano and with recordings. Worksheets of practice problems dealing with current topics are assigned almost daily; these are discussed the next day in class. Whenever possible, singing is used to reinforce the concepts. Many writing skills are developed in group efforts on the board and in group critiques of individual exercises. Many AP Examination questions (and similar problems fashioned by the faculty) are covered in the last quarter of the year.
Objectives
At the conclusion of this course, the student will demonstrate:
• a command of all Theory II topics;• an increase of technical vocabulary to include concepts of texture, meter, orchestration, melodic analysis, and various compositional devices;
• ability to analyze diatonic chorale harmonizations of increasing complexity; command of simple chromatic materials (borrowed dominants);
• ability to identify and spell all types of 7th chords;
• an increase of dictation abilities to include more complex melodies and simple diatonic harmonic function;
• an increase of ability to sight-sing melodies of greater complexity;
• ability to part-write using all diatonic functions and their inversions;
• and an ability to answer AP practice questions.
Course Requirements
A. Attendance and Tardy Policy*REFER TO FINE ARTS CENTER HANDBOOK*B. Classroom Rules and Expectations
• Students should be seated and ready for sight-singing drills at the scheduled beginning of class.• All students will bring a pencil (NOT pen) and the theory notebook to class every day. Any worksheets assigned for homework will be finished and returned to their proper places in the notebook.
• Limited, quiet snacking is allowed during class. Gum is not allowed.
• As with any arts class emphasizing skill acquisition, regular attendance is vital. If you are absent, it is expected that you will ask for the make-up work.
• The instructor is available on most days for extra help from 8:45-9:15, 11:05-11:30, 12:45-1:15 and 3:05-3:20. It is expected that any student requiring extra help will ask for it. Appointments are recommended whenever possible.
• Mature behavior, respectful of instructors and colleagues, is expected at all times.
C. Supplies Necessary for Course
No other supplies are necessary, though access to a keyboard instrument is vital. Students will occasionally need to make photocopies of the Listening Log form.
Assessment Information and Grading Scale
Student peformance is graded using the mandated South Carolina state grading scale. Specifics of student evaluation:
Oral skills: Solo singing quizzes covering a previously announced selection of melodies; these become fairly complex by the end of the year, including minor mode and basic chromaticisms.Aural skills: Dictation quizzes similar in difficulty and identical in format to drills used in class. These include advanced hearing skills such as identifying meter and texture, and harmonic dictation. Students are also required to keep a listening log, in which they will utilize their newly acquired vocabulary and listening skills.
Analytical skills: Generally 1-page quizzes identical in format to the worksheets. All students also take the Advanced Placement Theory Examination, given in May of each year by ETS. This is a very rigorous and comprehensive 4-hour examination; for the period 1989-2000, more than 90% of FAC students passed the Examination (scoring 3 or higher on the 5-point AP scale).
Major Assignments and Projects Required
A Listening Log of 20 entries is required each 9 weeks; a major (2-day) midterm exam is given; all students take the Advanced Placement Music Theory Examination in May.
Plan for Routine Communication with Parents
• quarterly Fine Arts Center Newsletter is mailed to all parents of Fine Arts Center students.• parents are contacted promptly in the event of academic or disciplinary problems.
• a log of parent phone calls is maintained in teacher's office.
Tentative Course Outline
WEEK 1 Definition of essential parameters of music (melody, harmony, etc.).WEEK 2 Review of basics of notational system, terminology, and other items from Theory II.
WEEK 3 Review of major and minor keys and scales; solfege and beginning dictation drills.
WEEKS 4-5 Intervals; interval inversion; introductory acoustics and the harmonic series.
WEEK 6 Intervals & harmonic series cont'd; diatonic modes and their relationships to the major keys.
WEEK 7 Modes cont'd; demonstrations of modes in the literature.
WEEK 8 Modes cont'd; aural recognition of modes.
WEEKS 9-13 Harmony: triads, functional harmonic analysis 7th chords, 4-part harmony concepts & vocabulary, harmonic analysis w/7th chords, non-harmonic tones.
WEEK 14 Textures unit.
WEEK 15 Harmonic analysis in minor mode.
WEEKS 16-17 Review, Semester exam.
WEEK 18 World Music unit: Music of India.
WEEK 19 Begin 4-part writing.
WEEK 20 Analysis of Bach Cantata #140, Wachet auf, ruft uns die Stimme.
WEEKS 21-23 More 4-part writing, Cantata #140; suspensions.
WEEKS 24-26 Rhythm concepts unit; borrowed dominants
WEEK 27 Analysis: Stravinsky's Rite of Spring (or other major work, time permitting)
WEEK 28 Figured bass harmonization.
WEEK 29 World Music unit #2: Africa and Japan (time permitting).
WEEK 30 Introduction to melody & phrase structure.
WEEK 31 Melody unit concluded; introduction to musical form.
WEEK 32 Instruments & transpositions unit.
WEEKS 33-37 Instruments concluded; review & AP test preparation; AP Theory Examination.
WEEK 38 Misc. special topics.
This course is very cumulative: the majority of these topics are referenced repeatedly after they are introduced. Thus, this schedule lists the approximate points at which each topic is introduced, but not necessarily the points at which they are finished. The course incorporates numerous cursory analyses of pieces to illustrate current topics. Also sprinkled throughout the AP Theory curriculum are various sight-singing and ear-training exercises; intensive drilling and testing of musical terminology also occurs throughout the year as new terms are introduced in support of new topics. AP practice questions are also covered in special optional after-school sessions beginning in March.
Honors Music History
Course Syllabus
Instructor: Dr. Jon Grier
Office Room Number: Room 2
Phone number: 241-3327
Class Time: 2:10-3:05
Required Textbook(s)
Primary Text: Music, A Listener's Introduction, by Kenneth Levy (Harper & Row: 1983. This is supplied by the FAC). This is an excellent text for this class. It is set up more or less like a music appreciation text, but assumes the student has significant knowledge of music theory; the evolution of music is chronicled in terms of technical devices as well as style and aesthetics. It includes a recorded anthology of music.
Ancillary Materials: Copious use is made of the FAC's music library of over 1000 CD recordings, more than 250 reference textbooks, and scores of more than 300 works. Other frequently utilized sources: The Norton Scores, The Schirmer Scores, The Norton Anthology of Western Music, The Harvard Dictionary of Music, The New Groves Dictionary of Music and Musicians, A History of Western Music, 4th Ed. (Grout & Palisca, Norton: 1988), The Lives of the Great Composers, Revised (Harold Schonberg, Norton: 1981), and other volumes from the music history series by W. W. Norton Co. Many analysis projects are devised by the instructor. Invaluable insights are also provided by guest artists; limited use is made of some of the fine PBS videos on music.
Course Description
Successful participants will earn 1 unit of elective Honors credit. The course is a survey of the musical literature and the evolution of musical style from the Greeks to the present, which is roughly analogous to a college freshman or sophomore year intro history survey course. The bulk of this material is presented in lecture-demo. Students are introduced to the essential features of each style and its literature, and then examples are heard. Listening is almost always done while following a printed score of the music; each listening is followed by discussion of the piece, emphasizing the ways in which it manifests the style traits under consideration. This process is repeated until the students have acquired reasonable familiarity with the aesthetics and technical devices of that style.
In addition to reinforcing this understanding with readings from the text, students are also frequently assigned homework analysis projects, in which they apply their understanding to the dissection of another piece. Study guides are provided to focus the students' attention on the most important issues.
History students also keep a listening log, in which excerpts in a wide variety of styles are quickly analyzed as to style, texture, meter, and other details. A log of 20 such entries is required each quarter. Students are expected to employ, with increasing sophistication, the vocabulary and musical understanding acquired in this and previous theory classes in the "commentary" section of each entry.
Objectives
At the conclusion of this course, the student will demonstrate:
• know ledge of historical periods of Western music, in sequence;• knowledge of the most important composers and a portion their works;
• basic understanding of form, phrase structure, and texture;
• and an understanding of the characteristics of each style period, with particular attention to the evolution of Western music in terms of sonority and aesthetics.
Course Requirements
A. Attendance and Tardy Policy*REFER TO FINE ARTS CENTER HANDBOOK*B. Classroom Rules and Expectations
• Students should be seated and ready to begin at the scheduled beginning of class.• All students will bring a pencil (NOT pen) and paper (plain and manuscript) to class every day. It is not required that the text be brought to class unless it is so requested the day before.
• Limited, quiet snacking is allowed during class. Gum is not allowed.
• As with any arts class emphasizing skill acquisition, regular attendance is vital. If you are absent, it is expected that you will ask for the make-up work.
• The instructor is available on most days for extra help from 12:45-1:15 and 3:05-3:20. It is expected that any student requiring extra help will ask for it. Appointments are recommended whenever possible.
• Mature behavior, respectful of instructors and colleagues, is expected at all times.
C. Supplies Necessary for Course
A 3-ring notebook for the storage of classroom notes, past tests and study guides, and extra handouts will be necessary. No other supplies are necessary, though students will occasionally need to make photocopies of the Listening Log form.
Assessment Information and Grading Scale:
Student peformance is graded using the mandated South Carolina state grading scale. Specifics of student evaluation:
• The bulk of student assessment is done with direct testing of the material; generally one test is given for each distinct segment of the stylistic time line. The questions range from objective definitions and observations to more subjective analyses and commentary. All such tests require a substantial amount of writing.• A portion of the independent analysis projects are graded; generally, these are 1-2 page projects requiring the students to apply their knowledge of the style in question to a new composition.
• Students are also graded on the aforementioned listening log, in which they will utilize their newly acquired vocabulary and listening skills; it is expected that these will increase in quality through the year.
Major Assignments and Projects Required
A Listening Log of 20 entries is required each 9 weeks; a major (2-day) midterm exam is given; a major final exam is given. Various analysis projects are assigned through the year (see above).
Plan for Routine Communication With Parents
• quarterly Fine Arts Center Newsletter is mailed to all parents of Fine Arts Center students.• parents are contacted promptly in the event of academic or disciplinary problems.
• a log of parent phone calls is maintained in teacher's office.
Tentative Course Outline
WEEK 1 Music of ancient Greece and Rome.WEEK 2 Early monophony (to about 1100 A.D.). Gregorian chant; secular song; the rise of notation.
WEEK 3 Gregorian chant cont'd; The Ars Antiqua (roughly 900-1300 A.D.). The rise of polyphony and the first standardized musical forms; the rise of secular music; Adam de la Hale.
WEEK 4 Ars Antiqua, cont'd. Organum, conductus, discant, motet; Leonin, Perotin; Petrus de Cruce.
WEEK 5 The Ars Nova (14th century). Machaut, Landini; polyphonic chansons.
WEEK 6 The Early (Pre-) Renaissance (1400-1450). Dufay, Binchois; motets, chansons.
WEEK 7 Pre-Renaissance, cont'd; polyphonic settings of the ordinary of the Mass (cantus firmus mass).
WEEK 8 The High Renaissance (1450-1550). Ockeghem, Josquin; masses, motets, chansons.
WEEK 9 The High Renaissance cont'd. Josquin, Willaert, the madrigal composers; paraphrase, parody, and cantus firmus techniques.
WEEK 10 The Late Renaissance (1550-1600). Palestrina, Lassus; counterpoint analysis.
WEEK 11 The Late Renaissance cont'd. The English madrigalists; the Venetian school.
WEEK 12 The Early Baroque (1600-1650). The Camerata; Monteverdi; opera; figured bass.
WEEK 13 The Middle Baroque (1650-1700). Purcell, Lully, Corelli; opera, orchestral suite, trio sonata.
WEEK 14 The Late Baroque (1700-1750). Rameau (opera, music theory), Vivaldi (concerto).
WEEK S 15-17 The Late Baroque cont'd.: Handel (opera, oratorio, ouverture), Bach: fugue, overture, cantata.
WEEK 18 World Music unit: Music of India.
WEEK 19 The Pre-Classical (Rococo) Era (1720-1760); Scarlatti, Pergolesi, Gluck.
WEEK S 20-22 Classical era (ca. 1750-1820) forms: rondo, sonata, minuet & trio, etc.; also classical composers and their works, principally Mozart and Haydn.
WEEKS 23-24 Beethoven (1770-1827): symphonies, Quartet #16, other works.
WEEK 25 Romanticism (1820-1900): Issues of Romanticism; Schubert (songs, symphonies); Chopin (short character pieces for piano).
WEEK 26 Romanticism cont'd: Mendelssohn (symphonies, scherzos); Brahms (various).
WEEK 27 Schumann (piano music), Berlioz (program music).
WEEK 28 Romanticism cont'd: Liszt (symphonic poem), Wagner (opera).
WEEK 29 Strauss (tone poem); Mussorgsky (Pictures.....); Tchaikovsky (ballet); Mahler (symphony).
WEEKS 30-31 Twilight of Romanticism; Impressionism (France, ca. 1880-1920); Debussy, Ravel.
WEEK 32 Early 20th Century: Satie, Bartok, Stravinsky; nationalism, primitivism, post-impressionism, dadaism, neo-classicism, objectivism.
WEEK 33 Early 20th Cent.: atonality, serialism, expressionism, pointillism; Schoenberg, Berg, Webern.
WEEK 34 Hindemith, Cowell, Varése, Partch; urbanism, mechanicism, electronic music, exoticism.
WEEK 35 20th Century cont'd: Jazz; Gershwin, Copland.
WEEK 36 20th Century cont'd: Cage, Boulez; total serialism, chance music.
WEEK 37 20th Century cont'd: Ligeti, Penderecki, Crumb, Reich; mysticism, minimalism.
WEEK 38 20th Century cont'd: Rouse, Adams, Corigliano
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Composers' Society
Course Syllabus
Instructor: Dr. Jon Grier
Office Room Number: Room 2
Phone number: 241-3327
Class Time: Wednesdays, 4:00-5:30
Required Materials
The handbook for Composers' Society members will be Techniques of Twentieth Century Composition, A Guide to the Materials of Modern Music, by Leon Dallin (Wm. C. Brown Co.: Dubuque). This is a concise catalogue of the most important structuring and stylistic devices of twentieth century music. Copies are provided by FAC. Also, many and various scores and recordings of 20th century works will be used as the basis of analysis and discussion. These materials are available in the FAC music library. Manuscript paper will be needed for actual composing; the instructor can provide pages formatted for specific ensembles.
Suggested auxilliary materials
It is strongly suggested that students with a serious interest in composition or arranging purchase a computer music notation program such as Finale, Overture, or Sibelius. Such programs are a standard tool of the modern composer, having long ago supplanted pen and paper. Often these programs can be obtained at substantial student discounts.
Prerequisites
Most students admitted to the Fine Arts Center have had significant previous experiences in musical performing groups and/or private lessons, and many acquire the rudiments of music theory in these contexts. Thus, it is appropriate that members of the Composers' Society be admitted on an individual, approval-of-the-instructor basis. In the absence of any previous experience with music theory, the student will be required to have successfully completed the FAC Music Theory I course.
Members must also document some previous activity in composition. This does not mean that their work need be extensive or sophisticated; it means that the student is sufficiently interested and motivated to have tried some composition on their own or under other auspices. The Society is not intended for students who think they might like to try composition, even though they have not been inclined thus far. Such students are welcome to participate in the course as non-credit observers.
Course Description
The course is designed to nurture the work of very young composers, something that is rarely done. The class will meet once a week, after regular FAC class hours, for the entire school year up to a culminating new music concert (in late April or May). Extra classes may be scheduled as needed, particularly as the concert draws near. Successful participants in the course will earn 1/2 unit of honors credit.
An average class meeting will consist of a period of listening and score analysis of recent works, followed by presentation and discussion of student works in progress. The instructor as well may discuss his works in progress; exercises in orchestration may be discussed; occasional guest composers will present their work. It is expected that students will demonstrate significant time and effort in the composition of their music, and that the sophistication of the work will progress through the year.
Obviously, the coaching and critiquing of student works will be the most important aspect of the course and will go on without interruption through the year. Nothing is more instructive than writing music and hearing it performed or evaluated by fellow composers. This especially addresses Goal #1 of the SDGC Education Plan, as these talented students are challenged to work toward the highest standards in their composition, as opposed to blindly experimenting on their own.
Other activities will include theory instruction (esp. orchestration), score analysis, discussion, and input of guest artists. These activities will address Component #2 of the South Carolina State Department of Education Music Education Academic Achievement Standards, "Creative Expression," by enhancing the creative musical skills relevant to composition, including orchestration, form & balance, advanced harmony, and the terminology of modern music.
Objectives
In this course the students will:• acquire an understanding of methods of structuring music generally
• acquire knowledge of the practical issues of composition: notational issues,
capabilities of the instruments, and composing for ensembles
• improve their awareness of the musical literature of their own time
• improve their aesthetic judgment in the composition of music through listening, experimentation, and the constructive criticism of the instructor and their colleagues
• produce music suitable for performance and for presentation to colleges
Course Requirements
A. Attendance and Tardy Policy
*REFER TO FINE ARTS CENTER HANDBOOK*
B. Classroom Rules and Expectations
• All students will bring a pencil (NOT pen), manuscript paper, and their works in progress to class every day. Any exercisess assigned for homework will be discussed.• Limited, quiet snacking is allowed during class. Gum is not allowed.
• As with any arts class emphasizing skill acquisition, regular attendance is vital. If you are absent, it is expected that you will ask for the make-up work.
• Mature behavior, respectful of instructors and colleagues, is expected at all times.
C. Supplies Necessary for Course
Manuscript paper and good pencils, preferably mechanical. The instructor will supply manuscript master pages specifically designed for the ensembles that each student composes for. Access to a keyboard instrument is vital. As mentioned above, a computer music notation program is strongly recommended.
Assessment Information and Grading Scale
Each student will be expected to produce one composition of significant length each 9-week quarter. At least one of these will be sufficiently polished, with neatly written score and parts produced, to be performed on the year-end concert (called Generation to Generation) of new works by members of the Society. The works to be included on the concert will be determined by the instructor. Performers will be drawn from among the members of the Society and from other FAC performance classes. It should be emphasized that it is an invaluable opportunity for young composers to have their works performed at all, let alone performed by players as proficient and as enthused as these.
As the actual composition will take place entirely outside of class meetings, the student's performance will be evaluated in great part upon evidence of effort expended. In addition to finished pieces, sketches for works in progress, reports of listening to other recent works (including concert attendance), and progress with orchestration exercises and computer engraving programs will all be considered.
The quality of the music produced will also be a basis of evaluation. The student will be expected to produce music that is logical, practical to perform and neatly and sensibly notated. Each student's work will be evaluated on the basis of the progress he makes, not as compared to some objectified external standard. It is expected, however, that the student will experiment and move beyond imitation of music he has heard before, writing music that is honest, sophisticated, and stylistically consistent.
Students are graded using the mandated South Carolina state grading scale.
Major Assignments and Projects Required
Each student will be expected to produce at least one significant work suitable for performance on the Generation to Generation concert in April.
Tentative Course Outline
In addition to the routine critiquing of student scores, there will be theory instruction in skills especially relevant to the writing of music. The principal topics will be:
• Issues of Orchestration This is the knowledge necessary to write successfully for instruments-- ranges, transpositions, combinations of instruments, special techniques. Live class demonstrations will be given for most instruments. This instruction will be concentrated in the first part of the year so that the information can be put to immediate use in the students' work. It will be presented as follows:Unit I : Woodwinds-- flutes, double reeds, clarinets, saxophones.Unit II: Brass-- trumpets, horn, trombones, tuba
Unit III: Percussion-- an introduction to pitched and semi-pitched instruments
Unit IV: Strings-- violin, viola, 'cello, contrabass, guitar. This will be a very extensive unit covering tunings, bowings, special effects, and other issues.
• Twentieth Century Literature Survey Many class meetings will begin with listening and the cursory analysis of a recent work. This will build awareness of the students' historical place in the evolution of style, demonstrating options and raising aesthetic issues in composition. This is in the time-honored tradition of learning composition simply by considering how previous great composers have done it. It addresses Component #4 of the South Carolina State Department of Education Music Education Academic Achievement Standards, "Aesthetic Valuing," in honing the students' sense of aesthetic judgment as they study the work of great 20th Century composers and refine the content, balance, and consistency of their own compositions.
This will be done consistently through the year; some time may be borrowed from this activity during those periods in which student works are coming to completion and require more attention during class. Schools, styles, and composers considered in the survey will include, but not be limited to, Impressionism, neo-classicism, primitivism, serialism, exoticism, mechanicism, minimalism, eclecticism, Stravinsky, Bartok, Hindemith, Schönberg, Webern, Varèse, Cage, Boulez, Crumb, Reich, and Adams. Sophisticated rock and jazz examples will also be considered.
Plan for Routine Communication With Parents
• quarterly Fine Arts Center Newsletter is mailed to all parents of Fine Arts Center students.• parents are contacted promptly in the event of academic or disciplinary problems.
• a log of parent phone calls is maintained in teacher's office.
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