Foothill CollegeApproved Course Outlines

Fine Arts and Communication Division
MUS 3BINTERMEDIATE MUSIC THEORY, LITERATURE & COMPOSITIONFall 2012
4 hours lecture, 2 hours lecture-laboratory.5 Units

Total Quarter Learning Hours: 72 (Total of All Lecture, Lecture/Lab, and Lab hours X 12)
 
 Lecture Hours: 4 Lab Hours: Lecture/Lab: 2
 Note: If Lab hours are specified, see item 10. Lab Content below.

Repeatability -
Statement: Not Repeatable.

Status -
 Course Status: ActiveGrading: Letter Grade with P/NP option
 Degree Status: ApplicableCredit Status: Credit
 Degree or Certificate Requirement: AA Degree
 GE Status: Non-GE

Articulation Office Information -
 Transferability: BothValidation: 07/2008;12/11/09;11/2011

1. Description -
Continuation of common practice procedures in music and their application to composition and music literature. Seventh chords, cadential chordal structures, secondary dominants and leading tone chords, modulation, binary and ternary form, sonata-allegro form, and variation technique. Includes a study of how social, political, philosophical, and other artistic developments outside of music influenced compositional thinking and how these were integrated into the late Classical and early Romantic periods of Western musical theory.
Prerequisite: None
Co-requisite: None
Advisory: MUS 3A proficiency or equivalent.

2. Course Objectives -
The student will be able to:
  1. notate and identify seventh chords (dominant sevenths, diminished and half diminished sevenths, minor seventh chords).
  2. analyze harmonic progressions in late 18th and early 19th century music.
  3. harmonize tonal melodies.
  4. identify modulations in diatonic harmony.
  5. identify borrowed chords.
  6. analyze binary and ternary forms in late 18th and early 19th century music.
  7. write a composition demonstrating these fundamentals.
  8. aurally identify styles and devices of music utilizing these principles.
  9. write and complete four part harmony exercises.
  10. discuss in small groups different stylistic practices of other world cultures as related to Western harmonic diatonic principles.
  11. notate from melodic and harmonic dictation.
  12. understand the different effects that social, political, philosophical, and religious thinking had on artistic expression with particular emphasis on music.
3. Special Facilities and/or Equipment -
  1. Classroom with midi keyboards and/or pianos, staff-lined blackboards, stereo/CD player.
  2. when taught on campus: access to a cassette player; classroom sound equipment for compact discs, audiotape and records, screen, overhead projector, slide projector, VCR.
  3. when taught via Foothill Global Access: on-going access to computer with Email software and capabilities; Email address; Java-script enabled internet browsing software.

4. Course Content (Body of knowledge) -
  1. Dominant sevenths, leading tone chords, secondary dominants and leading tone chords.
  2. Harmonic Progression: Root Relationships, Chord Progressions, Ascending Fifths, Ascending Seconds, Descending Thirds, Style.
  3. Common chord, phrase, chromatic modulation.
  4. Borrowed chords, the Neapolitan sixth chord, the Augmented sixth chord.
  5. Texture: Density, Texture Type (Monophony, Polyphony, Homophony), Primary and Secondary Melodies, Harmonic and Rhythmic Support.
  6. Guided analysis in binary, ternary, and sonata allegro form.
  7. Correlations between music theory and music literature.
  8. Direct observation of student work at the blackboard, keyboard, and in laboratory exercises in ear training, sight-singing, etc.
  9. Outside reading, listening and writing assignments.
  10. Discuss in small groups different stylistic practices of other world cultures as related to Western harmonic diatonic principles.
  11. Identification of Enlightenment philosophy and Romance literature that had a major effect on the development of late 18th and early 19th century music.
5. Repeatability - Moved to header area.
 
6. Methods of Evaluation -
  1. Homework assignments based on textbook chapters.
  2. Written tests on notating all forms of cadential chordal structures.
  3. Aural tests on simple chord progressions.
  4. Comprehensive midterm and final examinations.
  5. Two graded final compositions.
7. Representative Text(s) -
Benward, Bruce and White, Gary, Music in Theory and Practice, Volume 1 8th ed., Madison, WI, Brown and Benchmark, Publishers, 2009.
Burkhart, Charles, Anthology for Musical Analysis, 2nd ed. N. Y, Holt, Rinehart and Winston, Inc., 1986.
Collections of musical scores available at Foothill College Library and Music Laboratory.

When taught via Foothill Global Access: supplemental lectures, handouts, tests, and assignments delivered via Email; feedback on tests and assignments delivered via Email; class discussion may be delivered in chat rooms, list-serves, and newsgroups.

8. Disciplines -
Music
 
9. Method of Instruction -
Lecture, Laboratory, Lecture Laboratory.
 
10. Lab Content -
Laboratory Exercises: Weekly lab exercises in the Theory/Piano Lab. Each lab exercise may be individual or consist of group activities developing musical skills such as sight-singing, ear training, and rhythmic and melodic dictation. Also supplement assigned reading and lecture topics.
 
11. Honors Description - No longer used. Integrated into main description section.
 
12. Types and/or Examples of Required Reading, Writing and Outside of Class Assignments -
  1. Reading Assignments: Weekly reading assignments from text, online curriculum, lab manual, and outside sources ranging from 40 to 60 pages per week.
  2. Lecture: Weekly lecture covering subject matter from text assignment with extended topic information.
  3. Laboratory Exercises: Weekly lab exercises in the Network Lab. Each lab exercise may be individual or group activities and covers assigned reading and lecture topics.
13. Need/Justification -
This course is a required core course for the AA degree in Music.


Course status: Active
Last updated: 2012-03-20 16:33:16


Foothill CollegeApproved Course Outlines