Course plans Cincinnati Christian University
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Cincinnati Christian University Fall 2010 PMW 310 Music Theory 4 MWF 10:00-10:50am, 3 hours Dr. Ken E. Read 244.8195 office 471.1131 home (until 10pm) ken.read@ccuniversity.edu Catalog DescriptionPMW 310 Music Theory 4 (3 hours)An advanced study of harmonic and structural analysis of music. Introduces twentieth-century analytical techniques, as well as contemporary popular harmonic practice, including fretboard theory and Nashville numbers. Prerequisite: PMW 212, 213 or 111, 115.Rationale for the CourseMinisters of music must be well equipped in the area of music, and part of thorough preparation includes a thorough understanding of the materials of music. Consequently, this course is dedicated to complete training in the theory of essential elements of western music. In addition, the course is dedicated to providing a practical application of the principles of music theory. Instructional ObjectivesThe student who satisfactorily completes this course will be able to: 1. Demonstrate familiarity with a wide spectrum of analytic techniques. 2. Recognize compositional features of any musical work. 3. Identify common classical musical forms. 4. Write clearly about his or her musical observations in a scholarly fashion.
Discuss the harmony of any given piece, including those of the twentieth century. Work within the realm of popular music (chord charts). Course ProceduresEach class will entail much "round-table discussion" of the scheduled works, topics and assignments. Daily grades will be based on ear training, class discussion, preparation of assignments, and quizzes. Besides daily participation, students will be responsible to write two analytical papers of 3-5 pages in length. Required TextbooksThe Holy Bible. Please bring one with you to every class session. In Theory, you should always have a Bible with you. Ottman, Robert W. Advanced Harmony, fifth edition. (Prentice-Hall 2000). Course Packet with musical examples, available online. Major RequirementsDaily class preparation is essential for this subject, and so the daily assignments will be a major requirement for the class. Two papers of 3-5 pages (1000-1250 words) each, in proper academic format will be required as follows: 1. Due Oct 25 on “Hallelujah” from Handel’s Messiah, or Beethoven Sonata Op.13 No.1 Mvt.II. 2. Due Dec 13, on a song of your choice (either art song or pop style). Grading PolicyGrades will be determined as follows: Active class participation 20% Two papers 20% Quizzes, assignments, prep time 40% Final exam 20%
Since much of the education process occurs in the interactions of students and faculty with the curriculum, student attendance at class is required. Students with more than two absences will receive the grade of FA (Failure due to absences) in the class. Students who reach this level prior to seventh week of the semester may withdraw from the class and receive a “W” for the class. When a student is failed in a course due to absences, it is rare that reinstatement in the class is allowed. However, a student can apply for reinstatement, understanding there may be substantial penalties, including extra work. The reinstatement process begins with the Registrar’s Office. Students are required to report all absences to the Academic Support Office. Reports should be made within 48 hours of the absence. Only reported absences will be considered when evaluating the student’s situation for reinstatement. Absences that are not reported in a timely manner will not be considered “excused” for reinstatement. Students should keep documentation on absences (Dr.’s note or bill, note to professor about school sponsored activity, personal records, etc.). Reinstatements will not be considered without proper reporting and documentation. The two weeks of absences are not entitlements for students. They should not be viewed as “personal days” but as “sick days.” If you are not present for the calling of a roll, you will be considered absent unless you initiate telling me that you were in attendance when the session is over. For this course, the exam material is taken largely from class lectures, so conscientious attendance and note-taking are helpful. Students who require academic accommodations due to any documented physical, psychological or learning disability should request assistance from the Academic Support Director within the first two weeks of class. The Academic Support Office is located in the Lower Level of the Worship and Ministry Building (room 153). You may also contact the office by phone (244-8420). Dress Code: Scripture does not say anything about how neatly you might dress, but it does call for believers to respect others by dressing modestly, without drawing undue attention. Furthermore, school policy forbids the following for the classroom: shorts, miniskirts, spandex, cotton fleece sweatsuits, tank tops, and body piercing (other than earrings). Please don’t put yourself or myself in the position of having to enforce these rules in our classroom. If you violate the rule and I notice, I will ask you privately after class to avoid that kind of adornment. For further violations, I will publicly ask you to leave the room to change, and you will be counted absent for the time you are gone. Disclaimer: While this course plan is my intended guide for class policy, it is important that you understand that I reserve the right to change any of this so-called contract concerning the schedule, procedures and assignments, with or without notice. The general plan is subject to Divine or human veto. Class Agenda Note: This schedule is but a working outline. It will be adjusted according to the needs of the class SESSION 1: M08/23 Introduction and Overview of Class. What is music theory? What drives western music? (V7-I) Diatonic scale tone tendencies and bass law. assignment: discover stable and unstable notes on the harmonica; “Joyful, Joyful.” Session 2: W08/25 What is music theory? Prov. 25:2 Discover the pitches played by a harmonica discover stable and unstable notes on the harmonica; “Joyful, Joyful.” What drives western music? (V7-I) Diatonic scale tone tendencies and bass law. “Here, O My Lord.”
What is music theory? What drives Western music? “Great is Thy Faithfulness” Session 5: W09/01 Copland. Experiment with a listening exercise. “in the hall of the mountain king” LaRue SHMRG(T)
Discuss tonic and modulation in terms of gravitational pull. How to compose; preliminary categories. assignment: analyze the chords of “Fur Elise.” LABOR DAY 09/06 Session 7: W09/08 Discuss findings from Fur Elise. assignment: review Classical forms (ch.4) Session 8: F09/10 Forms Quiz: short answer and identification. Review classical forms. Assignment: analyze Gregorian melodies--what makes a great melody? Now write out a familiar melody and analyze it, according to the assignment in your packet. Session 9: M09/13 Melodic principles in Gregorian melodies. Present your findings about strong melodies. [Assignment: What are the rules of 16th-century counterpoint, based on “Agnus Dei” from Pope Marcellus Mass (found at LibraryMusicSource.com)?] Assignment: Analyze late Baroque harmonies (Bach Prelude in C Major WTC 1, from LMS.com). Session 10: W09/15 Baroque functional harmony. Present harmonies of CM prelude. assignment: analyze early-Baroque harmony, form and melody (“Caro mio ben” by Giordani from LMS). Session 11: F09/17 Functional harmony in the early Baroque. assignment: do a fugal analysis of Bach’s CM Fugue. Session 12: M09/20 Late Baroque imitative form and harmony. (Bach C major Fugue of the Prelude and Fugue WTC 1, already downloaded from LMS.) Present analyses of fugue. assignment: do harmonic analysis of chorale settings and review chapter 4. Session 13: W09/22 Romantic harmony review (ch.4) assignment: write and harmonize a chorale melody, using Bach’s #300 Four-Part Chorale (Warum betrubst, du dich, mein Herz) as an example of both melody and harmony. Include at least one accidental. Due session 14. Review chapter 5. Session 14: F09/24 Review of chapter 5. assignment: read chapter 6 and analyze Beethoven Sonata No. 8 in Cm, “Pathetique” Movement 2 (downloaded from LMS). (due session 15) Session 15: M09/27 Chorales are due. Diatonic seventh chords. assignment: read chapter 7. Start on paper #1. (due session 21) Session 16: W09/29 Present Beethoven Op. 13. Borrowed chords, application (ch.7). assignment: read chapter 8. Analyze Beethoven Pathetique movement 1 (due session 17). Session 17: F10/01 Augmented sixth chords (ch.8) “We’ve a Story to Tell” “My Tribute” assignment: read chapter 8 again, only with more understanding this time! Transcribe Beethoven Symphony No. 5, 1st Movement (from LMS) to the cadence, into a grand staff. Find and identify the augmented sixth chord. Session 18: M10/04 Augmented sixth chords, cont. Turn in Beethoven symphony assignment. assignment: read chapter 9. Analyze Chopin Prelude in C minor (from LMS). Session 19: W10/06 Present Chopin Prelude. Ninth, Eleventh, Thirteenth chords. Assignment: analyze Wonderful Grace of Jesus. FALL BREAK: F10/08 Session 20: M10/11 Present Wonderful Grace. Ninth, Eleventh, Thirteenth chords, cont. assignment: read chapter 10. Analyze Purcell’s “When I Am Laid,”, Bach’s Mass in B Minor (Credo—Crucifixus) and Chopin’s Prelude in E Minor (all from LMS), and compare their lamento harmonies. Session 21: W10/13 Complex Harmonic progressions (ch.10) assignment: finish paper #1 Session 22: F10/15 Paper #1 is due. Complex Harmonic progressions, cont. assignment: read chapter 11. Analyze Hindemith’s A Swan. (not in LMS) Session 23: M10/18 Post-Romantic harmonies. assignment: Notice elements of two famous songs Session 24: W10/20 Romantic songs assignment: Notice elements of two contemporary Christian songs Session 25: F10/22 Post-Romantic harmonies, cont. assignment: read chapter 12. Analyze Ich Grolle Nicht. Session 26: M10/25 Paper #1 is due! Present ich grolle nicht. Debussey and Impressionism. assignment: begin paper #2 Session 27: W10/27 Debussey and Impressionism, cont. assignment: read chapter 13 Session 28: F10/29 Twentieth-Century music introduction. assignment: read pages 339-342 Session 29: M11/01 Twentieth Century Melody. assignment: read pages 343-350 Session 30: W11/03 Twentieth Century Rhythm. assignment: read pages 350-364 Session 31: F11/05 Twentieth Century Harmony (ch.14) assignment: read pages 366-370 Session 32: M11/08 Atonality. assignment: read pages 371-378 Session 33: W11/10 Twelve-tone analysis. assignment: read pages 388-396 Session 34: F11/12 Music since 1950. Session 35: M11/15 Pop music and chord chart equivalencies. Session 36: W11/17 Pop chord loops Session 37: F11/19 (NOTE: KEN IS GONE THIS DAY. CLASS, ANYWAY) Michael W. Smith’s harmonic tendencies THANKSGIVING BREAK 11/22 11/24 11/26 Session 38: M11/29 Voicing in pop music Session 39: W12/01 Jazz to 1970 Session 40: F12/03 Jazz voicings since 1970 Session 41: M12/08 Time in Music (experiment). Golden Mean, and TRIP (Tension, Reaction, Imagination, Prediction), and Music in Time Session 42: W12/10 Session 43: F12/12 FINAL EXAM: WEDNESDAY DEC 17 10:00-11:50am SECOND ANALYTICAL PAPER IS DUE AT THIS TIME. Download 47.91 Kb. Share with your friends:
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