Discipline: Music Degree Credit  [X]
Non Credit  [ ]
Nondegree Credit  [ ]
Comm Service  [ ]
 

Riverside Community College District
Integrated Course Outline of Record

Music 4


COURSE DESCRIPTION
4 Music Theory I Units: 4.00
 
Prerequisite(s): MUS 3: Fundamentals of Music and MUS 32: Class Piano or MUS 53: Keyboard Proficiency

Advisory: Concurrent enrollment in a music performance class
Through guided composition and analysis this course incorporates the following concepts: rhythm and meter; basic properties of sound; intervals; diatonic scales and triads; diatonic chords, basic cadential formulas and phrase structure; dominant seventh; figured bass; non-harmonic tones; and voice leading involving 4 part chorale writing. Development of skills in handwritten notation is expected. Lab includes sight singing and ear training including melodic, harmonic and rhythmic dictation. Keyboard requirements include playing chord progressions, modes, and scales in all major and minor keys. 54 hours lecture and 54 hours laboratory.
 
SHORT DESCRIPTION FOR CLASS SCHEDULE
Principles of voice leading in diatonic harmony of the common practice period.
 
ADVISORY ENTRY SKILLS
Before entering the course, students will be able to:
  1. Identify and notate pitches in treble, bass, and various C clefs.

  2. Construct and identify scales, modes, key signatures, chords, chord inversions and symbols.

  3. Construct and identify diatonic triads and diatonic seventh chords and their inversions in major and minor keys and from figured bass.

  4. Analyze musical scores written in grand staff and in open score.

  5. Compose a melody using parallel and contrasting phrases, half cadences, and full cadences.

  6. Play on the keyboard all major and harmonic minor scales.

  7. Sight sing melodies in major mode using correct solfeggio syllables with “moveable do.”

  8. Notate ascending and descending intervals, short melodies in major mode and rhythms in simple and compound meters by ear from dictated examples.
STUDENT LEARNING OUTCOMES
 Upon successful completion of the course, students should be able to:
  1. Compose original works using techniques of smooth voice leading and doublings in 4-part chorale style found in the common practice period.
  2. Analyze chord progressions in tonal, diatonic harmony. 
    Realize a figured bass using root position diatonic triads and V7
  3. in 4-part chorale style.
  4. Identify phrases and periods in notated music.   
  5. Sing non-modulating major and minor melodies at sight using solfeggio syllables.
  6. Aurally identify all intervals (ascending, descending and harmonic) and qualities of triads.
  7. Transcribe melodies and harmonic progressions from aurally dictated examples through correct notation of pitches, rhythms, and chord structures in major and minor keys.
  8. Demonstrate skills in rhythmic performance using simple and compound meters.
  9. Demonstrate at the keyboard the principles of common practice period harmony, including all major and minor scales, modes, and chord progressions using primary triads.
Realize a figured bass using root position diatonic triads and V7 in 4-part chorale style. Sing non-modulating major and minor melodies at sight using solfeggio syllables. Aurally identify all intervals (ascending, descending and harmonic) and qualities of triads. Transcribe melodies and harmonic progressions from aurally dictated examples through correct notation of pitches, rhythms, and chord structures in major and minor keys. Demonstrate skills in rhythmic performance using simple and compound meters. Demonstrate at the keyboard the principles of common practice period harmony, including all major and minor scales, modes, and chord progressions using primary triads.
 
COURSE CONTENT
  TOPICS
 
  1. Review of keyboard and octave registers, major and three forms of the minor scales, key signatures in major and minor, intervals, interval inversion, scale degree names.
  2. Review of simple and compound meters, time signatures, and durational symbols.
  3. Review of triads, seventh chords, inversion symbols, figured bass symbols, lead sheet symbols, and chord recognition.
  4. Review of diatonic triads and seventh chords in major and minor.
  5. Review of instrumental ranges and transposition.
  6. Principles of voice leading, including melodies, voicing triads, and parallel motion.
  7. Part writing root position triads with all possible diatonic root movements.
  8. Harmonic progressions used in the common practice period style including circle of fifths progressions.
  9. Harmonizing a melody in this style.
  10. Part writing triads in first and second inversion.
  11. Cadences, phrases, periods.
  12. Classification and analysis of non-chord tones.

 
 
METHODS OF INSTRUCTION
 Methods of instruction used to achieve student learning outcomes may include, but are not limited to:

  • Present class lectures/discussions/demonstrations in order to teach course topics to students.
  • Use audio recordings and live performances on piano and other instruments in order for students to hear master composers so that they will be better prepared to compose and analyze music of common practice period. 
  • Create and assign pairs and small group activities/discussion such as part-writing exercises in order for students to improve their composing skills.
  • Create and have students participate in cooperative learning tasks such as analysis of musical examples in order to illustrate musical practice, principles and exceptions in tonal, diatonic harmony.
  • Invite guest lecturers in order to provide additional discussion of interesting or difficult topics.
  • Give handouts in order to supplement lectures.
  • Assign laboratory exercises for sightsinging, rhythm, melodic and harmonic dictations in order to improve ear training skills. 
  • Conduct individual conferences in order to evaluate progress in sightsinging and to provide coaching.
  • Use drills and pattern practices in order to develop keyboard skills.
 
METHODS OF EVALUATION
 Students will be evaluated for progress in and/or mastery of learning outcomes by methods of evaluation which may include, but are not limited to:

  • Presentations/performances designed to evaluate the individual student cognition of course topics. 
  • Written assignments designed to evaluate student understanding of music theory and ability to compose and analyze music.  
  • Quizzes/examinations designed to evaluate student progress and knowledge in course topics. 
  • Class and individual projects designed to evaluate the student recall of harmony and ability to analyze music.
    Participation and regular attendance designed to monitor
  • student involvement and learning of the student outcomes on a regular basis.
  • Laboratory examinations designed to evaluate student progress in keyboard skills, sight singing and ear training. 
  • Final written examination and final laboratory examinations designed to evaluate student progress of the learning outcomes for the entire semester. 
ASSIGNMENTS

Required Reading Assignments


Required Writing Assignments


Other Outside-of-Class Assignments
 
COURSE MATERIALS
 All materials used in this course will be periodically reviewed to ensure that they are appropriate for college level instruction. Possible texts include:

  • Stephen Kostka and Dorothy Payne. Tonal Harmony. 5th ed. McGraw-Hill, 2000.
  • Stephen Kostka and Dorothy Payne. Workbook for Tonal Harmony. 5th ed. McGraw-Hill, 2000.
  • Leo Kraft. A New Approach to Ear Training. 2nd ed. W.W. Norton, 1999.
  • Sol Berkowitz, Gabriel Fontrier and Leo Kraft. A New Approach to Sight Singing. 4th ed. W. W. Norton, 1997.
  • Practica Musica software, version 4.05. Level 2. Ars Nova Software, 2000 ed.
07/05
1379