A: Course Goals

As with any art or craft, it is possible to appreciate music on the surface without any understanding of the mechanics behind creating the works.  Similarly, knowing the underlying principles that are the framework for such expressions fosters a deeper and richer appreciation.

This course will help you understand the basic principles of musical construction in the Western Art Music tradition.  Some discussion of non-Western principles will be introduced in the course of discussion, but the main purpose of the class will be to provide the tools and vocabulary needed to discuss, analyze, and construct music in the style of the "Common Practice" period.  As a means to this end, we will rely on YOUR music, or our music, as I will liberally interject popular, jazz, and world music examples to assist in learning how to hear and apply the fundamental concepts spoken about in class.

Vital to a thorough understanding of the building blocks of musical vocabulary is the ability to recognize and reproduce melodic and harmonic structures, and therefore ear training and sight singing will be fully integrated into the daily engagement of the material.  A supportive atmosphere is required of all participants, as is willingness on the part of individuals to sing required examples during class time.

While the course provides the foundation for further music study for music majors, minors, or aficionados, it is also a self-contained course that will provide the student with the necessary skills to understand more fully the broad array of music that she or he engages.

B: Course Content
This course requires mastery of each set of principles as it is introduced, since all the concepts presented will be ultimately integrated, and the end result of the course is a cumulative understanding of these principles.  No prior understanding of music theory (including the ability to read music) is needed to successfully complete this course, but since discussions will be of an increasingly technical nature, mastery of the skills presented in the first several classes is crucial.

C: Course Expectations

As stated above, the material in this course is cumulative and comprehensive, and any missed class sessions will impede your progress.  It is the student's responsibility to determine what may have been missed in the event of an absence, and then to master that material.

During the course of the semester, you will be required to attend at least two musical performances, at least one of these by an Earlham music ensemble OR an Earlham-sponsored concert.  A short essay for each of the two performances, as detailed below, must then be submitted.

The workload for this class is necessarily demanding in the initial stages, particularly for those without prior musical experience, but a strategy for budgeting your time will prove useful throughout.

Sufficient practice of the ear training and sight singing exercises will strengthen understanding of the more abstract principles discussed in the text and in the lectures.  Access to a piano or some form of keyboard instrument is not required, but will be of limitless assistance throughout the course.  Reliance upon a keyboard for ear training as the semester progresses, however, may prove more a detriment than a benefit.  Students without ready access to such instruments are advised that they may sign up for access to practice rooms in Carpenter Hall with Connie Haselby, the Fine Arts secretary.
 
 

Additionally, our recent acquisition of digital pianos, and our temporary piano lab, will allow a unique, hands-on approach to this course.While it is unlikely that you will gain great piano skills in just one semester, you will have a tactile and visual tool available to aid you in understanding the concepts presented.

Assignments will take the following form:

1. Required readings.  While there is no required textbook for this course, there will be reading assignments for this course.These will be made available in Lilly Library, handed out in class, or posted on the Internet.
2. Worksheet assignments. In order to master many of the concepts in this course, you will be given sets of written exercises to complete from time to time. There will also be analytical assignments later in the semester. You will need a folder in which to submit assignments on a weekly basis, beginning the first week of class.  While assignments have specific due dates, they will only be submitted weekly, on Fridays at the end of class.  For each day late, your maximum grade will be lowered by the equivalent of one letter grade.  Leniency has been built in by allowing weekly submissions.  Every effort will be made for these assignments to be returned to you the following Monday.
3.  Discussion/participation preparation. Some of our class sessions will require discussion, and some may require sharing your work on exercises with the class.
4.  Concert attendance and essays.  As noted above, you must attend two concerts during the semester and write a short essay (1 to 2 pages) for each.  If you are unsure about whether or not a performance might qualify as a worthwhile endeavor, talk with me; you will find I have a broad definition of what is acceptable.  A full discussion of the essay requirements will be covered in class, but the general idea is to write thoughtfully about what you hear in the performance.  Applying principles from class discussion is essential.  Due dates for these essays are listed in the Class and Assignment Schedule, and the rules for late work that apply to the workbook assignments apply here as well. Additionally, you are urged to attend as many live concert events during the semester as possible. You must attend at least 3 Brown Bag concerts during the semester, and submit a single paragraph reaction to these concerts.
5.  Listening assignments.  Some of the lectures, specifically those about musical form and style periods, will require listening outside of class.  This music will be made available in Media Resources in the basement of Lilly Library and, if possible, online.  Be considerate of your classmates with this and all reserve materials.
6.  Quizzes.  These will be brief (no more than 5 or 10 minutes) at the start of class sessions and will not be announced in advance.  They will cover material from a previous lecture, and are intended as diagnostic tools to determine your progress between the two larger exams.  A missed quiz cannot be made up, but you will not be penalized for missing a quiz if your absence is excused (e.g., an official Earlham event or a documented medical absence).
7.  Ear training and sight singing.  Both formal (scheduled) and informal (unannounced) ear training and sight singing tests will be given during the semester.  The formal tests will require five to ten minutes on one of two test days outside of regular class time.  Ear training (dictation) will be an integral part of this endeavor. If you have specific and serious concerns about singing by yourself in class, please speak to me privately as soon as possible.
8.  Midterm and Final exams.   The midterm exam will be a take home test to be given at the end of the last class prior to mid-semester break.  It will be due the Wednesday following break.  The final exam will take place at the scheduled time for this course and will be comprehensive.

You are encouraged to work with partners or in groups for this class, but are reminded that all work submitted must be your own.

ABSOLUTELY NO make up tests will be offered for the midterm, final, quizzes, or scheduled sight singing tests.  If there is a conflict, it will be discussed in advance, and accommodation may be made to take such tests before the slated time.

D. Course Materials.
All materials will either be provided in class, made available on reserve in Lilly Library, or will be placed on the Internet. If you would like a list of suggested references, I will gladly provide them for you.
 

For those who are interested, there is a music notation software program available on all PCs in the Lilly lab. The program, “Noteworthy Composer,” was purchased by the Music Department last year, and is available for anyone to use. If a group of students expresses an interest, I will gladly teach a session on this program. Manuals for the software are available in the Fine Arts Office.

E. Evaluation.
Your grade will be determined on a straight percentage basis:

These percentages will be out of 1000 possible points, based on the following:
a. Workbook assignments: 250 points (approx. 10 points each)
b. Discussion / participation: 50 points
c. Two concert essays: 100 points (50 points each)
d. Four quizzes: 100 points (25 points)
e. Two formal ear training / sight singing tests: 150 points (75 points each)
f. Two unannounced ear training / sight singing tests: 50 points (25 points each)
g. Midterm: 100 points
h. Final: 100 points
i. Class attendance: 100 points
Total points: 1000