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| MUSC 200 Syllabus Assignments Messages |
MUSC 210 |
MUSC 220 Syllabus Assignments Messages |
MUSC 447 Counterpoint Syllabus Assignments Messages Schenkerian Analysis Syllabus Assignments Messages |
MUSC 447 |
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Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Texts
Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol. 2, 8th ed. Boston: McGraw-Hill, 2008.
Benward, Bruce and Marilyn Saker. Workbook to Accompany Music in Theory and Practice, vol. 2, 8th ed. Boston: McGraw-Hill, 2008.
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Fort Worth: Harcourt Brace College Publishers (Holt, Rinehart and Winston, Inc.), 2004.
Description
Styles of the Late Renaissance through the 18th Century: Late Renaissance Polyphony, 18th Century Counterpoint, Fugue, Harmony.
Objectives
The objective of this course is to extend the student's understanding of the important patterns and relationships that define the music of the given period through analysis of examples from the repertoire, and by composing music in those styles.
Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.
Grading
Graded Homework Assignments.....................................15%
Chapter Tests……..........................................................40%
Composition/Research Project (Counterpoint)...............10%
Composition Project (Fugue Exposition Plus)................10%
Final Exam......................................................................25%Homework is due in class as assigned. In the event of absence, work should be sent in with a colleague. Late assignments will be accepted only with documented excuses and are then due no later than the second meeting upon return to class. Makeup exams will be offered only in the event of an excused absence.
Assignments and Grades may be accessed at http://ocmoodle.otterbein.edu.
Plagiarism and Cheating
Plagiarism and cheating will not be tolerated under any circumstances. Please refer to the Campus Life Handbook for Otterbein's governing policy.
Otterbein College is committed to ensuring that students with disabilities
have access to an education. In order to receive appropriate accommodations
in my class, you must first be registered with the Office for Disability Services
(x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule
an individual meeting with me as early in the quarter as possible to discuss
your needs and accommodation requests. If necessary, we can work cooperatively
with the Disability Services Coordinator to determine optimal accommodations
in this course.
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Tentative Class Schedule - Music
200
| Week | Day | Event |
| 1 | Mon. | Chapter 1 - Late Renaissance Polyphony; |
| Wed. | ||
| Fri. | ||
| 2 | Mon. | |
| Wed. | ||
| Fri. | Chapter Test (Chapter 1) | |
| 3 | Mon. | |
| Wed. | ||
| Fri. | ||
| 4 | Mon. | Chapter 2 - Two-voice Eighteenth-Century Counterpoint; |
| Wed. | ||
| Fri. |
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| 5 | Mon. | Columbus Day - No Class |
| Wed. |
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| Fri. | ||
| 6 | Mon. | Chapter 3 - The Fugue |
| Wed. | ||
| Fri. | ||
| 7 | Mon. | |
| Wed. | ||
| Fri. |
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| 8 | Mon. | |
| Wed. | Chapter Test (Chapters 2&3) | |
| Fri. | Chapter 4 - Borrowed Chords; | |
| 9 | Mon. | Chapter 5 - Neapolitan 6th Chords; |
| Wed. | ||
| Fri. | Chapter 6- Augmented 6th Chords; | |
| 10 | Mon. | |
| Wed. | Chapter Test (Chapters 4, 5 & 6) | |
| Fri. | Review |
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| MUSC
200 - Messages:
Final Exam: Tuesday, Nov. 25, 10:30 a.m. |
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Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Texts:
Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol. 2, 8th ed. Boston: McGraw-Hill, 2008.
Benward, Bruce and Marilyn saker. Workbook to Accompany Music in Theory and Practice, vol. 2, 8th ed. Boston: McGraw-Hill, 2008.
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Fort Worth: Harcourt Brace College Publishers (Holt, Rinehart and Winston, Inc.), 2004.
Description
Styles of the 19th Century: Variation Technique, Sonata and Rondo Forms, Character Pieces, Lieder, Harmony.
Objectives
The objective of this course is to extend the student's understanding of the important patterns and relationships that define the music of the given period through analysis of examples from the repertoire, and by composing music in those styles.
Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.
Grading
Graded Homework Assignments....................................15%
Chapter Tests…….........................................................40%
Composition Project.....................................................10%
Analysis Project............................................................10%
Final Exam....................................................................25%Homework is due in class as assigned. In the event of absence, work should be sent in with a colleague. Late assignments will be accepted only with documented excuses and are then due no later than the second meeting upon return to class. Makeup exams will be offered only in the event of an excused absence.
Plagiarism and Cheating
Plagiarism and cheating will not be tolerated under any circumstances. Please refer to the Campus Life Handbook for Otterbein's governing policy.
Otterbein College is committed to ensuring that students with disabilities
have access to an education. In order to receive appropriate accommodations
in my class, you must first be registered with the Office for Disability Services
(x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule an
individual meeting with me as early in the quarter as possible to discuss your
needs and accommodation requests. If necessary, we can work cooperatively with
the Disability Services Coordinator to determine optimal accommodations in this
course.
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Tentative Class Schedule - Music
210
| Week | Day | Event |
| 1 | Mon. | Chapter 7 - Variation Technique |
| Wed. | ||
| Fri. | ||
| 2 | Mon. | |
| Wed. | ||
| Fri. | Chapter 8 - Sonata Form; | |
| 3 | Mon. |
Martin Luther King Day - No class |
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Wed. |
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| 4 | Mon. |
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| 5 | Mon. |
Chapter 9 - Rondo Forms; |
| Wed. | ||
| Fri. |
No Class - OMEA Convention |
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| 6 | Mon. | |
| Wed. | ||
| Fri. | ||
| 7 | Mon. | |
| Wed. |
Chapter 10 - 9th, 11th & 13th Chords; |
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| Fri. | ||
| 8 | Mon. | Chapter 11 - Altered Dominants; |
| Wed. | Chapter 12 - Chromatic Mediants; | |
| Fri. | ||
| 9 | Mon. | Chapter 13 - The Romantic Period; |
| Wed. | ||
| Fri. | ||
| 10 | Mon. | |
| Wed. | ||
| Fri. |
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| MUSC 210 - Messages:
Final Exam: Tuesday, March 18, 10:30 a.m. |
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Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Texts
Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol. 2, 8th ed. Boston: McGraw-Hill, 2008.
Benward, Bruce and Marilyn Saker. Workbook to Accompany Music in Theory and Practice, vol. 2, 8th ed. Boston: McGraw-Hill, 2008.
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Fort Worth: Harcourt Brace College Publishers (Holt, Rinehart and Winston, Inc.), 2004.
Description
Styles of the 20th and 21st Centuries: Post-Romanticism, Impressionism, Primitivism, Neoclassicism, Pandiatonicism, Set Theory, Serialism, Indeterminancy, Electronic and Computer Music, Minimalism.
Objectives
The objective of this course is to extend the student's understanding of the important patterns and relationships that define the music of the given period through analysis of examples from the repertoire, and by composing music in those styles.
Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.
Grading
Graded Homework Assignments....................................15%
Chapter Tests................................................................30%
Analysis Project (Schenkerian technique).......................10%
Composition Project (Impressionistic techniques)...........10%
Composition Project (Serial techniques).........................10%
Final Exam.....................................................................25%Homework is due in class as assigned. In the event of absence, work should be sent in with a colleague. Late assignments will be accepted only with documented excuses and are then due no later than the second meeting upon return to class. Makeup exams will be offered only in the event of an excused absence.
Plagiarism and Cheating
Plagiarism and cheating will not be tolerated under any circumstances. Please refer to the Campus Life Handbook for Otterbein's governing policy.
Otterbein College is committed to ensuring that students with disabilities
have access to an education. In order to receive appropriate accommodations
in my class, you must first be registered with the Office for Disability Services
(x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule an
individual meeting with me as early in the quarter as possible to discuss your
needs and accommodation requests. If necessary, we can work cooperatively with
the Disability Services Coordinator to determine optimal accommodations in this
course.
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|
Tentative Class Schedule - Music
220
| Week | Day | Event |
| 1 | Mon. | Schenkerian Analysis |
| Wed. | ||
| Fri. | ||
| 2 | Mon. | |
| Wed. | ||
| Fri. | ||
| 3 | Mon. | |
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| Fri. |
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| 4 | Mon. |
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| Fri. | Chapter 15 - The Contemporary Period | |
| 5 | Mon. |
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| 6 | Mon. | |
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| 7 | Mon. | |
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| 8 | Mon. |
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| 9 | Mon. | Memorial Day (No Class) |
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| 10 | Mon. | |
| Wed. | ||
| Fri. | Review |
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| MUSC 220 - Messages:
Final Exam: Wednesday, June 7, 10:30-12:30 |
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Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Texts:
Kennan, Kent. Counterpoint, 3rd ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1987.Kennan, Kent. Counterpoint Workbook, 3rd ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1987.
Description
MUSC 447 - Counterpoint, is an in-depth study into the theory and practice of tonal (18th Century) counterpoint through written exercises and analyses of the repertoire.
Evaluation Policy
Class Assignments.................................50%
Midterms (2).........................................25%
Final Exam............................................25%
Otterbein College is committed to ensuring that students with disabilities
have access to an education. In order to receive appropriate accommodations
in my class, you must first be registered with the Office for Disability Services
(x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule an
individual meeting with me as early in the quarter as possible to discuss your
needs and accommodation requests. If necessary, we can work cooperatively with
the Disability Services Coordinator to determine optimal accommodations in this
course.
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| Week | Day | Reading Assignment | Writing Assignments (end of Chapter) |
| 2 | Day 1 | Chapter 1 - Introduction | |
| Day 2 | Chapter 2 - The Single Melodic Line | 1 (WB, p. 1), 2 (write 5 melodies) | |
| 3 | Day 1 | Chapter 3 - Principles of Two-Voice Counterpoint | 1 (WB, p. 2), Self Test (open book, write out answers) |
| Day 2 | Chapter 4 - Two-Voice Exercises | 1 & 2 (WB, pp. 3-7 odd#'s), 4 (WB, pp. 11-13 odd #'s) | |
| 4 | Day 1 | Chapter 5 - Chromaticism | 1 & 2 (WB, pp. 15-18 odd #'s) |
| Day 2 | Chapter 6 - Two-Voice Exercises (Concluded) | 1 (WB, pp. 21-22 #'s 6-9), 2 (WB, pp. 25-26 #'s 4-8), 5(WB, pp. 31-33 A & C) | |
| 5 | Day 1 | Chapter 7 - Writing of Short Two-Voice Pieces | 3 (write double period, 2-voices) |
| Day 2 | Chapter 8 - Canon | 1 (at least 8 bars, at the 8va, another interval, contrary motion) | |
| 6 | Day 1 | Chapter 9 - Invertible Counterpoint | 2a (at the 8va), 2c (at the 12th) |
| Day 2 | Chapter 10 - The Two-part Invention; Motive Development | 1 (WB, pp. 39-40, 3 (WB, pp. 41-42 odd #'s), 4 (WB, p. 43 odd #'s), 5 (WB, pp. 41-42 pick one) | |
| 7 | Day 1 | Chapter 11 - Three-Voice Counterpoint | 2 (WB, p. 47 #'s 1&2; p. 48 #'s 1&2), 3 (WB, p. 49 #' B), 4 (WB, p. 51) |
| Day 2 | Chapter 12 - Writing of Short Pieces, Three Voices | 3( short 3-voice piece in prelude style) | |
| 8 | Day 1 | Chapter 13 - Imitation in Three Voices | 3 & 4 (WB, pp. 57-58 #'s 1, 3-10), 5 (WB, p. 55 1ll 3) |
| Day 2 | Chapter 14 - The Three-part Invention; The Trio Sonata | 1 (WB, pp. 59-61) | |
| 9 | Day 1 | Chapter 15 - Fugue | 3(WB, p. 81 pick one subject, write fugue exposition) |
| Day 2 | Chapter 16 - Fugue (Continued) | 5 (complete fugue started in Chapter 15) | |
| 10 | Day 1 | Chapter 17 - Fugue (Concluded) | 1a or 1b (WB, pp. 75-79 fugue analysis) |
| Day 2 | Chapter 19 - Contrapuntal Variation Forms | 3 (WB, p. 36 pick one theme, write short passacaglia) |
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| MUSC 447 (Counterpoint)
- Messages:
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MUSC
447 - Advanced Music Theory: Fugue
Syllabus
Dr. Jack D. Jenny
134 Battelle fine Arts Center
Texts
Kennan, Kent. Counterpoint, 4th ed. Englewood Cliffs, New Jersey: Prentice-Hall.
Kennan, Kent. Counterpoint Workbook, 4th ed. Englewood Cliffs, New Jersey: Prentice-Hall.
Bach, Johann Sebastian. The Well Tempered Clavier, Books 1 and 2.
Bach, Johann Sebastian. The Art of Fugue. (Optional)
Description
MUSIC 447 - Fugue, is an in-depth study into the theory and practice of fugal technique from the18th Century to present through analysis of the repertoire and creative application.
Objectives
The objective of this course is to extend the student's understanding of 18th Century and Contemporary Fugue Technique through analysis of the repertoire and composition projects.
Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.
Grading
Analyses of Repertoire.................................50%
Writing Assignments.....................................50%
Writing Assignments:
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Otterbein College is committed to ensuring that students with disabilities have access to an education. In order to receive appropriate accommodations in my class, you must first be registered with the Office for Disability Services (x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule an individual meeting with me as early in the quarter as possible to discuss your needs and accommodation requests. If necessary, we can work cooperatively with the Disability Services Coordinator to determine optimal accommodations in this course.
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MUSIC 447 -
Advanced Music Theory: Schenkerian Analysis
Syllabus
Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Text
Forte, Allen and Steven E. Gilbert. Introduction to Schenkerian Analysis. New York: Norton, 1982.
Description
MUSIC 447 - Schenkerian Analysis is an in-depth study into the analytical techniques of Heinrich Schenker.
Objectives
The objective of this course is to deepen the student's understanding and appreciation of the analytical techniques of Heinrich Schenker and the advantages of such a hierarchical approach through written exercises and analysis of examples from the tonal repertoire.
Description
MUSC 447 - Schenkerian Analysis is an in-depth study into the analytical techniques of Heinrich Schenker.
Evaluation
Class Assignments 70%
Final Analytical Project 30%
Otterbein College is committed to ensuring that students with disabilities
have access to an education. In order to receive appropriate accommodations
in my class, you must first be registered with the Office for Disability Services
(x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule an
individual meeting with me as early in the quarter as possible to discuss your
needs and accommodation requests. If necessary, we can work cooperatively with
the Disability Services Coordinator to determine optimal accommodations in this
course.
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| Week | Reading Assignment | Exercises | |
| 2 | Chapter 7 - Basic Axioms | 2,3,4 & 5 | |
| 3 | Chapter 8 - The Concept of Prolongation
Chapter 9 - Prolongation of the Primary Tone: Initial Ascent |
3 & 5
2 & 3 |
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| 4 | Chapter 10 - Prolongation of the Primary Tone: Arpeggiation
Chapter 11 - Introduction to Musical Form; Unfolding of Intervals |
3 & 4
2 & 4 |
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| 5 | Chapter 12 - Fundamental Structure in Complete Units
Chapter 13 - The Harmonized Chorale |
A2 & B3
1 & 9 |
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| 6 | Chapter 14 - Elaborated Chorales: Instrumental Preludes &
Studies
Chapter 15 - Musical Form & Fundamental Structure: "One-Part" Forms |
3 or 5
2 or 3 |
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| 7 | Chapter 16 - Musical Form & Fundamental Structure: Two-part Forms
Chapter 17 - Musical Form & Fundamental Structure: Three-part Forms |
1
3 |
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| 8 | Chapter 18 - Register Transfer & Displacement
Chapter 19 - Review & Refinement: Structural Levels & Linear Progressions Chapter 20 - Review & Refinement: Unfolding, Register Transfer, Overlapping, Motivic Structures |
2
Final Project |
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| 9 | Chapter 21 - Sonata Form & Structural Levels | Final Project | |
| 10 | Chapter 22 - Variation Form & Structural Levels
Chapter 23 - Structural Levels in Compound & Rondo Forms |
Final Project
Final Project |
Final Analytical Project
The Final Project, in lieu of a final exam, shall be a layered reduction of a work in large form, approved by the instructor, due on and defended at the scheduled final exam time.
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| MUSC 447 (Schenkerian
Analysis) - Messages:
Final Exam: Monday, March 15, 10:30 |
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Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Texts:
Straus, Joseph N. Introduction to Post-Tonal Theory. 3rd ed. Prentice Hall,
Description
MUSIC 447 - Post-Tonal Theory is a study of the theories regarding the basic musical elements of pitch, interval, motive harmony and collection that have developed around the free atonal, twelve-tone and centric music of the twentieth century.
Objectives
The objective of this course is to extend the student's understanding of the various practices of post-tonal theory through written assignments and compositional projects.
Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.
Grading
Theory Exercises .............................................. 40%
Analysis Projects .............................................. 40%
Composition Exercises ...................................... 20%
Otterbein College is committed to ensuring that students with disabilities have access to an education. In order to receive appropriate accommodations in my class, you must first be registered with the Office for Disability Services (x1618 or Lmonaghan@otterbein.edu). I strongly encourage you to schedule an individual meeting with me as early in the quarter as possible to discuss your needs and accommodation requests. If necessary, we can work cooperatively with the Disability Services Coordinator to determine optimal accommodations in this course.
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Chapter/Day Assignment Chapter 1 Read Preface, Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
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