Jack Jenny Home Page

MUSC 2000 
     Syllabus
     Assignments
     Messages

MUSC 2001
     Syllabus
     Assignments
     Messages

MUSC 3001
     Syllabus
     Assignments
     Messages
MUSC 4000
     Counterpoint 
          Syllabus
          Assignments
          Messages
     Schenkerian Analysis 
          Syllabus
          Assignments
          Messages

MUSC 4000
     Fugue
          Syllabus
          Assignments
          Messages
     Post-Tonal Theory 
          Syllabus
          Assignments
          Messages

 
         
MUSIC 2000-02 - Theory III:  Renaissance Through Classical Styles
Syllabus
3 Credit Hours: MWF 1:40 pm - 2:40 pm; Battelle Fine Arts Center 131

Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Office Hours: M 9:25-10:35, T 2:00-3:00
Office Phone: 823-3137
jjenny@otterbein.edu
http://faculty.otterbein.edu/jjenny/index.htm

Course Catalog Description
Styles of the Late Renaissance through the Classical Period: Late Renaissance Polyphony, 18th Century Counterpoint, Fugue, Variation Technique, Sonata and Rondo Forms, and Harmony. Composition projects will be included. Prerequisite: MUSC 1001 with a grade of C or better.

Course Objectives
The objectives of this course are: 1) to deepen the student's understanding of the materials of Western music as employed in the polyphonic styles of the late Renaissance and Baroque eras (including the fugue) and the homophonic styles of Classical period; 2) to further acquaint the student with the elements of harmony as demonstrated in the music of those periods; and 3) to introduce the student to variation technique and the sonata and rondo forms. Upon completion of this course, the student will be able to analyze music from the repertoire and will be able to express himself/herself creatively through the composing of music in some of those styles.

Program Learning Goals or Outcomes
Department Learning Goal 2: Through clear use of the written word, the student will be able to deconstruct music into its fundamental elements, such as form, rhythm, tonal centers, etc. This could also point to the pursuit of research, both scholarly and creative, as well as experimentation to expand the current knowledge base of the discipline.
Bachelor of Arts Outcome 2: The candidate can identify and discuss music from a wide selection of repertoire, based on the principal eras, genres, and cultural sources.
Bachelor of Arts Outcome 6: The candidate can identify the core components of music, such as rhythm, melody, timbre, form, etc.

Texts (Required)
Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol. 2, 9th ed. New York: McGraw-Hill, 2015.

Benward, Bruce and Marilyn Saker. Workbook to Accompany Music in Theory and Practice, vol. 2, 9th ed. New York: McGraw-Hill, 2015.

Text (Recommended)
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Fort Worth: Harcourt Brace College Publishers (Holt, Rinehart and Winston, Inc.), 2004.

Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.

Grading (+/- system)
Graded Homework Assignments……10%
Chapter Tests………………………..30%
Final Exam………………………….20%

Research Paper………...……......…...10%
Fugue Project …………………….....10%
Analysis Project……………………..10%
Rondo Project……………………….10%


Assignments are due in class as assigned. In the event of absence, prior arrangements should be made with the instructor or work should be sent in with a colleague. Late assignments, not previously excused, will be accepted only with documented justification 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 grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

Tentative Class Schedule - MUSC 2000
 
Week Day Event
1 Mon. Chapter 1 - Late Renaissance Polyphony
Wed.  
Fri.  
2 Mon. Labor Day - No Class
Wed. Test: Chapter 1
Fri. Harmony Review
3 Mon. Harmony Review
Wed. Chapter 2 - Two-voice Eighteenth-Century Counterpoint
Fri.  
4 Mon.  
Wed. Test: Chapter 2
Fri.

Chapter 3 - The Fugue

5 Mon.  
Wed.

Research Project Due

Fri.  
6 Mon.  
Wed. Test: Chapter 3
Fri. Chapter 4 - Borrowed Chords
7 Mon. Chapter 5 - Neapolitan 6th Chords
Wed.  
Fri.

Chapter 6- Augmented 6th Chords

8 Mon. Fall Break - No Class
Wed. Test: Chapters 4, 5 & 6
Fri. Chapter 7 - Variation Technique
9 Mon. Fugue Project Due
Wed.  
Fri.
10 Mon. Test: Chapter 7
Wed.  
Fri. Chapter 8 - Sonata Form
11 Mon.
Wed.  
Fri.
12 Mon.  
Wed.
Fri. Test: Chapter 8
13 Mon. Chapter 9 - Rondo Forms
Wed.  
Fri.
14 Mon.  
Wed.
Fri.  
15 Mon. Analysis Project Due
Wed.
  Fri.  
16 Mon. Rondo Project Due
Tue. Final Exam


Return to Top of Page

MUSC 2000 - Messages: 

 


Return to Top of Page
MUSIC 2001 - Theory IV:  Romantic Through Contempory Styles
Syllabus
3 Credit Hours: MWF 1:40 pm - 2:40 pm; Battelle Fine Arts Center 131

Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Office Hours: M 9:25-10:35, T 2:00-3:00
Office Phone: 823-3137
jjenny@otterbein.edu
http://faculty.otterbein.edu/jjenny/index.htm

Course Catalog Description
Compositional techniques and analysis of music from the Romantic Period through the present: Character Pieces, Lieder, Post-Romantic Harmony, Impressionism, Primitivism, Neoclassicism, Pandiatonicism, Set Theory, Serialism, Indeterminacy, Electronic and Computer Music, and Minimalism. Compositional projects will be included. Prerequisite: MUSC 2000 with a grade of C or better.

Course Objectives
The objectives of this course are: 1) To deepen the student's understanding of the systems and relationships that define Western art music of the 19th, 20th & 21st centuries; 2) to expand the student's foundation in the chromatic harmony associated with the Romantic and Post-Romantic periods and in the harmonic vocabulary of the Impressionists and other early 20th century movements; 3) to examine post-tonal trends of pitch-class set theory and twelve-tone techniques; and 4) to explore contemporary techniques such as indeterminacy, minimalism and electronic music. Upon completion of this course, the student will be able to analyze music from the repertoire and will be able to express himself/herself creatively through the composing of music in some of those styles.

Program Learning Goals or Outcomes
Department Learning Goal 2: Through clear use of the written word, the student will be able to deconstruct music into its fundamental elements, such as form, rhythm, tonal centers, etc. This could also point to the pursuit of research, both scholarly and creative, as well as experimentation to expand the current knowledge base of the discipline.
Bachelor of Arts Outcome 2: The candidate can identify and discuss music from a wide selection of repertoire, based on the principal eras, genres, and cultural sources.
Bachelor of Arts Outcome 6: The candidate can identify the core components of music, such as rhythm, melody, timbre, form, etc.

Texts (Required)
Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol. 2, 9th ed. New York: McGraw-Hill, 2015.

Benward, Bruce and Marilyn Saker. Workbook to Accompany Music in Theory and Practice, vol. 2, 9th ed. New York: McGraw-Hill, 2015.

Text (Recommended)
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Fort Worth: Harcourt Brace College Publishers (Holt, Rinehart and Winston, Inc.), 2004.

Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.

Grading (+/- system)
Graded Homework Assignments……10%
Chapter Tests………………………..30%
Final Exam………………………….20%

Schenkerian Project…………………..10%
Impressionism Project ……………....10%
Set Theory Project……………….…..10%
Twelve-Tone Project………………...10%

Assignments are due in class as assigned. In the event of absence, prior arrangements should be made with the instructor or work should be sent in with a colleague. Late assignments, not previously excused, will be accepted only with documented justification 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 grade progress may be accessed at http://otterbein.blackboard.com.

 

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

 Tentative Class Schedule - MUSC 2001
 
Week Day Event
1 Mon. Chapter 10 - 9th, 11th & 13th Chords
Wed. Chapter 11 - Altered Dominants
Fri.  
2 Mon. Martin Luther King Day - No class
Wed. Chapter 12 - Chromatic Mediants
Fri. Test: Capters 10, 11 & 12
3 Mon.

Chapter 13 - The Romantic Period

 

Wed.

 

Fri.  
4 Mon.


Wed.

Test: Chapter 13

Fri.

5 Mon.

Schenkerian Technique

Wed.  
Fri.

 

6 Mon.
Chapter 14 - The Post-Romantic Style
Wed.
Fri.  
7 Mon. Test: Schenkerian Technique/Chapter 14
Wed.

Chapter 15 - Impressionism and Related Styles

Fri.  
8 Mon. Spring Break
Wed. Spring Break
Fri. Spring Break
9 Mon.  
Wed.  
Fri. Test: Chapter 15
10 Mon. Chapter 16 - The Early Twentieth Century
Wed.  
Fri.  
11 Mon. Test: Chapter 16
Wed. Chapter 17 - Pitch-Class Set Theory
Fri.
12 Mon.  
Wed. Test: Chapter 17
Fri.
13 Mon. Chapter 18 - Twelve-Tone Technique
Wed.  
Fri.
14 Mon.  
Wed.
Fri. Test: Chapter 18
15 Mon. Postlude - Music Since 1945
Wed.
  Fri.  
16 Mon. Review
Tue. Final Exam


Return to Top of Page

MUSC 2001 - Messages: 

 Final Exam: Tuesday, March 18, 10:30 a.m.


Return to Top of Page
 

MUSC 3001 - Orchestration and Arranging
Syllabus
2 Credit Hours; TR 10:00am - 11:15 am; Battelle Fines Arts Center 131


Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Office Hours: M 9:25-10:35, T 2:00-3:00 or by appointment
Office Phone: 823-3137
jjenny@otterbein.edu
http://faculty.otterbein.edu/jjenny/index.htm

Course Catalog Description
Study of orchestral and band instruments and voices, including ranges, transposition, and timbre. Basic principles of arrangement for various ensembles. Prerequisites: MUSC 2001 with a grade of C or better.

Course Objectives
This course surveys the technical capabilities, ranges and transpositions of all standard band and orchestral instruments to enable the student to creatively score for these instruments in an ensemble. Upon completion of the course the student will have scored for string orchestra, woodwind choir, brass choir, concert band and orchestra. An optional choral project will be available.

Program Learning Goals or Outcomes
Department Learning Goal 2: Through clear use of the written word, the student will be able to deconstruct music into its fundamental elements, such as form, rhythm, tonal centers, etc. This could also point to the pursuit of research, both scholarly and creative, as well as experimentation to expand the current knowledge base of the discipline.
Bachelor of Music Education Outcome 1: The candidate can create age-appropriate learning experiences that are meaningful to a wide range of ability levels.
Bachelor of Music Education Outcome 2. The candidate can adapt learning experiences to be equitable and meet the needs of diverse learners in various instructional contexts.
Bachelor of Arts Outcome 5: The candidate will engage in various experiences and projects directly related to the declared degree concentration.
Bachelor of Arts Outcome 6: The candidate can identify the core components of music, such as rhythm, melody, timbre, form, etc.

Texts (Required)
Adler, Samuel. The Study of Orchestration. 3rd ed. New York: W. W. Norton, 2002. ISBN 978-0-393-97572-7

Adler, Samuel. Workbook for The Study of Orchestration. 3rd ed. New York: W. W. Norton, 2002. ISBN 0-393-97700-5 (pbk.)

Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.

Grading

Graded Homework Assignments…..20%
Quizzes…………………………….10%
Strings Scoring Project…………….10%
Woodwinds Scoring Project….........10%
Brass Scoring Project……………..10%
Wind Band Scoring Project……….20%
Final Orchestral Scoring Project….20%

Assignments are due in class as assigned. In the event of absence, prior arrangements should be made with the instructor, or work should be sent in with a colleague. Late assignments, not previously excused, will be accepted only with documented justification 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 grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

Tentative Class Schedule - MUSC 3000

Week 1 Tue: Introduction, Chapter 1 - The Orchestra
Thurs: Chapter 2 - Bowed String Instruments

Week 2 Tue: Chapter 3 - Individual Bowed String Instruments (Violin & Viola)
Thurs: Chapter 3 - Individual Bowed String Instruments (Cello & Double Bass)

Week 3 Tue: Chapter 4 - Plucked String Instruments
Thurs:

Week 4 Tue: Chapter 5 - Scoring for Strings; Strings Scoring Project assigned
Thurs: OMEA Conference - No Class

Week 5 Tue: Quiz 1 - Strings; Chapter 6 - The Woodwind Choir
Thurs: Chapter 7 - Individual Woodwinds (Flute, Piccolo, Alto & Bass Flute, Oboe, English Horn); Strings Scoring Project due

Week 6 Monday, February 16:
12:00 noon: Strings Project Due (my mailbox)
3:05-3:45: Reading Session (Otterbein String Orchestra) - room 241
Tue: Chapter 7 - Individual; Woodwinds (Clarinet, Eb Clarinet, Bass Clarinet, Saxophone, Bassoon, Contrabassoon)
Thurs: Chapter 8 - Scoring for Woodwinds and Woodwind-String Combination

Week 7 Tue: Room Conflict (Audition Day) - No Class
Thurs: Chapter 8 (cont'd); Woodwinds Scoring Project assigned; Quiz 2 - Woodwinds

Week 8 Tue: Spring Break
Thurs: Spring Break

Week 9 Tue: Chapter 9 - Introduction to Brass Instruments; Chapter 10 - Individual Brass Instruments (Horn)
Thurs: Woodwinds Project due; Chapter 10 - Individual Brass Instruments (Trumpet, Cornet)

Week 10 Tue: Chapter 10 - Individual Brass Instruments (Trombone, Tuba)
Thurs:

Week 11 Tue: Chapter 11 - Scoring for Brass, and Brass Combined with Strings and Winds; Brass Scoring Project assigned; Quiz 3 - Brass
Thurs: Chapter 12 - The Percussion Ensemble

Week 12 Tue: Chapter 13 - Keyboard Instruments; Chapter 14 - Scoring for Percussion/Keyboard
Thurs: Brass Project due; Part Two: Orchestration; Chapter 19 - Scoring for Band or Wind Ensemble; Band Scoring Project assigned

Week 13 Tue: Chapter 17 - Transcribing for Orchestra
Thurs: Quiz 4 - Percussion, Keyboards, Transcribing from Piano

Week 14 Tue: Band Project due; Chapter 15 - Scoring for Orchestra
Thurs: Final Orchestral Scoring Project assigned; Contrapuntal Scoring

Week 15 Tue: Catch-up day
Thurs: Foreground-Middleground-Background Scoring

Week 16 Fri: Final Exam (2015) 8:00-11:00 - Defend Final Orchestral Scoring Project


Return to Top of Page

MUSC 3001- Messages:


Return to Top of Page
MUSIC 4000 - Advanced Music Theory: Counterpoint
Syllabus
2 Credit Hours; Time TBA; Location TBA

Dr. Jack D. Jenny
134 BFAC
Office: 823-3137
Home: 459-5062
jjenny@otterbein.edu
http://faculty.otterbein.edu/JJenny/index.htm

Texts
Kennan, Kent. Counterpoint, 4th ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1999.
Kennan, Kent. Counterpoint Workbook, 4th ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1999.
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Fort Worth: Harcourt Brace College Publishers (Holt, Rinehart and Winston, Inc.), 2004.

Description
MUSIC 447 - Counterpoint, is an in-depth study into the theory and practice of tonal (18th Century) counterpoint.

Objectives
The objective of this course is to extend the student's understanding of the important patterns and relationships of tonal counterpoint through written exercises, analysis of examples from the repertoire, and through composition projects.

Attendance
Students are expected to attend all classes and are responsible for all that transpires in class.

Grading
Class Assignments.................................60%
Midterm Exams (2)...............................20%
Final Exam............................................20%

Assignments and grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

Class Assignments - Music 4000 (Counterpoint)
 
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)

Return to Top of Page

MUSC 4000 (Counterpoint) - Messages: 

 


Return to Top of Page

MUSC 4000 - Advanced Music Theory: Fugue
Syllabus
2 Credit Hours; Time TBA; Location TBA

Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Office: 823-3137
Home: 459-5062
jjenny@otterbein.edu; http://faculty.otterbein.edu/jjenny/index.htm

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%

Assignments and grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

Analyses:

As assigned.

Writing Assignments:

1. Four-voice fugue in 18th-century style using a short, soggetto, subject with at least five Middle Entry Groups demonstrating use of stretto, augmentation and melodic inversion.

2. Three-voice fugue in 18th-century style using a long, andamendo, subject with at least three Middle Entry Groups.

3. Four-voice fugue in contemporary style with at least three Middle Entry Groups demonstrating use of stretto, augmentation and melodic inversion.


Return to Top of Page

MUSC 4000 (Fugue) - Messages:


Return to Top of Page


MUSIC 4000 - Advanced Music Theory: Schenkerian Analysis
Syllabus
2 Credit Hours; Time TBA; Location TBA

Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Office: 823-3137 Home: 459-5062
jjenny@otterbein.edu
http://faculty.otterbein.edu/JJenny/index.htm

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 to analysis through written exercises and analysis of examples from the tonal repertoire.

Grading
Class Assignments 50%
Mid-term Project 20%
Final Analytical Project 30%

Assignments and grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

Class Assignments - Music 4000 (Schenkerian Analysis)
 
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
4 Chapter 10 - Prolongation of the Primary Tone:  Arpeggiation 
Chapter 11 - Introduction to Musical Form; Unfolding of Intervals
3 & 4 
2 & 4
5 Chapter 12 - Fundamental Structure in Complete Units
Chapter 13 - The Harmonized Chorale
A2 & B3 
1 & 9
6 Chapter 14 - Elaborated Chorales:  Instrumental Preludes & Studies 
Chapter 15 - Musical Form & Fundamental Structure:  "One-Part" Forms
3 or 5 
2 or 3
7 Chapter 16 - Musical Form & Fundamental Structure:  Two-part Forms 
Chapter 17 - Musical Form & Fundamental Structure:  Three-part Forms

3
8 Chapter 18 - Register Transfer & Displacement 
Chapter 19 - Review & Refinement:  Structural Levels & Linear Progressions 
Chapter 20 - Review & Refinement:  Unfolding, Register Transfer, Overlapping, Motivic 
                            Structures 

 

Final Project

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.
Return to Top of Page

MUSC 4000 (Schenkerian Analysis) - Messages: 

 


Return to Top of Page

MUSIC 4000 - Post-Tonal Theory
Syllabus
2 Credit Hours; Time TBA; Location TBA

 

Dr. Jack D. Jenny
134 Battelle Fine Arts Center
Office: 823-3137
jjenny@otterbein.edu
http://faculty.otterbein.edu/JJenny/index.htm

Text
Strauss, Joseph N. Introduction to Post-Tonal Theory, 3rd ed. Upper Saddle, New Jersey: Prentice-Hall, 2005.

Description
MUSIC 4000 - 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, centric and minimalistic music of the Twentieth & Twenty-first Centuries.

Objectives
The objective of this course is to extend the student's understanding of the various practices of post-tonal theory through class discussions, 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 25%
Analysis Projects 20%
Composition Exercises 15%
Midterm Exam 20%
Final Exam 20%

Assignments and grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Return to Top of Page

Class Assignments:

Chapter/Day Assignment

Chapter 1 Read Preface, Chapter 1

Day 1 Theory exercises I.1.c-d, 2.c-d; II.1.c-g, 2.b-c, 3.c-d, 4.c-d; III.1.c-f, 2.c-f; IV.1.c-d, 2.c-d; V.1.c-e, 2.c-d; VI.1.c-d, 2.c-f; VII.1.c-d, 2.(Interval Classes 2-6); VIII.1.c-f, 2.c-d (optional)
Day 2 Analysis exercise (one will be assigned for presentation in class)
Day 3 Composition exercise I; Read Chapter 2 - first part (pp33-47)

Chapter 2

Day 1 Theory exercises I.1.d-g, 2.d-g; II.1.c-d, 2.c-d, 3.c-d; III.1.c-e, 2.d-f, 3.b,d,e; Read Chapter 2 - second part (pp. 47-60)
Day 2 Theory exercises IV.1.c-d, 2.c-d; V.1.c-e, 2.c-e, 3.c-e; VI.1.d-f, 2.c-d; VII.3-8
Day 3 Analysis exercise (one will be assigned for presentation in class)
Day 4 Composition exercise II; Read Chapter 3 - first part (pp. 79-92)

Chapter 3

Day 1 Theory exercises I.1.c, 2.c-d, 3.c-d; II.1.c-d, 2.c-d, 3.c-d,4.c-d; III.2.c-d; IV.1.c-d, 2.c-d; Read Chapter 3 - second part (pp. 93-112)
Day 2 Theory exercises V.1.c-d, 2.c-d; VI.1.c-d; VII.1.b-c, 2.b-c; VIII.1.c, 2.c-d, 3.(segments 3-9)
Day 3 Analysis exercise (one will be assigned for presentation in class)
Day 4 Composition exercise II; Read Chapter 4 - first part (pp. 130-150)

Chapter 4

Day 1 Theory exercises I.1.c-d, 2.c-d; II.1.c, 2.a-g, 3.c-e; Read Chapter 4 - second part (pp.150-166)
Day 2 Theory exercises III.1.c-h, 2.b&d; Analysis exercise (one will be assigned for presentation in class)
Day 3 Composition exercise II; Read Chapter 5 - first part (pp. 182-191)

Chapter 5

Day 1 Theory exercises I.1.c-d, 2.d-f, 4.a-c; Read Chapter 5 - second part (pp. 192-200)
Day 2 Theory exercises II.1.a-c for series c-d, 2.d-f; III.1.b-c
Day 3 Analysis exercise (one will be assigned for presentation in class)
Day 4 Composition exercise II; Read Chapter 6 - first part (pp. 217-230)

Chapter 6

Day 1 Theory exercises I.1.b, 2.b; II.1.c-d, 2.c-d; Read Chapter 6 - second part (pp. 231-245)
Day 2 Analysis exercises III or VI (one will be assigned for presentation in class)
Day 3 Composition exercise


Return to Top of Page

MUSC 4000 (Post-Tonal Theory) - Messages:


Return to Top of Page