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SYLLABUS
INTRODUCTION TO MUSIC
I. BASIC COURSE INFORMATION
A. Date: August 22, 2006
A. Instructor: Dr. Lynn C. Dean
A. Course Title and Number: Music 1010 (51)
A. Semester Credit Hours: 3
A. Weekly Contact Hours: 2 +
A. Prerequisites: None
II RATIONALE
Introduction to Music is a course that fulfills the humanities requirement for degree-seeking students. The student is exposed to the basic elements of music. The four major time periods of music are also examined. Representative pieces from each of these time periods, as well as information about the composers who wrote these pieces, will be covered.
III. FINE ARTS DEPARTMENT OBJECTIVES:
A. Students will appreciate and enjoy more fully the art, dance, music, and theatre experiences that they encounter in their lives.
A. Students will be able to trace the evolution of humankind as expressed through artistic eras (i. e. :Medieval, Renaissance, Age of Reason, Modernism, etc.).
A. Students will gain insights into humankind’s approach to creativity in art, dance, music, and/or theatre.
IV COURSE OBJECTIVES:
Generally, this course is intended to increase student’s musical comprehension, verbalization skills and technical understanding of music which will elevate, sensitize, and refine his or her understanding and appreciation of the art form.
Specifically, the course objectives are to enable the student to:
A. Develop an understanding of the basic elements of music, i.e., rhythm, melody, harmony, texture, and tonality.
A. Become familiar with musical form and analysis, and the principle types of vocal and instrumental compositions.
A. Become familiar with the major historical art periods, the representative composers and style, and the social, political, and philosophical influences that prevailed. The stress will be laid on those composers, and those works that mark out the main lines of music.
A. Establish a listening repertoire of musical masterworks representative of composers throughout history.
IV EVALUATION PROCEDURES;
A. There will be six tests during the course of the semester covering the following:
- The Basics of Music
- The Baroque Period (10 points comprised of listening identification)
- The Classical Period (10 points comprised of listening identification)
- The Romantic Period (two tests...10 points on each comprised of listening identification)
- The Impressionistic and Modern Periods (12 points comprised of listening identification)
A. 10 extra points will be allowed for students who view the movies, “Amadeus,” and “West Side Story.” (5 points each) The instructor will give a short one on one verbal quiz after a student has completed viewing these movies.
A. 5 points will be given for each of the following:
- Any performance of the Southwest Symphonic Chorale
- Any performance by the Southwest Symphony
- Any other performance cleared with the instructor before the performance takes place
- The human voice (pp. 40-41)
- Three Basic Elements of Music: Rhythm, Melody, Harmony
- Elements Affecting Rhythm: (a) Meter or Time Signatures (pp. 9-10) (b) Notation (pp. 10-11, 16) (c) Syncopation (p. 11) (d) Tempo (pp. 11-12)
(a) Conjunct (stepwise) vs. Disjunct (skipping) (p. 16) (b) How melody can affect mood (c) Scales (p. 20) (d) Octaves (p. 20) (e) Accidentals (sharps, flats, naturals)
- Elements Affecting Harmony (a) Harmony accompanies melody (p. 20) (b) Consonance vs. Dissonance (p. 21) (c) Triads/Chords The Tonic, Dominant, and Subdominant (p. 20) (d) Cadences: Authentic; Plagal; Deceptive (pp. 20-21) (e) Texture: Monophonic, Polyphonic, Homophonic (pp. 21-22) (f) Major and Minor (pp. 20-21) (g) Modulation ( p. 20)
- a. Instruments in the Orchestra: Strings; Woodwinds; Brasses; Percussion (pp. 29-37) (a) Benjamin Britten’s “Young Person’s Guide to the Orchestra (pp. 38-39)
- Keyboard Instruments: (b) The Harpsichord (p. 43) (c) The Piano (p. 44) (d) The Organ (p. 44) (e) The Synthesizer (p. 48)
- Music Form (b) Strophic (p. 56) (c) Theme & Variation (pp. 168-169) (d) Binary (AB) (e) Ternary (ABA)(p. 25) (f) Rondo (pp. 150-151) (g) March (pp. 300-301)
- The Main Stylistic Periods: (b) Baroque (1600-1750) (c) Classical (1750-1820) (d) Romantic (1820-1900)
(e) Impressionist (1880-1920) (f) Modern (1900-Present)
A. Medieval Music (Chapter 12–pp. 84-90)
A. Renaissance Music (Chapter 13–pp. 91-99)
A. Baroque Period
- Characteristics (b) Unity of Mood (c) Terraced Dynamics (pp. 120-121) (d) Chord progressions become standardized (Authentic Cadence) (e) The Basso Continuo (p. 121) (f) Word Painting (Doctrine of Affections–p. 105) (g) Major/Minor Tonal System Established (pp. 20-21)
- Music in Baroque Society
- Early, Middle, and Late Baroque
- Early Baroque–Operatic Style (b) The Camerata (c) Homophonic Style (p. 104) (d) Significant Early Operas (e) Public Opera Houses Established (f) Castrati Singers (g) Elements of Early Baroque Opera (1) Elaborate Staging (2) Libretto/Librettist (3) Acts & Scenes (4) Recitative (pp. 103-105) (5) Aria (pp. 110-112)
- Claudio Monteverdi/Orfeo (p. 107)
- Henry Purcell/Dido and Aeneas/Basso Ostinato (Ground Bass) (pp. 114-115)
- The Baroque Sonata–Two Types: a. Sonata da Chiesa (b) Sonata ca Camera
- Arcangelo Corelli (p. 131)
- The Baroque Concerto/Ritornello Form (pp. 129-130)
- Antonio Vivaldi/The Spring (pp. 131-132)
- Johann Sebastian Bach (p. 124)
- The Fugue (pp. 121-123)
- The Cantata (pp. 116-118)
- George Frideric Handel (p. 111)
- The Oratorio/The Messiah (pp. 108-113)
- The Orchestral Dance Suite (pp. 127-129)
- Water Music/Handel (p. 129)
A. The Modern Period
- Early Happenings
- Characteristics of the Modern Period
- Compositional Devices
- Hitler’s Effect on American Music
- Igor Stravinsky/The Rite of Spring (pp. 272-274)
- Expressionism: Arnold Schoenberg/The Twelve-Tone Row (pp. 267, 283-284)
- Alban Berg and Anton Webern (pp. 268-271, 284)
- Bela Bartok (pp. 259-261)
- Charles Ives (pp. 302-304)
- Edgard Varese (pp. 288-289)
- Musical Styles Since 1950
- Krzysztof Penerecki
- John Cage (pp. 286-287)
- Sergey Prokofiev (p. 278)
- Aaron Copland (p. 18)
- George Gershwin (p. 343)
- Leonard Bernstein (p. 340)
