- Course Number:
- MUS 112C
- Course Title:
- Music Theory I: Sight Singing and Ear Training (part two)
- Credit Hours:
- Lecture Hours:
- Lecture/Lab Hours:
- Lab Hours:
- Special Fee:
Course DescriptionContinues development of skills from MUS 111C. Includes harmonic implications in melody, complex rhythms, beat subdivisions and four-part harmony. Introduces melodic chromaticism, extended harmony and phrase relationships. Part two of three-term sequence. Prerequisites: MUS 111C. Corequisites: MUS 112. Recommended for music transfer students. Audit available.
Addendum to Course Description
This course is required for students wishing to major in music. Students will be required to use MIDI lab outside of class time to build and reinforce skills.
Intended Outcomes for the course
Material will primarily be presented in a lecture/lab format. Other educational methods will be used to enhance lectures. These will include use of recorded materials, internet sites and computer software.
A large amount of student to teacher contact should be achieved throughout the term in order to encourage and accomplish successful student development.
Students will be able to interpret and perform rhythmic notation in simple meters (beat subdivision and longer values).
Students will be able to interpret and perform rhythmic notation in compound meters (beat subdivision and longer values).
Students will be able to isolate and accurately notate rhythm of musical examples that include beat subdivisions.
Students will be able to apply solfege to disjunct diatonic melodies.
Students will be able to sing diatonic intervals (m2-P8) at sight.
Students will be able to aurally identify diatonic harmonic intervals (m2-P8).
Students will be able to sing basic disjunct diatonic melodies at sight using solfege.
Students will be able to accurately notate disjunct diatonic melodies upon hearing.
Students will be able to aurally identify chord function (diatonic functions).
Students will be able to aurally detect errors in notation of disjunct diatonic melodies from the music literature.
Students will be able to aurally identify triad chord qualities (major, minor, diminished and augmented).
Students will be able to aurally identify nonharmonic tones within a musical example (suspensions, anticipations and escape tones).
Students will be able to accurately identify the relationship between two musical phrases. (E.g. repetition vs. sequence)
Outcome Assessment Strategies
The instructor should make the criteria for assigning a course grade and for evaluating student progress clear at the beginning of the term. The individual instructor will determine the methods of assessment. Assessment methods may include:
Course Content (Themes, Concepts, Issues and Skills)
¦ Beat subdivision in simple and compound meters
¦ Diatonic interval review (m2-P5)
¦ Larger intervals (m6-P8)
¦ The tritone
¦ Inverted major and minor triads
¦ Augmented triads
¦ Diminished triads
¦ Triad function identification
¦ Cadence identification (half and deceptive cadences)
¦ Triad arpeggiation
¦ Altered minor scales
¦ Melodies containing the tonic arpeggio.
¦ Disjunct major melodies
¦ Disjunct minor melodies
¦ More arpeggiation within melodies
¦ Identifying nonharmonic tones (suspension types, anticipations and escape tones)
¦ Melodic figure identification (tonal sequence and rhythmic repetition)
¦ Error detection from music literature
The following skills are expected to be achieved to successfully meet the minimum requirement ("C" or "Pass") of the course.
Accurately perform rhythmic examples that include beat subdivisions at sight.
Sight sing harmonic diatonic intervals (m2-P8).
Sight sing diatonic disjunct melodies using solfege.
Aurally identify harmonic intervals (m2-P8)
Isolate and notate rhythm of musical examples that include beat subdivision and syncopation.
Notate diatonic disjunct melodies upon hearing.
Aurally identify minor scale types.
Aurally identify triad chord qualities (major, minor, diminished and augmented).
Aurally identify notational errors in disjunct diatonic melodies from music literature.
Aurally identify nonharmonic tones (suspensions, anticipations and escape tones).
Aurally identify harmonic cadences (half and deceptive cadences).