CCOG for MUS 213B archive revision 201403
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- Effective Term:
- Summer 2014 through Spring 2016
- Course Number:
- MUS 213B
- Course Title:
- Music Theory II: Keyboard Harmony
- Credit Hours:
- Lecture Hours:
- Lecture/Lab Hours:
- Lab Hours:
Intended Outcomes for the course
Material will primarily be presented in a lecture format. Students should be given the opportunity to apply concepts covered in the lectures in a hands-on environment. Course is ideally taught in a piano lab where each student has access to a piano keyboard.
Students will be able to perform jazz style accompaniment from standard music chart.
Students will be able to apply basic jazz harmonic principles to reharmonize existing tonal composition.
Students will be able to aurally identify basic jazz harmonic practices.
Students will be able to compose and perform examples using extended and non-tertian harmonies.
Students will be able to aurally identify examples of extended and non-tertian harmonies.
Students will be able to compose and perform examples using synthetic and non-traditional scales.
Students will be able to aurally identify synthetic and non-traditional scales.
Students will be able to compose and perform musical examples that exhibit nontraditional tonality.
Students will be able to compose and perform atonal examples using cell based compositional practices.
Students will be able to aurally identify various transformations of basic cell.
Students will be able to compose and perform atonal examples using 12-tone serial methods.
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)
New Musical Resources
… Extended and added tone harmonies
… Modality vs. tonality
… Quartal and quintal harmony
… Church modes, whole tone and pentatonic scales
… Nonfunctional tonality
Early Twentieth Century Tonality
… The golden mean in music
… Secundal harmonies
… New rhythmic devices (asymmetric meter, ostinato, polymeter and polyrhythm)
… Octatonic and synthetic scales
… New forms of tonality (free tonality, bitonality, pandiatonicism and polytonality)
… Additive formal process
… Isorythms and nonretrogradable rhythms
… Modes of limited transposition
Jazz Harmony and Theory
… Reading charts and jazz harmony
… Extending chords
… Substitution patterns
… Scale/chord theory
… Cellular organization and variation
… Schoenberg, Berg and Webern
… Set theory (interval class, pitch class, normal order, prime form, interval vectors)
… Serialism and 12-tone method
… Non 12-tone serialism and absolute serialism
The following skills are expected to be achieved to successfully meet the minimum requirement ("C" or "Pass") of the course.
- Compose and perform examples using jazz harmonic practices including extended harmony, altered harmony, harmonic substitution, harmonic back cycling and scale/chord theory.
- Reharmonize existing traditional tonal composition according to jazz harmonic practices.
- Compose and perform musical excerpts employing extended and non-tertian harmonies.
- Aurally identify extended and non-tertian harmonies.
- Compose and perform musical excerpts employing synthetic and non-traditional scales.
- Aurally identify synthetic and non-traditional scales.
- Compose and perform atonal musical excerpts using cell based and serial methods.
- Aurally identify transformations of cell.