|MUS 111 Basic Music Theory II||William Wieland|
|Northern State University, Every Spring Semester, Sections 1 & 2|
Instructor: Dr. William Wieland|
Office: Spafford Hall Room 304
Office Hours: Please refer to my Class Schedule.|
E-mail Address: William.Wieland@northern.edu
|Course Description: An integrated study and application of tonality, melody, harmony, texture and form, from music notation through modulation. Includes sight singing, ear training, and dictation. Introduction to composition and arranging, i.e. instrument ranges, transposition, tessitura and preliminary score analysis.|
|Prerequisite: Mus 110 or consent of the instructor.|
|Credit Hours: 4|
|Instructional Methods: Listening, lecture, discussion, analysis, singing, playing, composing, arranging, Internet tutorials, online drills, computer software, quizzes, speed quizzes, and a comprehensive final exam.|
|Required Text: Rogers & Ottman. Music for Sight Singing. 10th ed. Pearson, 2019. (The 8th or 9th ed. will work fine as well.)|
Other Fine Materials: |
Ear Training Software: MacGamut 6 (www.macgamut.com)
Music Theory Texts: Benward & Saker. Music in Theory and Practice. Volume I. 8th ed. McGraw-Hill, 2009.
Burstein & Straus. Concise Introduction to Tonal Harmony. W.W. Norton, 2016.
Kostka & Payne. Tonal Harmony. 5th ed. McGraw-Hill, 2004.
|Materials: Please bring a pencil, paper, scratch paper, and staff paper to every class. You will also receive handouts. Free staff paper can be printed from my web site. Go to Theory Things and look under STAFF PAPER.|
Objectives: (from the National Association of Schools of Music Handbook 201516, Section VIII. B.)|
1. c. Students must acquire the ability to read at sight with fluency.
2. a. Students must acquire an understanding of the common elements and organizational patterns of music and their interaction, the ability to employ this understanding in aural, verbal, and visual analyses, and the ability to take aural dictation.
2. b. Students must acquire sufficient understanding of and capability with musical forms, processes, and structures to use this knowledge and skill in compositional, performance, analytical, scholarly, and pedagogical applications according to the requisites of their specializations.
3. Students must acquire a rudimentary capacity to create original or derivative music.
5. While synthesis is a lifetime process, by the end of undergraduate study students must be able to work on musical problems by combining, as appropriate to the issue, their capabilities in performance; aural, verbal, and visual analysis; composition/improvisation; and history and repertory.
Performance Standards / Grading Policies: I weigh MUS 111 grades as follows:|
To pass the course, you must:
|Quizzes and Performing Evaluations: You may retake any quiz and/or performing evaluation during my office hours before 5:00 pm on the last day of the semester. However, you may only retake a particular quiz or performing evaluation once a day. I will record only the highest grades. Note: Even if you earn a good grade on the first attempt at a quiz, you may wish to take it again as a review. Most quiz material appears on the final exam.|
|What is an A? An A is going beyond what is usual. Students who simply meet minimum course requirements earn Bs or Cs. An A indicates extraordinary work and a B is a good grade.|
|Attendance: Regular daily attendance is strongly recommended and is required during class exercises, activities and quizzes. Of course, those with certified and serious reasons for missing class will be accomodated. Excessive absenteeism or tardiness usually results in lower grades. Students are responsible for information missed as a result of being absent or tardy.|
|Academic Freedom Academic Integrity ADA Statement Diversity Statement Student Success/Starfish Technology in the Classroom|
|Caveat: This syllabus is subject to change in the event of extenuating circumstances.|