4/24/2024 3:41:15 PM	MUS 7.3 Course Outline as of Fall 2007	Inactive Course
CATALOG INFORMATION
Discipline and Nbr:  MUS 7.3	Title:  INTRO TO MUSIC APP
Full Title:  Introduction to Music Appreciation
Last Reviewed:5/7/2007

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	3.00		17.5 max.	Lecture Scheduled	52.50
Minimum	3.00	Lab Scheduled	0		17.5 min.	Lab Scheduled	0
		Contact DHR	0			Contact DHR	0
		Contact Total	3.00			Contact Total	52.50
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  105.00

Total Student Learning Hours: 157.50

Title 5 Category:  AA Degree Applicable
Grading:  Grade Only
Repeatability:  00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As: 
Formerly: 

Catalog Description:

An introduction to the major forms and styles of art music with an emphasis on music of the twentieth century.

Prerequisites/Corequisites:

Recommended Preparation:
Completion of ENGL 100 or ESL 100.

Limits on Enrollment:

Schedule of Classes Information
Description:

An introduction to the major forms & styles of art music with an emphasis on music of the twentieth century.

(Grade Only)
Prerequisites:
Recommended:Completion of ENGL 100 or ESL 100.
Limits on Enrollment:
Transfer Credit:
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
	C1	Arts		Fall 1993	Fall 2007
IGETC:	Transfer Area			Effective:	Inactive:
	3A	Arts		Fall 1995	Fall 2007
CSU Transfer:		Effective:		Inactive:
UC Transfer:		Effective:		Inactive:
C-ID:

Certificate/Major Applicable: Certificate Applicable Course

COURSE CONTENT

Outcomes and Objectives:
At the conclusion of this course, the student should be able to:

Students are expected to:

 1. Listen frequently and carefully to recorded music (live in some

    instances), and to recognize compositions, composers, musical tech-

    niques, and the simpler musical forms.

 2. Relate what they have experienced and learned in No. 1 to musical

    compositions they have never heard before to see if aurally they

    can verbally express  the likeness and/or difference to determine

    if the unknown example was likely to have been written in the

    twentieth century.

 3. Develop further their listening skills by (1) making a conscious

    effort to expand their attention spans, (2) trying to hear more

    detail in the music, (3) beginning to detect the more subtle

    features of interpretation, nuance, performance practices,  and (4)

    become more accepting of the dissonances of twentieth -century

    music, not to mention its sometimes experimental nature.

 4. Infer that by knowing the ingredients of music and how those

    ingredients are used by composers will they be able to make

    knowledge, critical judgements about what they have heard.

 5. Name, relate, and identify important musical terminology;

    biographical data as it applies to the compositions.

 6. Evaluate the style of a composer by his/her use of the basic

    elements of music such as melody, harmony, rhythm, texture,

    orchestration, etc.

 7. Learn that even though music may be one of the most abstract of

    the arts, that very abstraction leads to the ability to make

    logical conclusions from the critical thinking inherent to this

    art.

Topics and Scope

 1. Part One:  The First Revolution: The background to the twentieth

   century; the twentieth century conceptions of the basic elements of

   music: melody, harmony, rhythm texture, tonality, form, sonority,

   orchestration and other twentieth-century ideas.  Music does not

   exist in a vacuum.  History shows the changes brought about in

   music by societial, political, economic, cultural, geographic changes.

2. Part Two:  Music Before World War I (1894-1914):  One of the most

   turbulent periods in the history of the art.  All the "isms":

   Post Romanticiam, Impressionism, Post Impressionism, Primitivism,

   Expressionism, Futurism, Nationalism, and away from Impressionism.

   These "isms" do not only occur in music.  Students are constantly

   reminded of the many different styles that occur within say a four

   year period, 1910-1914 or any other time frame within this given.

3. Part Three:  Music Between the Wars (1920-1940):  One of the longest

    sections of the semester.  The topics will be:  Neo-Classicism,

    Gebrauchmusik, Les Six, Twelve-Tone Compositions, Real Politik

    of post revolutionary Russia, Neo-Romanticism, political music

    other than the Soviet Union.  Here history  will show the students

    that despite all the different ideas floating around, it was,

    indeed, one of the most unified musical periods of the twentieth

    century.  The war to end all wars was not to be.

4.  Part Four:  The Second Revolution:  The music after World War II.

    The topics will be:  European masters to came to the United

    States and the resluts of that influx of genius; the diversity,

    the pluralism that has developed during the final fifty years of

    the twentieth century, totally unlike the previous section of

    artistic unity; and ultimately how the composer of today has more

    choices than musicians of former eras.

5.  The twentieth century is a century of everything in music, like

    New York City, the best and the worst.  The student will be

    challenged to endeavor to make critical judgements from sometimes

    a seemingly illogical set of facts, works, techniques, and

    musical evidence.  It is imperative that the student read as

    many views as possible, hear as many diverse composers and styles

    as he/she can, discuss as many likenesses and differences as may

    appear; only then will the student have the tools to make valid

    critical judgements about twentieth-century music.

Assignments:

  1. Four reading assignments, with the first of 9 chapters being the

    least in number.  the anticipation is that approximately 50 chapters

    will be covered in the course of the semester.

 2. A listening list of four programs containing a total of 40 composi-

    tions for the purpose of both outside listening, class discussion,

    and identification on listening examinations.

 3. Both numbers one and two will, for the most part, be discussed and

    elaborated upon in class lectures to bring to the student's attention

    the most important, and necessary aspects of the reading material,

    and to point out some of the salient things that they should be

    listening for in the assigned compositions on the listening programs.

 4. In addition to these three above, additional music will be used as

    it relates to the topics under consideration, and in order to en-

    hance the accuracy of the student's listening experiences.

5.  In addition to the assigned materials, the students will be played

    parts of works that they have never heard before to see if they

    can from what they have learned recognize part of a form, e.g.,

    a coda; polyrhythms, e.g., "L'Histoire du Soldat", 1918; or

    other telltale fingerprints of a twentieth-century work.

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 0 - 0%
None
This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments and skill demonstrations are more appropriate for this course.
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 10 - 15%
Homework problems, Exams, LISTENING QUIZZES
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 15 - 20%
STYLE EVALUATION EXAMS
Exams: All forms of formal testing, other than skill performance exams.		Exams 60 - 80%
Multiple choice
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 5 - 10%
ATTENDANCE

Representative Textbooks and Materials:

THE INTRODUCTION TO CONTEMPORARY MUSIC:  Joseph Machlis, 2nd ed.,

    W. W. Norton, New York; 1989.

TWENTIETH CENTURY MUSIC by Elliott Antokoletz, Prentice Hall, New Jersey.

    First Edition; 1992.

TWENTIETH-CENTURY MUSIC by Robert P. Morgan, W. W. Norton, New York;

    First Edition; 1991.

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