| 12/21/2024 8:03:42 AM |
| Changed Course |
| CATALOG INFORMATION
|
| Discipline and Nbr:
MUSC 2A | Title:
MUSIC THEORY 1 |
|
| Full Title:
Music Theory 1 |
| Last Reviewed:12/12/2022 |
| 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 | 6 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:
MUS 2A
Catalog Description:
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This course introduces students to music theory and its application in various musical styles. Topics include properties of sound, rhythm and meter, scales and modes, key signatures and the Circle of Fifths, intervals and transposition, chords and progressions, figured bass and Roman numeral analysis, phrases and cadences, and formal structure. The historical and social context of the above concepts will be discussed with musical examples drawn from history and global culture. Development of skill in handwritten notation is expected.
Prerequisites/Corequisites:
Recommended Preparation:
Concurrent enrollment in MUSC 3A AND concurrent enrollment in MUSCP 11A or another appropriate piano course
Limits on Enrollment:
Schedule of Classes Information
Description:
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This course introduces students to music theory and its application in various musical styles. Topics include properties of sound, rhythm and meter, scales and modes, key signatures and the Circle of Fifths, intervals and transposition, chords and progressions, figured bass and Roman numeral analysis, phrases and cadences, and formal structure. The historical and social context of the above concepts will be discussed with musical examples drawn from history and global culture. Development of skill in handwritten notation is expected.
(Grade Only)
Prerequisites:
Recommended:Concurrent enrollment in MUSC 3A AND concurrent enrollment in MUSCP 11A or another appropriate piano course
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP
ARTICULATION, MAJOR, and CERTIFICATION INFORMATION
| Associate Degree: | Effective: | Fall 2006
| Inactive: | |
| Area: | E
| Humanities
|
| |
| CSU GE: | Transfer Area | | Effective: | Inactive: |
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| IGETC: | Transfer Area | | Effective: | Inactive: |
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| CSU Transfer: | Transferable | Effective: | Fall 1981 | Inactive: | |
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| UC Transfer: | Transferable | Effective: | Fall 1981 | Inactive: | |
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| C-ID: |
| CID Descriptor: MUS 120 | Music Theory I | SRJC Equivalent Course(s): MUSC2A |
Certificate/Major Applicable:
Both Certificate and Major Applicable
COURSE CONTENT
Student Learning Outcomes:
At the conclusion of this course, the student should be able to:
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1. Identify, construct, and utilize the fundamental elements of music including rhythm, scales, modes, intervals, chords, and chord progressions.
2. Perform elementary rhythmic, harmonic, melodic, and structural analysis of a diverse body of music in various styles and from various cultures.
Objectives:
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At the conclusion of this course, the student should be able to:
1. Interpret music with regard to its historical and cultural context.
2. Explain the basic properties of sound including pitch, duration, intensity, and timbre.
3. Read and write music notation on all clefs.
4. Identify, interpret, and utilize all meter signatures in simple, compound, and irregular meters.
5. Identify, construct, and utilize key signatures and the Circle of Fifths.
6. Identify and construct all diatonic major and minor scales and the modes.
7. Identify and construct synthetic and non-diatonic scales including whole-tone, pentatonic, diminished/octatonic, chromatic, and non-Western scales.
8. Identify and construct all simple and compound intervals.
9. Transpose music from one key to another.
10. Identify and construct triad chords (major, minor, augmented, and diminished) in root position and inversion in all keys.
11. Identify and construct dominant seventh chords in all keys.
12. Analyze and construct chord progressions in Roman numerals and figured bass in all keys.
13. Analyze simple short pieces of music in different styles and from diverse cultures with regard to melodic and rhythmic phrase structure, harmony, cadences, and structure.
Topics and Scope
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I. Music for Study and Analysis
Throughout the course, demonstration examples will be drawn from a wide variety of music including classical, commercial, and folk styles reflective of the diversity of global culture. Includes a discussion of aesthetics and the role of music in society.
II. Basic Properties of Sound: Pitch, Duration, Intensity (Dynamics), and Timbre (Overtones)
III. Notation
A. Pitch, the staff, and clefs
B. Rhythm, meter, and rhythmic notation
C. Dynamics, articulations, and other notational symbols
D. Application to musical examples
IV. Scales, Tonality, Keys, and Modes
A. Diatonic scales
1. Major scales
2. Minor scales (natural, harmonic, and melodic forms)
3. The diatonic modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian)
4. Other diatonic (including non-Western) scales
B. Key signatures and the Circle of Fifths
C. Nondiatonic scales
1. Pentatonic: major, minor, and non-Western (Slendro, Hirajoshi, etc.)
2. Chromatic and whole-tone
3. Diminished/octatonic
4. Other synthetic and non-Western scales
D. Application to musical examples
V. Intervals and Transposition
A. Melodic and harmonic intervals
B. Interval inversion
C. Simple and compound intervals
D. The overtone series
E. Historical and cultural perspectives on tuning and temperament
F. Transposition and transposing instruments
G. Application to musical examples
VI. Chords
A. Principles of harmonic construction
B. Major, minor, augmented, and diminished triads
C. The dominant seventh and other seventh chords
D. Inversion, doubling, voicing, and arpeggiation
E. Analysis of chords in Roman numerals and popular symbols
F. Principles of harmonic motion and chord progressions
G. Introduction to four-part chorale writing principles
H. Application to musical examples
VII. Musical Form and Structure
A. Melodic design: phases, motifs, sequences, and cadences
B. Harmonic cadences
C. Introduction to nonharmonic tones
D. Basic musical form
E. Analysis of simple, short pieces in different styles and from diverse cultures
Assignments:
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1. Reading assignments (10-15 pp./week) in the text, handouts, and/or online
2. Worksheet assignments (2-5 pp./week) in handwritten music notation
A. Musical notation (pitch and rhythm)
B. The construction of scales, intervals, and chords
C. Roman numeral harmonic analysis of chord progressions
D. Analysis of songs and compositions in relation to key, phrase and cadence structure, and melodic/rhythmic design
3. Online exercises to reinforce concepts learned in class (ungraded)
4. In-class quizzes and/or exams (2-4) and a comprehensive final examination
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 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
25 - 55% |
| Worksheets in handwritten music notation | |
| Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams. | Skill Demonstrations
0 - 0% |
| None | |
| Exams: All forms of formal testing, other than skill performance exams. | Exams
40 - 60% |
| Quizzes/exams, comprehensive final exam | |
| Other: Includes any assessment tools that do not logically fit into the above categories. | Other Category
5 - 15% |
| Attendance and class participation | |
Representative Textbooks and Materials:
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Music Theory for the 21st-Century Classroom. Hutchinson, Robert. Open Textbook Library, 2021.
Music in Theory and Practice, Volume 1. 10th ed. Benward, Bruce and Saker, Marilyn. McGraw-Hill. 2021.
Tonal Harmony. 8th ed. Kostka, Stefan, Dorothy Payne, and Byron Almen. McGraw-Hill. 2017 (classic).
Instructor-prepared materials
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