|11/29/2023 10:09:57 AM||
|Discipline and Nbr:
INTRO TO MUSIC THEORY||
Introduction to Music Theory
|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
Title 5 Category:
AA Degree Applicable
00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As:
| ||Total Out of Class Hours: 105.00||Total Student Learning Hours: 157.50||
Basic orientation course of a four semester sequence required of lower division music majors and minors in most colleges and universities. Topics include basic music notation and terminology, rhythm, scales and modes, key signatures and the circle of fifths, intervals, transposition, chords and chord progressions, figured bass, Roman numeral analysis, and basic song structure.
Concurrent Enrollment in MUSC 3A and MUSC 170; AND Eligibility for ENGL 100 or ESL 100; AND Concurrent private or classroom piano study as recommended.
Limits on Enrollment:
Schedule of Classes Information
Music notation, terminology, rhythm, scales, modes, key signatures, circle of fifths, intervals, transposition, chords and progressions, figured bass, Roman numeral analysis, and basic song structure.
Recommended:Concurrent Enrollment in MUSC 3A and MUSC 170; AND Eligibility for ENGL 100 or ESL 100; AND Concurrent private or classroom piano study as recommended.
Limits on Enrollment:
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP
ARTICULATION, MAJOR, and CERTIFICATION INFORMATION
Both Certificate and Major Applicable
Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
|Associate Degree:||Effective:||Fall 2023||Inactive:||
|CSU GE:||Transfer Area|| ||Effective:||Inactive:
|IGETC:||Transfer Area|| ||Effective:||Inactive:
|CSU Transfer:||Transferable||Effective:||Fall 1981||Inactive:||
|UC Transfer:||Transferable||Effective:||Fall 1981||Inactive:||
| CID Descriptor: MUS 120|| Music Theory I|| SRJC Equivalent Course(s): MUSC2A
Upon completion of this course, the student will be able to:
1. Explain the four basic properties of sound: pitch, duration, intensity
(dynamics), and timbre (overtones).
2. Read and write musical notation on all clefs (G, F, and C).
3. Identify, interpret, and utilize all meter signatures in simple,
compound, and asymmetrical meters.
4. Identify, construct, and utilize key signatures and the circle of
5. Identify and construct all diatonic major, minor, and modal scales.
6. Identify and construct synthetic and non-diatonic scales including
whole-tone, pentatonic, diminished/octatonic, and chromatic.
7. Identify and construct all simple and compound intervals.
8. Transpose music from one key to another.
9. Identify and construct triad chords (major, minor, augmented, and
diminished) in root position and inversion in all keys.
10. Identify and construct dominant seventh chords in all keys.
11. Analyze and construct chord progressions in Roman numerals and
figured bass in all keys.
12. Analyze traditional songs with attention to key, phrase and cadence
structure, rhythmic motives, and melodic design.
Topics and Scope
A. Basic properties of sound: pitch, duration, intensity (dynamics),
and timbre (overtones)
B. Notation of pitch and rhythm
C. Basic musical terminology
II. Scales, Tonality, Key, and Modes
A. Diatonic scales
1. major scales
2. minor scales (natural, harmonic, and melodic forms)
3. the church modes
4. other diatonic scales
B. Key signatures and the circle of fifths
C. Nondiatonic scales
1. pentatonic major and minor
5. other synthetic and non-Western scales
III. Intervals and Transposition
A. Melodic and harmonic intervals
B. Interval inversion
C. Simple and compound intervals
D. The overtone series, tuning, and temperament
E. Transposition and transposing instruments
A. Basic principles of harmonic construction
B. The four types of triads (major, minor, augmented, diminished)
C. The dominant seventh chord
D. Other seventh chords
E. Working with chords
2. doubling, voicing, and arpeggiation
F. Harmonic analysis of chords in Roman numerals and popular symbols
V. Musical Form and Structure
A. Melodic construction (phrases and melodic design)
B. Harmonic cadences (authentic, plagal, half, and deceptive)
C. Introduction to non-harmonic tones
D. Basic musical form and analysis of short songs
1. Workbook exercises in musical notation, pitch, and rhythm.
2. Workbook assignments in the construction of scales, intervals, and chords.
3. Roman numeral harmonic analysis of chord progressions.
4. Analysis of folk and popular songs in relation to key, phrase and
cadence structure, melodic and rhythmic design.
5. 2-4 chapter exams and a comprehensive final exam.
Methods of Evaluation/Basis of Grade.
Representative Textbooks and Materials:
|Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.||Writing
0 - 0%
|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
30 - 60%
|Homework problems, workbook assignments, musical analysis||
|Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.||Skill Demonstrations
0 - 0%
|Exams: All forms of formal testing, other than skill performance exams.||Exams
30 - 60%
|Chapter tests, final exam||
|Other: Includes any assessment tools that do not logically fit into the above categories.||Other Category
5 - 10%
|Attendance and participation||
Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol.1.
8th ed. New York, McGraw-Hill, 2008.
Kostka, Stefan and Dorothy Payne. Tonal Harmony. 6th ed.
New York: McGraw-Hill, 2009.