SYLLABUS
PMW 210 Music Theory 2 and PMW 212 Music Theory 3
2012-2013
Cincinnati Christian UniversityProfessor Gary J. Gregory
MWF 11:00 -11:50 a.m. Campus Phone (513) 244-8174
Three credit hours per semester Email:
Course Description and Rationale
Music Theory 2 is a continuing study of tonal music and the use of seventh chords, secondary dominants, and modulation to closely related keys, as well as keyboard harmony and analysis of musical examples. Some use pf Finale notation. Prerequisite: PMW 112, 113 or equivalent.
Music Theory 3 continues the study of harmonic materials of the nineteenth century with continued work in analysis and musical forms. The course covers modulation to distant keys, chromatic harmony and keyboard harmony. Prerequisite: PMW 210, 211 or equivalent.
It is essential that any church musician be prepared for ministry with the skillful handling of musical elements and structures. Also, implied by any college degree in music is basic mastery of standard music theory. The course, therefore, presents a study of the compositional principles (music theory) used in standard musical practices of the Common Practice Period of the 18th and 19th centuries. Comparisons will also be given to contemporary Christian music harmonic practices of the 20th century. Practical application of theoretical studies is made through part-writing exercises and composition projects. Use of Finale notational software will be introduced.
Instructional Objectives
The student who satisfactorily completes both semesters of this course should be able to:
1.Write and analyze all forms of chords built in thirds.
- Demonstrate an understanding of binary and ternary forms in music.
- Construct and/or analyze meaningful diatonic chord progressions including the employment of secondary dominants and other altered chords.
- Write and analyze modulations to closely related keys, chromatic modulations and enharmonic modulations.
- Relate musical practices to periods of music history.
6.Compose music for vocal solo or solo orchestral instrument with keyboard accompaniment.
7.Demonstrate ability to play chord progressions at the keyboard, which were studied during the semester, and to harmonize a simple melody at the keyboard.
Outline of Course Content
The following schedule is subject to adjustment in order to accommodate class needs:
Fall Semester / Spring SemesterWeek 1 / Chapter 15
Diatonic Harmonies and Root Progressions
Cadences: Deceptive, Plagal, Phrygian
Mediant Triads, Parallel 6/3 Chords / Chapter 23
Binary and Ternary Forms
Week 2 / Chapter 15 - Continued / Chapter 23 - Continued
Week 3 / Chapter 16
Embellishing Tones in Four Voices / Chapter 24
Invention, Fugue, and Other Contrapuntal Genres
Week 4 / Chapter 16 - Continued
First inversion and Second Inversion chords / Chapter 24 – Continued
TEST on Chapters 23 & 24
Week 5 / TEST on Chapters 1516
Chapter 17
Leading Tone Chords / Chapter 25
Modal Mixture
Week 6 / Chapter 17 - Continued / Chapter 26
The Neapolitan Sixth and Augmented-Sixth
Week 7 / Chapter 18
Phrase Structure and Motivic Analysis
The Phrases, Motives and Periods / Chapter 26 - Continued
Week 8 / Chapter 18 - Continued / Chapter 26
TEST on Chapter 25 & 26
Week 9 / TEST on Chapters 17 & 18
Chapter 19
Diatonic Sequences, Harmonic Sequences / Chapter 27
Vocal Forms – Text and Songs Structure
Other Vocal Forms
Week 10 / Chapter 19 - Continued / Chapter 27 - Continued
Week 11 / Chapter 20
Secondary Dominants and Leading-Tone Chords to V / Chapter 28
Popular Music – Early Twentieth-Century Popular Song, The Twelve Bar Blues, Post-1950 Popular Song
Week 12 / Chapter 20 - Continued / Chapter 28 - Continued
Week 13 / Chapter 21
Tonicizing Scale Degrees Other Than V / TEST on Chapter 27 & 28
Chapter 29
Chromatic Harmony and Voice-Leading
Week 14 / Chapter 21 - Continued / Chapter 30
Chromatic Modulation
Week 15 / Chapter 22
Modulation to Closely Related Keys / Chapter 30 - Continued
FINAL EXAM: See Final Exam Schedule / FINAL EXAM: See Final Exam Schedule
Learning Activities and Course Procedures
- Attendance: The school policy on class attendance will apply. See the last page of this course plan for a full explanation. Tardies are a disruption to the class and will count against the student. It is the student’s responsibility to be present and ready to start class when the bell rings. Three tardies will count as one absence. If a school activity will cause you to miss a class, please notify the professor at least one week in advance.
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- Workbook exercises, analysis and/or keyboard exercises will be assigned each day according to the process and needs of the class. All written exercises are to be labeled with the student's name and due date Late assignments will not be accepted .
Recommendation for success: In preparing music theory assignments it is always more efficient and more successful to work on assignments as soon after class as possible (when the material is still fresh on your mind) rather than to wait until the night before the next class.
3.Exams will be given at the conclusion of the review and after the chapters as listed above in the course outline. The final exam counts equal weight with other exams.
4.One composition project is required in the Fall semester and two composition projects are required in the Spring semester. Further information and guidance will be given during the semester. Grading will be based on neatness, accuracy, proper application of music principles studied, unity of the piece, and overall musical effect.
Grading Percentages
Fall semesterSpring semester
Daily Assignments52.5%Daily Assignments45%
Composition Project10%Composition Projects20%
Exams37.5%Exams35%
Notice: These Course Plans are subject to change during the semester at the discretion of the professor in order to address particular needs of the class.
Required Textbooks:
Clendinning, Jane Piper and Marvin, Elizabeth West. The Musician’s Guide to Theory and Analysis,
2nd ed. W.W.Norton & Co., 2011.
Clendinning, Jane Piper and Marvin, Elizabeth West. The Musician’s Guide Workbook, 2nd ed.
W.W.Norton & Co., 2011
Clendinning,Jane Piper and Marvin, Elizabeth West. The Musician’s Guide Anthology, 2nd ed.
W.W.Norton & Co., 2011
Clendinning,Jane Piper and Marvin, Elizabeth West. The Musician’s Guide to Anthology Recordings,
2nd ed. W.W.Norton & Co., 2011
Official Textbook Website for drills, quizzes, chapter summaries, etc:
wwnorton.com/studyspace.
ADDITIONAL HELPS:
Benward, Bruce and Saker, Marilyn. Music in Theory and Practice, 8th ed. Volume 1. New York: McGraw-Hill, 2009.
Burkhart, Charles. Anthology for Musical Analysis. 8th ed. New York: Schirmer Books, 2003.
Steinke, Greg A.. Harmonic Materials in Tonal Music: A Programmed Course. 9th ed. Englewood Cliffs, N.J.: Prentice Hall, 2001.
Kostka, Stefan and Dorothy Payne. Tonal Harmony with and Introduction to Twentieth-Century Music. 6th ed. New York: McGraw-Hill, 2009.
Kraft, Leo. Gradus: the Second Year and After. New York: Norton, 1990.
Sorce, Richard. Music Theory for the Music Professional; A Comparison of Common-Practice and Popular Genres. New York: Ardsley House, 1995.
Turck, Ralph. Theory for Today’s Musician. New York: McGraw-Hill, 2007.
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CLASS ATTENDANCE
Since much of the education process occurs in the interactions of students and faculty with the curriculum, student attendance at class is required. Students with more than two weeks of absences in a particular course will receive the grade of FA (Failure due to absences) in the class. Students who reach this level prior to seventh week of the semester may withdraw from the class and receive a “W” for the class.
Examples:
1) A student in a three-hour course that meets on 3 separate days would have 6 absences before failing the class. On the seventh miss the student would receive the grade of FA (Failure due to absences). 2-hour classes that meet two days a week would have 4 absences. The fifth absence would result in the grade of FA.
2) A student who misses more than 2 sessions of an evening or “block class” would fail the class due to absences. It does not matter how many hours the class is for. Only 2 absences are allowed. The third absence will result in the grade of FA.
When a student is failed in a course due to absences, it is rare that reinstatement in the class is allowed. However, a student can apply for reinstatement, understanding there may be substantial penalties, including extra work. The reinstatement process begins with the Registrar’s Office. Students should keep documentation on absences (Dr.’s note or bill, note to professor about school sponsored activity, personal records, etc.). Reinstatements will not be considered without proper reporting and documentation.
A student should be aware that faculty members may penalize students for class absences prior to the two week limit. Read the individual course syllabus for statements of such penalties. The two weeks of absences are not entitlements for students. They should not be viewed as “personal days” but as “sick days.”
Coming to class late or leaving class early, without prior notification to the professor, may be counted as an absence. Penalties for tardiness or leaving early will be determined by the individual faculty member. See the individual course syllabus for specific information.
ACADEMIC SUPPORT
Students who require academic accommodations due to any documented physical, psychological, or learning disability should request assistance from the Academic Support Director, Marie Reeves, within the first two weeks of class. The Academic Support Office is located in the lower level of the Worship and Ministry Building (room 153). You may also contact the office by phone (244-8420).
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