UNIVERSITY OF KENTUCKY PROGRAM ASSESSMENT PLAN: MA Music Theory. 1. Introduction

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1 1. Introduction UNIVERSITY OF KENTUCKY PROGRAM ASSESSMENT PLAN: MA Music Theory Assessment Plan for Master of Arts in Music Theory Division of Music Theory and Composition School of Music College of Fine Arts 1.1. Unit Mission Statement: Fundamental to every curriculum of the School of Music is the study of music theory, which is required of all students pursuing a music degree. Therefore, the primary objective of the Division of Music Theory and Composition is to foster, at all levels of study, both practical musicianship skills (aural theory) and analytical knowledge of the organization, structure, and compositional procedures of music across multiple genres (e.g., popular, world, classical) and historical contexts (written theory). The Division works toward satisfying this aim through its undergraduate- and graduate-level classroom teaching of music majors and non-music majors, its thesis and dissertation advising, and its various scholarly and creative activities (e.g., research presentations and publications, compositions, collaborations, performances, mentoring and pedagogical workshops, and outreach to the schoolteaching community in the Commonwealth) Basic Assessment Approach Assess all outcomes within a three year cycle, using direct and indirect methods. Please see the attached Curriculum Map and Data Collection / Review chart Definition of Key Terms Assessment: A strategy for understanding, confirming, and improving student learning through a continuous, systematic process. Curriculum Map: A visual depiction of how learning outcomes and/or professional standards are translated into individual courses taught within a program. Learning Outcomes: Statements of learning expectations. Indirect Evidence: Data from which you can make inferences about learning but do not demonstrate actual learning, such as perception or comparison data. Includes, but is not limited to: surveys, focus groups, exit interviews, grades, and institutional performance indicators. Direct Evidence: Students show achievement of learning goals through performance of knowledge and skills. Includes, but is not limited to: capstone experiences, score gains between entry and exit, portfolios, and substantial course assignments that require performance of learning. 2. Assessment Oversight, Resources 2.1. Division Learning Outcomes Assessment Coordinator The Division of Music Theory and Composition Coordinator will act as assessment coordinator. It is the responsibility of the Division Coordinator to monitor the activities of assessment that occur in the program. The Division Coordinator will lead the assessment conversation held each fall and will write the assessment report due to the university on October 31.

2 3. Program- Level Learning Outcomes Outcome #1: The student will show intermediate specialized knowledge in at least one aspect of musical theory and analysis (tonal analysis, Schenkerian analysis, post-tonal analysis, or atonal analysis). Outcome #2: The student will display understanding of and familiarity with the major technological resources important to the field. Outcome #3: The student will have acquired knowledge and understanding of the history, existing literature, scholarly research, and current practices in music theory and (if applicable) composition. Outcome #4: The student will demonstrate emergent-professional-level academic writing skills appropriate to the field of music theory and analysis by completing a thesis document. 4. Curriculum Map I = introduce, R = reinforce, E = emphasize SLO1 SLO2 SLO3 SLO4 Course MUSIC HISTORY (choose from among the following: 6 9 credit hours) MUS 500 I, R I MUS 501 I, R I MUS 502 I, R I MUS 503 I, R I MUS 504 I, R I MUS 505 I, R I MUS 522 R I MUS 623 R I MUS 624 R I MUS 627 R I MUS 690 R I MUS 702 R, E I MUSIC THEORY (choose from among the following: 9 12 credit hours) MUS 572 I, R I I, R MUS 573 I, R I I, R MUS 671 I, R I, R I, R R MUS 672 I, R I, R I, R R MUS 674 I, R I, R I, R R MUS 676 I, R I, R I, R R MUS 678 I, R I, R I, R R MUS 772 E E E E RESEARCH METHODS (3 credit hours) MUS 618 I I I I, R LANGUAGE REQUIREMENT (one language course number depends on language) I I THESIS (6 credit hours) MUS 748 E E E E

3 5. Assessment Methods and Measures (Formative and Summative recommended) 5.1. Direct Methods/Measures Preferred/Used at the Course and Program Levels Analysis assignments and exams (see examples in Appendix) Counterpoint project in MUS 572 and MUS 573 Written papers and oral presentations (see examples in Appendix) 5.2. Indirect Methods/Measures Preferred/Used at the Course and Program Levels Grades (all graduate music theory courses in the Division of Music Theory and Composition use a common divisional rubric, attached) GPA Assessment of progress toward degree 6. Data Collection and Review Year 1 Years 2 and 3 Assessed Data 1 Data 2 Outcome #1: The student Exams Grades, GPAs and will show intermediate Evaluated by assessment of specialized knowledge in at faculty in course progress toward least one aspect of musical using common degree theory and analysis (tonal divisional rubric Processed by analysis, Schenkerian (attached) Division analysis, post-tonal Gathered yearly Coordinator analysis, or atonal Progress toward analysis). degree reviewed Outcome #2: The student will display understanding of and familiarity with the major technological resources important to the field. Outcome #3: The student will have acquired knowledge and understanding of the history, existing literature, scholarly research, and current practices in music theory and (if applicable) composition. Outcome #4: The student will demonstrate emergentprofessional-level academic writing skills appropriate to semesterly Written papers (using technology as a tool for research) Evaluated by faculty in course using common divisional rubric (attached) Gathered yearly Progress toward degree reviewed semesterly Written papers Evaluated by faculty in course using common divisional rubric (attached) Gathered yearly Progress toward degree reviewed semesterly Written thesis project (and public lecture presentation of Grades, GPAs and assessment of progress toward degree Processed by Division Coordinator Grades, GPAs and assessment of progress toward degree

4 the field of music theory and analysis by completing a thesis document. research, if applicable) Evaluated by student s academic committee (faculty inside and outside the division) using juried review Processed by Division Coordinator 7. Assessment Cycle and Data Analysis Assessment of student learning takes place throughout the program and occurs in all courses. The Divisional faculty is expected to maintain records of course- level assessment. Program- level assessment data will only be gathered at summative points in the curriculum. The program follows a three- year assessment cycle, with three outcomes assessed in years one and two and one outcome assessed in year three (this roughly corresponds to the typical masters- level plan of two years coursework and one year thesis work). Data will be gathered annually for all outcomes. All students must be evaluated for course purposes. Therefore, all student data will be gathered for the purposes of the program assessment. Results will be analyzed and interpreted at the first Division faculty meeting of the academic year, typically taking place during the two days preceding the first day of classes in the fall. Assessment reports will be completed no later than October 1 of every year and turned in to the college s assessment coordinator for review. Final reports will be sent to the university s assessment office no later than October 31 of every year. 8. Teaching Effectiveness All instructors will use the University Teacher Course Evaluation (TCE) process to be evaluated by their students each semester. Each instructor will be asked to provide a reflective teaching statement which will include areas of improvement, to be submitted as part of that instructor s Teaching Portfolio. The Director of the School of Music, with the consultation of the Division Coordinator, will review the TCE results and the self- reflection with the instructors and provide feedback to the instructor. This will occur on an annual basis. 9. What are the plans to evaluate students post- graduate success? Our Division will look at data provided by the Alumni Survey and will work with the Office of Institutional Research to look at other possible methods. Many Division personnel are also users of social media and use these tools to keep in touch with alumni. 10. Appendices Required Rubrics for course written papers, course- level projects in MUS 572 and 573, and the Common Divisional Rubric for course grades are attached. [See attachments on following pages]

5 Divisional Rubric for Graduate Music Theory Courses, Division of Music Theory and Composition Distinguished Proficient Basic Unsatisfactory Exit assessment (A) of 90% or higher, based on grades on analytical assignments, midterm exam and final exam; scores of 80% or higher on all harmonic competency tests. Exit assessment (B) of 80% or higher, based on grades on analytical assignments, midterm exam and final exam; scores of 80% or higher on all harmonic competency tests. Exit assessment (C) of 70% or higher, based on grades on analytical assignments, midterm exam and final exam; scores of 80% or higher on all harmonic competency tests. Exit assessment (E) below 70%, based on grades on analytical assignments, midterm exam and final exam, and/or scores below 80% or one or more harmonic competency tests. Divisional Rubric for Graduate Music Composition Courses, Division of Music Theory and Composition Distinguished Proficient Basic Unsatisfactory Exit assessment (A) based on completion and public performance of final composition or orchestration project. Exit assessment (B) based on completion of final composition or orchestration project, but no public performance. Exit assessment (C) based on incomplete final composition or orchestration project, but with satisfactory evidence of progress toward completion based on comparison of project status at beginning and end of the semester. Exit assessment (E) based on incomplete final composition or orchestration project, with insufficient or non-existent progress toward completion, based on comparison of project status at beginning and end of the semester.

6 Harcom quiz #1b (30 minutes) Name Part 1: part writing (10 minutes) Complete one of the examples below. Identify the key. Complete the missing voices with good voice leading and spacing, then provide a Roman numeral analysis. a. OR b. Part 2: analysis (10 minutes) Complete both of the examples below. Excerpt 1: Chopin, Ballade, op. 38, mm Identify the key. Provide a Roman numeral analysis for bars only. Excerpt 2: Puccini, Turandot, Act III, mm Identify the key. Provide a Roman numeral analysis for the entire excerpt. Label any cadences.

7 Good luck! Grading scale: A A- B+ B B- C+ C C- D+ D D- E below 60 The meaning of each grade may also be interpreted qualitatively: A A- B+ B B- C+ C C- D+ D D- E Superior Good Fair/allowable Poor/deficient in all in most in the majority in most every aspects aspects of aspects aspect

8 MUS 572: Counterpoint Composer Presentation Assignment, Spring 2014 Purpose of the Assignment: The composer presentation is meant to provide a broad semester-long survey of major Renaissance composers. Each presentation will involve a minute summary and overview of the assigned composer, including (a) important biographical details, (b) aspects of the composer s individual style, (c) influences, and (d) a representative list of important works. A secondary goal of the assignment is to cultivate research skills useful for teaching and further academic study of music. Information from the composer presentations may appear on the major unit exams for the course. Description of Partner Arrangement: Due to the size of the class we will make this a partner-based assignment, such that you will work with another student in the class both in your in-class presentation and in the preparation of the handout on your composer. Please choose a partner for this assignment by Tuesday, January 21, or send me an or mention it to me before class informing of your partnership. Suggested Organization: Once the partnerships have been established I will assign specific composers to present. It will be up to you to work out a schedule of when to meet and how to distribute the work, including how to go about preparing the in-class presentation. The presentations will begin in about week 6 of the semester, so it would be best to begin working on this project once your composer is assigned. Begin by reading and evaluating the entry on the composer in the New Grove Dictionary of Music and Musicians (available online and in print in the music library) or other sources. While Wikipedia may be a direct go-to for day-to-day fact searching, please do not restrict yourself to only using this source give it a try with other, more reputable sources of information. See me for information on accessing the New Grove Dictionary Online or other research tools, if you like. Once you have a grasp of the composer s basic biography and important aspects of style, work toward sifting through every detail and present a basic, thumbnail sketch of the composer, addressing their basic biographical details, aspects of their compositional style, important influences (or people influenced by the composer), and a list of important works by the composer. Be sure to listen to recordings of the composer s music, if available. In addition to the in-class presentation, each pair of students will also prepare a brief handout to distribute to the class. The handout should be 1-2 pages, preferably double-sided if two pages in length. Be sure to make enough copies for all students in the class (bring 23 copies). The in-class presentation should be about minutes long and will occur at the beginnings of class periods as assigned. You may organize the time however you see fit, including lecturing from the document camera, question and answer, free-form discussion, a point-counterpoint debate between partners; however, the end result should be a summary and reflection on the main aspects of the composer s life, influences, and important works. Note that poor preparation and organization of the presentation or drastically exceeding the allotted time may have a negative effect on your grade for this assignment. Grading and Evaluation: The composer presentation grade will be based on the following criteria: (1) covering the composer s life, works, and influences in an appropriate level of detail, (2) effective and well-organized class handout with appropriate information, (3) sufficient effort put into researching the topic in scholarly sources, and (4) effective, engaging, and efficient use of class time during the in-class presentation. Except for extreme cases of hardship or unusual working method, a single grade will be assigned to partners for this project, meaning that whatever grade is earned will be shared by both students presenting the assigned composer. Note that some graduate students may be asked to work independently in this project or to present on two composers; the average of the two presentations will thus count as the score for this component of the semester grade. This assignment is worth 15% of your semester grade in MUS 572.

9 MUS 572: Counterpoint Guidelines for Unit One Composition Project, Spring 2014 Purpose: This composition project is intended to show mastery of and facility with species contrapuntal models, modal design, and melodic composition against a cantus firmus. In doing so, you will: (a) choose several cantus firmus melodies from the handout distributed in class or attached to this guidelines, demonstrating a variety of modal designs, (b) compose new counterpoint in a variety of species against these cantus firmi, both above and below, and (c) label intervals, suspensions, modes, and contrapuntal patterns treated in your compositions. Getting Started: Begin by choosing five cantus firmus melodies from the handout attached to this guidelines (file labeled Cantus Firmi ). The choice of cantus firmi should demonstrate a broad range of modal types; generally, these should demonstrate a variety of modal finals. Please choose one each from cantus firmi with finals on C, D, E, F, G, and A, with at least one of these being a Plagal version of the mode. Once the cantus firmus melodies have been chosen, write counterpoint in first, second, third, fourth, and fifth species against these melodies, at least one instance of each species. For at least two of these exercises, write counterpoint BELOW the cantus firmus. Be sure to label your counterpoint with appropriate terms as demonstrated in class; identify all modes for cantus firmi (and composed counterpoint against this, if different), label suspensions by interval, and all of the characteristic idioms for each species. Technical Requirements: Since these exercises are meant to show facility with the variety of species contrapuntal models studied in class, be sure to adhere to both the hard rules and soft rules discussed for each species in class and in the text, and include some treatment of typical idioms for each species. Specifically: For second species, include enough passing tones (at least 3) and consonant skips to show that you understand how to treat second species. For third species, include at least one nota cambiata, and one double neighbor figure, enough to show that you understand how to treat third species. For fourth species, include enough suspension figures (at least 3) to show that you understand how to treat fourth species. If you like, you can also include one example of a fake suspension. For fifth species, in addition to using some of the above idioms, you can also include some of the other idioms mentioned in class and in the book for this example, but be sure to label them. Be sure to begin and close each exercise with a perfect consonance, and end each exercise with a clausula vera cadential pattern, including appropriate musica ficta. Try using a variety of clefs for your counterpoint and cantus firmi, including C- clefs. Grading and Evaluation: Your grade for this assignment will be based on: 1) completion of the assignment by the assigned date; 2) adherence to technical criteria mentioned above; 3) accuracy and mastery of contrapuntal principles for each species and modal design; and 4) care and attention given to musical notation. Whereas typesetting in Finale or other notation software is not required, be aware that sloppy or disorganized notation may have an adverse effect on your grade for this composition project. EXTRA CREDIT will be awarded for writing one of your counterpoint examples that inverts at the octave! (Refer to chapter 13 on invertible counterpoint for more information. We will discuss this technique in more detail in Unit Two.) This assignment is worth approximately 10% of your semester grade for MUS 572 and is due on Thursday, February 20, at the start of class, and must be submitted as a hard or paper copy do not me PDFs of this work. Late and incomplete assignments will be accepted, though not without an appropriate penalty.

10 MUS 572: Counterpoint Guidelines for Unit Two Composition Project, Spring 2014 PURPOSE: This composition project is intended to show mastery of and facility with contrapuntal practices discussed in unit two of the course, including further refinement of Renaissance musical style. In doing so, you will write a two-part imitative composition of moderate length, demonstrating some of the skills discussed in the unit including mixed rhythmic values (fifth species), imitative processes, invertible counterpoint, treatment of cadences, etc. GETTING STARTED: Begin by developing a short motive of 2-4 measures in length. The motive should be memorable so as to be easily noticeable when hearing it, but simple enough that it can be set against other contrapuntal lines in an effective manner. It is helpful to draw in your motive in each voice as the leader and follower, then compose some counterpoint that fits against the following voice, then move into a freer counterpoint that leads up to various cadence points. For more on this process, see Ch. 12 on The Imitative Duo and Appendix 5 on The Invertible Duo. You may benefit from drawing out a sketch of where and what type of cadences should occur, where points of imitation may follow, where to put suspensions, cambiatas, etc. With regard to the invertible counterpoint requirement, you may benefit from composing a short 2-measure module that you know properly inverts in this manner, and plug it (and its inverted form) into your composition at some appropriate point and write counterpoint leading to and from these measures. Similarly, with regard to suspensions and other idioms, you may pre-compose some fragments (similar to how we did this on the unit one exam) that illustrate these techniques and plug them into the composition at some appropriate point. Specifically, since you know that you have to write three cadences, and since suspensions frequently occur at cadences, these two requirements can fit together in your composition in a musically satisfying manner. TECHNICAL REQUIREMENTS: The piece should be in 4/2 meter and emphasize a single mode throughout, should be about measures in length, and be in fifth species using primarily white note values with a few quarter and eighth-note groups. Be sure to include the following techniques or idioms in your composition: 2 (or more) points of imitation. For these points of imitation, be sure that the bass voice leads at one point, then the upper voice leads at another point of imitation. 3 cadences (1 final cadence, 2 interior cadences) 3 (or more) suspensions 6 (or more) passing tones 1 (or more) cambiata figure or double neighbor figure Invertible counterpoint (2 measures at some place in the piece which at some other place in the piece are inverted ) GRADING AND EVALUATION: Your grade for this assignment will be based on: 1) completion of the assignment by the assigned date; 2) adherence to the technical criteria mentioned above; 3) accuracy and mastery of contrapuntal principles mentioned above and in class; and 4) care and attention given to musical notation. Whereas typesetting in Finale or other notation software is not required, be aware that sloppy or disorganized notation may have an adverse effect on your grade for this composition project. EXTRA CREDIT will be awarded for basing your motives on the soggetto cavato technique! If you choose to do so, please provide some hint as to the provenance of your soggetto. This assignment is worth approximately 10% of your semester grade for MUS 572 and is due on Tuesday, April 1 at the start of class. The assignment must be submitted in hard or paper copy do not me PDFs of this work. Late and incomplete assignments will be accepted, though not without an appropriate penalty.

11 MUS 573: Counterpoint Composition Project 1, Spring 2015 PURPOSE: The first composition project involves writing various species of counterpoint against a given cantus firmus. I have attached two passacaglia movements, with each variation being a different species of counterpoint against the given passacaglia ground. To complete the assignment, you will compose BOTH passacaglias, one in D minor, one in D major. TECHNICAL REQUIREMENTS: Treat each variation as a separate species counterpoint exercise, including appropriate starting intervals, proper treatment of each species as learned in class, and end each variation with an appropriate cadence. In addition, label intervals between staves as discussed in class. GRADING and EVALUATION: Your grade for this assignment will be based on: (1) completion of the assignment by the assigned date, including submitting both passacaglia movements, (2) appropriate and accurate treatment of each species of counterpoint for the assignment, (3) appropriate treatment of melodic considerations for your composed counterpoint, and (4) care and attention to music notation, either in written manuscript form, or in music notation. This assignment is due on Thursday, February 12 and is worth 10% of the overall semester grade for MUS 573. Late assignments will be accepted no later than noon on Friday, Feb. 13, with a deduction of one letter grade; no late assignments will be accepted beyond this date.

12 MUS 573: Counterpoint Composition Project 2, Spring 2015 PURPOSE: The second composition project involves composing a short two-part invention in the style of Bach. Here are some technical requirements: 1. The piece should be measures long, with primary movement in sixteenth notes. 2. Begin by choosing one of the motives on pp , or writing a short motive of your own similar to the ones given in the workbook. Then, compose a countermotive that you know will work in invertible counterpoint. Your piece should open with a statement of the motive in each voice in imitation at the beginning, and use the motive and countermotive at least once again in invertible counterpoint later in the piece. 3. The piece should modulate to V and articulate that motion with a typical cadence. Minor- key pieces can modulation to III or v. 4. The piece should eventually return back to the tonic key and conclude with a convincing cadence in the home key. 5. Following the initial modulation to V, you may modulate to and cadence in other closely- related keys as you see fit. Though this is not required for your composition, we noted that Bach frequently does this in his inventions, and it may be worth pursuing to help fill out your composition. 6. The piece must include at least one sequence in the middle section. In addition to composing your piece, please include a very brief analysis of the work. This could take the form of a very short (1-2 paragraph) paper basically describing where the various contrapuntal items listed above occur within the piece (cite measures and keys), or simply annotating your composition and identifying where the various techniques occur. KEYS TO SUCCESS: Use Bach's Two-Part Inventions as models. Try to come up with a motive that is simple, but has a distinctive character. Think in terms of long-range linear and tonal goals. Before getting too deep into the piece, be sure that your motive and countermotive work perfectly in invertible counterpoint. This will save you work later. Play the piece back often as you go along so that you have a sense of how it's progressing. Though you are not required to use a music notation program like Finale or Sibelius, doing so may be helpful for those who cannot play the parts together at the piano. You may prefer to begin by drawing a formal sketch of your piece to plan out where to use imitation, sequences, and invertible counterpoint, approximately where to modulate and make cadences, and where to fill in with counterpoint. While you don t have to adhere strictly to this ground plan, doing so may help to move the compositional process along. GRADING and EVALUATION: Your grade for this assignment will be based on: 1) completion of the assignment by the assigned date, including the required length; 2) adherence to the technical criteria mentioned above; 3) accuracy and mastery of contrapuntal principles mentioned above and in class; and 4) care and attention given to musical notation. Whereas typesetting in Finale or other notation software is not required, be aware that sloppy or disorganized notation may have an adverse effect on your grade for this composition project. This assignment is due on Thursday, March 26 and is worth approximately 10% of your semester grade for MUS 573, according to the course syllabus. Late assignments will be accepted no later than noon on Friday, March 27, with a deduction of one letter grade; no late assignments will be accepted beyond this date.

13 MUS 573: Counterpoint Composition Project 3, Spring 2015 PURPOSE: Compose a fugue of short to moderate length, in three or four voices, in the style of Bach. Here are some technical requirements: 1. The fugue should be approximately measures long, but may be longer if needed. 2. The fugue should have a memorable subject and at least one recurring countersubject. 3. The fugue should open with a typical exposition common to Bach s fugues. 4. Following the exposition, the fugue must have at least one modulatory episode and one middle entry in a closely-related key other than the dominant. 5. The fugue should then modulate back to the tonic and end with a convincing cadence in the home key. 6. (Optional): Extra credit will be awarded for successful demonstration of stretto technique within your fugue. In addition to composing your piece, please include a brief analysis of the work. This could take the form of a short (1-2 page) paper basically describing where the various contrapuntal items listed above occur within the piece, or simply annotating the score, identifying where each technique occurs. KEYS TO SUCCESS: Use Bach s fugues from The Well Tempered Clavier as models. You may write your own fugue subject or use one found on pp , or on p. 93 of the workbook. Begin by writing a countersubject that works in invertible counterpoint against the subject, which you can use later in the fugue. Once you have something that works, try composing out the exposition only of your fugue, mimicking practices we ve studied in class (use of links, filling in of counterpoint, etc.). One thing that works for many students is to create various sketches of the major components of the fugue, such as the exposition, modulatory episodes, periods of stretto, etc. Once you have a variety of sketches that you think work individually, try splicing them together into a continuous composition for your final draft. GRADING and EVALUATION: Your grade for this assignment will be based on: 1) completion of the assignment at the assigned date; 2) adherence to the technical criteria mentioned above; 3) accuracy and mastery of contrapuntal principles mentioned above and in class, and 4) care and attention given to musical notation. Whereas typesetting in Finale or other notation software is not required, be aware that sloppy or disorganized notation may have an adverse effect on your grade for this project. This assignment is due on Thursday, April 23. If you decided to complete the composer presentation,, each project will be worth 10% of the semester grade. If you decided not to complete the composer presentation assignment, each of these composition projects, including composition project 3, will be adjusted 15% of the overall semester grade. Late assignments will be accepted no later than noon on Friday, April 24, with a deduction of one letter grade; no late assignments will be accepted beyond this date.

14 MUS 573: Counterpoint Guidelines for Independent Research Paper, Spring 2015 Purpose of the Assignment: The independent research paper is intended to provide graduate students an opportunity to conduct and produce a research term paper on an area of particular interest to them. A secondary goal is to cultivate research skills useful for teaching and further academic study of music. The topics for this paper are variable, depending on the student s individual interest, but may include research on a specific piece, style consideration, composer, school of composition, etc. The topic for the paper may be related to the class presentation assignment, but this is not required. Getting Started: Begin by thinking of a topic that interests you about this era and its music. This is the first and most important step of the research project. Once you have an idea for a topic, write and submit a short abstract ( words), outlining your overall thesis and what you hope to write about, as well as any methodology you may use (contrapuntal analysis of some piece, reading of historical treatises on some topic, etc.). Once the abstract is written and approved by me, begin to conduct research to build a bibliography on your topic. Look for 3-5 items (articles, books, chapters of books, etc.) relating directly or indirectly to your research topic. Read these as needed to find what they say and how they relate or differ from your approach. Once you have an idea of your topic and what may be written on the topic in scholarly sources, begin to create an detailed outline of your paper, indicating its basic parts, how the parts relate to one another, and details you will examine and discuss in the course of your paper. This may follow the basic plan of an introduction, brief review of literature, statement of overall thesis, supporting material related to thesis, and a brief conclusion. As you write your paper, be mindful of citation of sources as necessary. Here are some websites on how to create footnotes adhering to the Chicago Manual of Style: Suggested Schedule of Completion: Submit final draft by April 24. The paper should consist of 6-8 pages of double-spaced type. You may also submit one or more pages of analytical diagrams or tables for reference, though these should be attached at the end of the essay and do not count as a page of the paper. Grading and Evaluation: Your grade for this assignment will be based on: 1) completion of the assignment by the assigned date; 2) appropriate and accurate use of analytical/stylistic terminology and/or sufficient effort put into researching the topic in reputable scholarly sources; 3) appropriate use of grammar, syntax, citation of sources, and structural organization of the written essay; and 4) clarity of thesis statement and relationship of parts to the whole of your essay. This paper is worth 15% of the semester grade for MUS 573. Shorter and/or late papers will be accepted, though not without an appropriate penalty.

15 MUS 670 analysis essay Due Tuesday of finals week Students will write an analysis essay on a relevant piece of your choice and present it to the class at the end of the semester. Each student will use their oral presentation to offer a summary of relevant materials on the assigned topic, as well as their own theories about the work based on a synthesis of both primary and secondary sources and your own findings. Portions of the paper will be due in installments in order to provide you with suggestions for revision prior to your presentation. Your finished project is due during finals week and should include the paper (15-20 pp.), a bibliography (at least 3 references), and an abstract ( words). Details on each of these portions are provided below. Prècis due: Friday, week 8 Outline/references due: Friday, week 10 Rough draft due: Friday, week 12 Presentation due: Weeks Submit final paper: Monday, finals week I. Paper (80%) pages long (including examples; provide page numbers from p. 2 on through the bibliography and abstract) 2. Double space, 12-point font, one-sided pages. Do not allow an extra space between paragraphs or sentences (see the instructions in the Writing About Music brochure). 3. Title page = optional 4. Annotated music examples should be inserted into the body of the paper, rather than collected at the end. Full scores can be included in an appendix. 5. Ensure that all musical examples have beginning clefs and key signatures no random splices from the middle of a system. 6. Footnotes, not endnotes. And formatted. 7. Please check with the conventions listed within the Writing About Music brochure. II. Bibliography (10%) 1. Put on a separate page. 2. Use consistent standardized formatting (MLA, APA, Chicago, Turabian, etc.). 3. Do not underline titles this practice dates back to typewriters (that is, unless you are using a typewriter ) III. Abstract (10%) 1. Put on a separate page words long 3. Single space, 12-point font, one paragraph 4. Provide a list of 4 6 keywords at the end. Try to select terms that will focus on the specific content of your paper, yet also distinguish it from related essays. 5. The basic goal of an abstract is provide an overview of the longer paper, but without giving away all the details. In other words, the abstract should also entice the reader to want to read more. You may find it helpful to combine a portion of your introduction with some thoughts given in your conclusion. 6. Consider including these components: (a) motivation what question or problem is your essay addressing? (b) approach how did you go about exploring it? (c) results what did you find? (d) implications how might this change the way we will think? Sample abstract: Perhaps the most influential abandoned woman to surface in the musical history of the nineteenth century was that conceived by Biedermeier poet Eduard Mörike. Since its initial publication in 1832, his Das verlassene Mägdlein has engaged the sustained attention of composers, performers, and even music analysts and critics. Not only did his Mägdlein prompt the creation of numerous nineteenth-century volkstu mliche varianten throughout Germany and Austria, but she also inspired 130 musical settings dating between 1832 and 1985.

16 Yet, although Mörike is just one of many figures within a long tradition of male poets writing on female abandonment, there seems to be something to this particular poem, that is, to Mörike s Mägdlein, that has compelled composers to retell her tale again and again in song. My discussion begins by first revisiting the poem s original novelistic context, Maler Nolten: Novelle in zwei Theilen (1832). Thereafter I follow Mörike s Mägdlein from her poetic beginnings to two of her best-known musical reappearances: Robert Schumann s Das verlassne Mägdelein (op. 64, no. 2) of 1847 and the work it inspired forty years later, Hugo Wolf s 1888 Das verlassene Mägdlein (also op. 64, no. 2), perhaps the most renowned setting of them all. Through the juxtaposition of these two settings we may not only uncover their potential textual and musical interconnections, but also gain insight into the tacit cultural understandings and ideologies surrounding those who take up the voice of the abandoned. Key words: Eduard Mörike, Maler Nolten, Robert Schumann, Hugo Wolf, abandoned women The meaning of each grade may be interpreted quantitatively or qualitatively: A ! C ! A ! C 73-76! B ! C ! B 83-86! D ! B ! D 63-66! D A Superior work in all aspects C+ Fair work in some aspects A- Superior work in most aspects C Fair work in most aspects B+ Good work in all aspects C- Fair work in all aspects B Good work in most aspects D+ Poor work in some aspects B- Good work in some aspects D Poor work in most aspects D- Poor work in all aspects

17 MUS 676 Advanced Analytical Techniques Holm-Hudson ABOUT THE ANALYTICAL PAPER One of the objectives of this class is not only to provide you with guidelines and experience in analyzing atonal and post-tonal music, but also writing analytically about it. Toward that end, here are some guideline for your analytical paper. Your paper should be pages (including musical examples or formal diagrams, footnotes and bibliography), double spaced, in 12-point Times font with 1-inch margins. Do not submit electronic copies submit the paper in hard-copy form. You may use outside sources in preparing your paper; these should be cited in the body of text (using footnotes) even if you are paraphrasing someone else s words. Do not use Wikipedia while convenient, wiki sources of information lack the rigorous fact-checking guidelines of more traditional sources. You will also need to include a bibliography. Use the Chicago Manual of Style (reference copies are available in the library; there are also useful style guide summaries on the Web) for style guidelines. As far as organizing the paper goes, avoid a play by play or measure-by-measure account of what happens in your scene. Instead, seize on perhaps three main points that are key to understanding your scene, and present those, illustrating them with cogent examples drawn from throughout the scene. Also, while historical/cultural background is not to be overlooked, avoid prefacing your paper with a lengthy biographical sketch of the composer or the genesis of the opera. You may provide a brief plot synopsis of your scene inasmuch as it relates to (or is supported by) the musical details of your analysis. Grading: Papers are often assessed in a holistic fashion and assigned a letter grade. While initially convenient, such grades are hard to specifically quantify at the end of the semester. Thus, the following grades will be used to correspond to letter grades : A+: 100 A: 96 A-: 92 B+: 88 B: 84 B-: 80 C+: 76 C: 73 C-: 70 E: below 70 Points will be broken down as follows: Cogency of analytical argument: Analytical interpretation is original, carefully supported with appropriate musical examples and citation of scholarly sources 20 pts. Accuracy of analytical content: Musical examples analyzed properly (set classes in normal order, proper brackets for ordered vs. unordered sets, etc.) 20 pts. Clarity of organization paper is logically organized and easy to follow 10 pts. Mechanics proper spelling, grammar, punctuation, etc. 20 pts. Documentation proper style format, etc. 20 pts. Physical paper-writing guidelines (length, font, etc.) 10 pts.

18 Remember, this paper is due at our final scheduled class on Thursday, April 30. It is worth 30% of th overall grade for the course, per the syllabus. You may submit early drafts at any point before that date. I would also be happy to meet with you, during office hours or by appointment, to discuss your paper.

19 MUS 772 Progressive Rock: Electronic Romanticism in the 1970s THE FABULOUS FINAL! Name: You will have two hours for this exam. Partial credit is possible for each answer. Use your allotted time wisely. Please make sure that all cell phones, etc., are shut off. No one leaving the room during the exam will be allowed to resume. Make sure you have enough pencils, etc., and that you have used the rest room etc., before beginning! UK1: Behind the Music. For the next two hours, demonstrate to me your mastery of progressive rock s history and characteristics by creating a fictitious British progressive rock band and sharing with me everything you know about them, including answering the questions below. Use the following as a guideline for preparing an outline of your information, which you can then work into your biography. Personnel names of band members, instrumentation (be as specific as possible include brands/models of instruments where applicable). With what subgenre of progressive rock (symphonic, Canterbury, zeuhl, Rock in Opposition, etc.) was this group associated? (10 pts.) Beginnings where from, socio-economic background of musicians, degree of exposure to classical music, other musical influences. (15 pts.) Early years, how they were discovered, where their first significant exposure came, types of venues that hosted their concerts, demographics of their audience. To what extent did this band s early years match Carl Stump s enumeration of the main strands of progressive rock ideology (English eccentricity, mysticism and pastoralism; Romantic individualism of the artiste ; Bohemian communalism)? (15 pts.) Albums names of albums, and when released; who produced, who designed their cover art; critical reception of these albums (name representative British magazines that covered this genre if possible). Were any of them concept albums, and if so, what was the concept or narrative? (15 pts.) Stardom, name of their breakthrough American hit, date of first American tour, differences between British and American audiences; personnel changes (if any), and reasons for those changes. (10 pts.) Style include analysis of a typical song by this group. What musical styles were referenced? What was their compositional process (how did they write their songs)? If there were lyrics, who wrote them, and at what point in the compositional process were the lyrics incorporated? Include a formal chart with references to key areas and motivic development, as applicable. (20 pts.) Decline, How did the band respond to changes in music industry economics and radio formatting? Did they break up, or change their musical style? What are they doing now? (15 pts.) Note: This is not a Spinal Tap exercise. Resist the urge to treat this as satire! Points will be given according to how believable your biography is that is, how closely the information you provide matches the profile for British progressive rock groups of the period

20 Final scores: Superior Strong Fair/average Weak Poor <15.0 MUS 772: Music, Metaphor, and Meaning (2015) Project #1 (25%): 20-minute timed conference presentation Students will each write a conference paper and present it to the class during the last three weeks of the semester. Your topic proposal (approximately one paragraph) will be due week 11, if not earlier, which should include a clear thesis statement and description, and approximately 2-4 important sources for your work. Rough drafts (worth 10% of the grade) will be due two weeks prior to your presentation date. At this time I will provide you preliminary feedback on your work; you should, however, continue to revise and nip-tuck your project up until your presentation. After your presentation, it is expected that you will do some further revising to accommodate feedback received from the class. Turn in your polished version during finals week. Presentation assessment 1. Preparation: Has the speaker rehearsed? Was s/he in control of the sequence, pacing, and flow of the presentation? Was it evident that the speaker had carefully prepared the topic? Superior Strong Fair/average Weak Poor/omitted Organization/clarity: Was the presentation easy to follow? Was there a clear introduction and conclusion? Was there a clear purpose and direction to the discussion? Superior Strong Fair/average Weak Poor/omitted Research effort: Was the topic well researched? Did the speaker demonstrate knowledge of and/or cite external sources? Were important points solidly supported and/or demonstrated? Did the speaker provide evidence of deeper thought on the topic? Superior Strong Fair/average Weak Poor/omitted Examples and/or visual/audio aids: Was the use of media prepared in a professional manner? Did the examples (handouts, overheads, board writing, audio) support the presentation effectively? Did they aid in making points clearer? Superior Strong Fair/average Weak Poor/omitted Creativity and originality: Was it interesting? Did the presentation go beyond reporting the ideas gathered from other sources to demonstrate an original or creative interpretation? Superior Strong Fair/average Weak Poor/omitted Additional comments/helpful suggestions: