Instructor: Mr. Stevenson Office: Band Room Office Hours: By Appointment Office Phone: 410-751-3575 E-Mail: JRSteve@carrollk12.org AP Music Theory South Carroll High School 2018 2019 COURSE DESCRIPTION: 1 Credit elective course. Fulfills fine arts graduation requirement. AP Music Theory is an advanced level course designed to engage students in learning activities that will help them to achieve the outcomes assessed by the College Board s Advanced Placement Music Theory Examination. The AP Music Theory course is designed to develop a student s ability to recognize, understand, and describe the basic materials and processes of music that are heard or presented in a score. These abilities will be developed through various listening, performance, written, creative, and analytical exercises. Although this course focuses on music of the Common Practice Period (1600 1900), materials and processes found in other styles and genres are also studied. Students are encouraged to sit for the College Board s Advanced Placement Music Theory Examination. Students who successfully complete the AP Music Theory Examination and plan to major in music in college may be able to enroll in an advanced music theory course, depending upon the individual college s policy. COURSE OBJECTIVES: The objectives below have been adapted from the Expanded Course Specifications posted on the AP Music Theory Home Page on the AP Central website. By the end of this course, students should be able to: 1) Fundamental Terminology and Fundamental Notational Skills a) Notate and identify pitch in four clefs: treble, bass, alto, and tenor. b) Notate, hear, and identify simple and compound meters. c) Notate and identify all major and minor key signatures. d) Notate, hear, and identify the following scales: chromatic, major, and the three forms of the minor. e) Name and recognize scale degree terms, e.g., tonic, supertonic, etc. f) Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). g) Notate, hear, and identify whole tone and pentatonic scales. h) Notate, hear, and identify all perfect, major, minor, diminished, and augmented intervals inclusive of an octave. i) Notate, hear, and identify triads including inversions. j) Define and identify common tempo and expression markings.
2) Compositional Skills a) Compose a bass line for a given melody to create simple two-part counterpoint in seventeenth- and/or eighteenth-century style; analyze the implied harmonies. b) Realize a figured bass according to the rules of eighteenth-century chorale style, major or minor key, using any or all of the following devices: diatonic triads and seventh chords, inversions, nonharmonic tones, and secondary-dominant and dominant seventh chords. c) Realize a four-part chorale-style progression from Roman and Arabic numerals. 3) Score Analysis a) Notate, hear, and identify authentic, plagal, half, Phrygian half, and deceptive cadences in major and minor keys. b) Identify in score the following nonharmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), and pedal tone. c) Small-scale and large-scale harmonic procedures, including: i) Identification of cadence types ii) Roman-numeral and figured-bass analysis, including nonharmonic tones, seventh chords, and secondary-dominant chords iii) Identification of key centers and key relationships; recognition of modulation to closely related keys d) Melodic organization and developmental procedures: i) Identify in score scale types and modes ii) Identify melodic patterning iii) Identify motivic development and relationships (e.g., inversion, retrograde, sequence, imitation) e) Rhythmic/metric organization: i) Identification of meter type (e.g., duple, triple, quadruple) and beat type (e.g., simple, compound) ii) Hear and identify rhythmic devices and procedures (e.g., augmentation, diminution, hemiola) f) Texture: i) Hear and identify types (e.g., monophony, homophony, polyphony) ii) Hear and identify types devices (e.g., textural inversion, imitation) 4) Aural Skills: a) Detect pitch and rhythm errors in written music from given aural excerpts. b) Notate a melody from dictation, 6 to 8 bars, MAJOR key, mostly diatonic pitches, simple or compound time, treble or bass clef, 3 to 4 playings. c) Notate a melody from dictation, 6 to 8 bars, MINOR key, chromatic alteration from harmonic/melodic scales, simple or compound time, treble or bass clef, 3 to 4 playings. d) Sight-sing a melody, 4 to 8 bars long, major or minor key, duple or triple meter, simple or compound time, treble or bass clef, using solfege, pitch names, numbers, or any comfortable vocal syllable(s).
e) Hear the following nonharmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), and pedal tone. f) Notate the soprano and bass pitches and roman and Arabic numeral analysis of a harmonic dictation, in eighteenth-century chorale style. Features may include seventh chords, secondary dominants, major or minor key, 3 to 4 playings. g) Identify processes and materials in the context of music literature representing a broad spectrum of genres, media, and styles: i) Melodic organization (e.g., scale-degree function of specified tones, scale types, mode, melodic patterning, sequences, motivic development) ii) Harmonic organization (e.g., chord function, inversion, quality) iii) Tonal organization (e.g., cadence types, key relationships) iv) Meter and rhythmic patterns v) Instrumentation (i.e., identification of timbre) vi) Texture (e.g., number and position of voices, amount of independence, presence of imitation, density) vii) Formal procedures (e.g., phrase structure; distinctions among literal repetition, varied repetition, and contrast; small forms) UNITS OF STUDY: Note that this course meets for 90 minutes a day for a 60 day semester, divided into two quarters. Reading assignments and written assignments are given at each class meeting. Aural skills will be taught and practiced daily for the duration of the course. Week Written Theory Aural Theory 1 Benward: Chapters 1 & 2 Phillips: Chapters 1 & 2 Notation Pitch and Pitch Class Scales, Tonality, Keys, Modes Beat, Meter, and Rhythm: Simple Meters 2 Benward: Chapters 2 & 3 Scales, Tonality, Keys, Modes (cont.) Intervals and Transposition 3 Benward: Chapters 2 & 4 Scales, Tonality, Keys, Modes (cont.) Chords Test 1 Date T.B.A. 4 Benward: Chapter 5 Cadences and Non-Harmonic Tones 5 Benward: Chapter 6 Melodic Organization 6 Benward: Chapter 7 Texture and Textural Reduction Phillips: Chapters 3 & 4 Pitch Collections, Scales and Major Keys Minor Keys and the Diatonic Modes Phillips: Chapters 6 & 7 Pitch Intervals Triads and Seventh Chords Phillips: Chapters 7, 5, & 8 Triads and Seventh Chords (cont.) Beat, Meter, and Rhythm: Compound Meters Intervals in Action (Two-Voice Composition) Phillips: Chapters 9 & 10 Melodic and Rhythmic Embellishment in Two-Voice Composition Notation and Scoring Phillips: Chapters 11 Voicing Chords in Multiple Parts:
Test 2 Date T.B.A. 7 Benward: Chapter 8 Species Counterpoint 8 Benward: Chapter 8 Species Counterpoint (cont.) Test 3 Date T.B.A. 9 Benward: Chapter 9 Voice Leading in Four-Part Chorale Writing 10 Benward: Chapter 10 Harmonic Progression and Harmonic Rhythm 11 Benward: Chapter 11 The Dominant Seventh Chord Test 4 Date T.B.A. 12 Benward: Chapter 12 The Leading-Tone Seventh Chord 13 Benward: Chapter 13 Nondominant Seventh Chords 14 Benward: Chapter 14 Secondary Dominants and Leading-Tone Chords 15 Benward: Chapter 15 Modulation Test 5 Date T.B.A. 16 Benward: Chapter 16 Two-Part (Binary) Form 17 Benward: Chapter 17 Three-Part (Ternary) Form 18 20 th Century Extension End Brief introduction to 20 th Century scales, chordal structures, and compositional techniques Final Examination Date T.B.A. Instrumentation Phillips: Chapters 12 The Basic Phrase Model: Tonic and Dominant Voice-Leading Phillips: Chapters 13 Embellishing Tones Phillips: Chapter 14 Chorale Harmonization and Figured Bass Phillips: Chapter 18 Diatonic Sequences Phillips: Chapter 15 Expanding the Basic Phrase: Leading-Tone, Cadential 6/4, and Passing Chords Phillips: Chapter 16 Further Expansions of Basic Phrase; Predominants, 6/4 Chords, and Other Diatonic Chords Phillips: Chapter 17 The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody Phillips: Chapter 19 Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords Phillips: Chapter 20 Phrase Rhythm and Motive Analysis Supplemental Material Binary and Ternary Analysis Supplemental Material Selected 20 th Century Methods and Materials PRIMARY TEXTS: Benward, Bruce, and Marilyn Saker. Music in Theory and Practice, Vol. 1 with Anthology CD, 8 th ed. New York: McGraw-Hill, 2009. Phillips, Joel, Jane R. Clendinning and Elizabeth W. Marvin. The Musician s Guide to Aural Skills, Vol. 1. New York: W. W. Norton & Company, 2005.
ADDITIONAL RESOURCES: Benjamin, Thomas, Michael Horvit and Robert Nelson. Music for Analysis, 6 th ed. New York: Oxford University Press, 2007. Burkhart, Charles. Anthology for Musical Analysis (with Postmodern Update), 6 th ed. Belmont, CA: Schirmer, 2008. Ottman, Robert. Music for Sight Singing, 6 th ed. Upper Saddle River, NJ: Prentice Hall, 2004. Refer to class website for additional online resources MATERIALS OF INSTRUCTION: (Required by the end of the second week of class.) 1) A 1-inch wide, three-ring binder (or a section of a larger binder used for other classes). Contents of binder must include: a) Plenty of 8 ½ X 11 lined loose-leaf notebook paper b) Plenty of 8 ½ X 11 loose-leaf 5-line staff paper (will be supplied by instructor) c) Section dividers for: i) Written theory class notes and handouts ii) Aural theory class notes and handouts iii) Graded homework, tests, and quizzes 2) Pencils only for all handwritten classwork and homework GRADING: Grades communicate a measure of student achievement of content standards and course outcomes. They also provide feedback and guidance regarding student learning. Grades in AP Music Theory will be based upon demonstration of course outcome competencies, as evidenced by: Quizzes (Formative) Homework (Formative completion) Unit Tests (Summative) Final Project (Summative) Group and individual projects (Formative and Summative) Summative assessments will constitute 70% of the course grade. Formative assessments will constitute 30% of the course grade. Extra credit will be given judiciously. If awarded, it will be awarded only as an extension of student learning of course outcomes and not as a substitute for missed learning or as a way to accumulate points for activities not related to course outcomes. Attendance, effort, volunteering in class, lateness to class, and other student compliance behaviors or disciplinary action will not be considered when calculating student grades, unless those behaviors are specifically outlined in a student s Individualized Education Plan (IEP) or are part of the essential course outcomes.
MAKE-UP WORK DUE TO ABSENCE: Work missed because of absences may be made up at a time mutually convenient to the teachers and students involved. Students are expected to take the initiative in planning such a time and students should do so no later than the second day following their absence from class. Students are reminded that long-term assignments or projects are due on the date announced regardless of the absences which may occur in between the time the announcement is made and the time the assignment or project is due. In the case of verified illness, or an emergency, which extends over a period of time, arrangements should be made with the teacher involved to consider a revised date. Parents are to e-mail the student s teacher for missed work. Students shall have the number of days equal to the number of days absent to turn in completed make-up work, unless a greater extension is granted by the teacher. SECOND CHANCE LEARNING: Second chance learning is not meant to be used as a substitute for effort on regular assignments, but rather as a safety net. Students will have one opportunity to redo/retake assignments at the teacher s discretion. To qualify, students must have submitted the original assignment by the due date. Students must arrange for remediation during the next available FLEX after the assignment was returned. Students must submit the revised assignment, along with the Second Chance Learning Reflection Form, within ten days following the return of the original assignment. The higher grade shall be the grade of record. Formative assignments are not eligible for second chance learning after the end of the unit of study. The end of the unit is determined by the deadline of the unit Summative assignment. Summative unit assessments are not eligible for second chance learning after a date to be determined by the teacher. Final marking period or semester assessments are not eligible for second chance learning. No second chance learning will be accepted during the last week of the grading period. Students may request to come to FLEX to work on assignments or meet with the teacher at any time. LATE WORK: Students must submit Formative and Summative assignments by the date due unless completing make-up work per CCPS policy. Whatever portion of work submitted by the due date will be graded. The grade of any work submitted a day late, including any portion of work not submitted by the due date, will be reduced by 10%. The grade of any work submitted more than a day late, including any portion of work not submitted by the due date, will be reduced by 50%.
HOMEWORK: The purpose of homework is to prepare for subsequent lessons, to practice or review, to strengthen concept and skill development, and to evaluate what students know by applying, extending, or integrating their knowledge and understanding through projects or other assignments. Homework shall be assigned on an as needed basis for these reasons only. Homework will be evaluated on completion. ACADEMIC HONESTY: Academic honesty is an essential part of any school community. Carroll County Public Schools seeks to promote the importance of honesty as a basis of respect and cooperation among all of its members. All parties students, teachers, administrators, and staff have the obligation to act in a consistently honorable manner with one another. Academic dishonesty/cheating, in any form on a graded assignment, will not be tolerated. Examples include, but are not limited to; turning in work as your own when someone else has done all or part of the assignment, knowingly giving or receiving information about answers to homework, quizzes, or tests, and plagiarism. Schools develop honor codes to encourage students to value personal integrity and to emphasize the responsibility that individuals have for their own honesty. All students need to be fully aware of definitions and expectations related to their specific school s honor code. Questions should be directed to school administrators. CLASSROOM EXPECTATIONS: Students are expected to come to all classes with an open mind and cooperative spirit. In order to ensure productive, positive classes, students must: Be on time (to be early is to be on time to be on time is to be late) Have their stuff Be respectful of property and each other Have an attitude to learn Students may use their personal electronic devices in AP Music Theory per the CCPS BYOD policy. However: Students may only use appropriate educational applications on their device as determined by the teacher based upon the learning taking place at the time. Students are not to call, text message, email, post to social networks, or electronically communicate with others from their personal device including other students parents, guardians, friends, and family unless is it part of classroom instruction.
BEHAVORIAL CONSQUENCES: A behavior will be recognized with praise and positive notes or phone calls home. However, when self-discipline problems arise the following steps will be taken to help students learn to solve problems: First time student falls short of the expectations: Warning Second time: Time away from the class and conference with the student to develop a plan for solving the problem Third time: Consequence(s) appropriate to the behavior(s) or action(s) in question and contact parent Fourth time: Referral to counselor and/or administrator Severe incident: Refer directly to administrator
AP Music Theory Student Expectations Agreement Please sign and return no later than the end of the second week of class. Student Name: Parent/Guardian Name: Taking an AP course and exam is a collaborative effort between the student, teacher, and parent/guardian(s). AP courses are college courses offered in high school, not simply honors level high school courses. They require students to be self-directed, responsible, and willing to spend an average of six hours a week doing work outside of class. The student, teacher, and parent/guardian(s) all play a role and must make the commitment to meet the expectations below: Student: I have read the syllabus and agree to organize my time and effort to successfully meet the course requirements. I will notify the teacher immediately if I fall behind in class readings and/or assignments. I understand that I am expected to complete assignments, readings, and projects outside of class time. I will take the AP Exam on its scheduled date and time as outlined by the College Board: www.collegeboard/com/ap The Parent/Guardian(s): I have read the syllabus, accept the AP course requirements, and will work with my child and Mr. Stevenson to ensure that my child successfully meets the requirements of the course. I will pay the exam fee as determined by the College Board. (A deposit is due in January and the balance is to be paid in April. The deposit is non-refundable.) The Teacher: I agree to provide rigorous instruction and challenging course content as described in the AP Course Description. I will provide the student with a copy of the Bulletin for AP Students and Parents and agree to administer the AP Exam in a fair and secure environment as outlined in the AP Coordinator s Manual. The required signatures must be obtained in the order listed within the first five days of the AP course. Failure to have this form completed and returned to Mr. Stevenson within five days of the start of the course may result in removal from the course. Student Signature Date Parent/Guardian Signature Date AP Teacher Signature Date