Gregory Walker, Aud 108
Phone - 3376
E-mail: gwalker@csbsju.edu
Tonal Harmony Stefan Kostka & Dorothy Payne (Fifth Edition)
Anthology for Musical Analysis Charles Burkhart (Sixth Edition)
In the final semester of musicianship, we continue to examine form and musical scores the majority of our class time, primarily focusing on the theoretical elements of the composition. This study of musical works takes us into the 20th century and many challenging, new musical techniques for listeners, composers and performers. Listening skills are also included in the course, continuing on with the list from last semester.
This class will meet at 9:40 on odd days in 015 of the Music Building at St. John's. Your final grade will be figured in the following manner:
For your benefit as well as mine, I would prefer not to accept late homework or make up tests, except in emergency situations. Any work turned in late will be subject to a 25% reduction in the assignment grade.
I use the following grading scale to convert these percentages into letter grades:
|
The entire class will be divided into groups of two or three each. This group will be your study team. Know who they are, where they live, phone numbers, etc. Plan a time to regularly meet with your group. Homework should be done in your group, with each member working on their own copy. Come to a common understanding and consensus about the work, helping each other. I will collect one assignment from each group, at random. You should also study the listening list together. All listen to the same recording and discuss its style and content. Bonus points will be added to each group member's score on listening quizzes and exams if your total reaches a given figure.
You will be required to compose two original works during this term. One will be in 19th century Romantic style and the other in a 20th century style. The composition of original music in a given style is very important to the understanding of music's development and character. The compositions will be fairly short and imitative in nature, that is, they should sound like they were written in that time period. I will talk about this in much more detail when the composition is assigned.
| Chapter 25 | January 14 - 18 |
| Chapter 26 | January 22 - 24 |
| Chopin | January 28 - 30 |
| Composition #1 - model | February 1 |
| Listening Quiz #1 | February 7/11 |
| Brahms | February 5 - 7 |
| Chapter 27 | February 11 |
| Wagner / Mahler | February 13 - 15 |
| Exam #1 | February 19 |
| Composition #1 due | February 27 |
| Listening Quiz #2 | March 4/6 |
| Chapter 28 (pp. 471 - 511) | February 25 - 27 |
| Debussy / Ravel | February 29 - March 4 |
| Bartok / Stravinsky | March 6 - 10 |
| Composition #2 - model | March 12 |
| Exam #2 | March 14 |
| Easter Break | |
| Chapter 28 (pp. 511 - 532) | March 26 - 28 |
| Listening Quiz #3 | April 7/9 |
| Schoenberg, Berg & Webern | April 7 - 9 |
| Chapter 28 (pp. 533 - 552) | April 11 - 15 |
| Modern techniques | April 17 - May 2 |
| Listening Quiz #4 | April 30/May 2 |
| FINAL EXAM | Thursday, May 8, 3:30 - 5:30 |
Listening quizzes will be given twice, on the following class days.
| Mod A | February 7/11 |
| Mod B | March 4/6 |
| Mod C | April 7/9 |
| Mod D | April 30/May 2 |
Go back to:
Greg
Walker's Place