MUS 205 : Classical Theory and Musicianship 3
Creative Arts and Industries
2024 Semester One (1243) (15 POINTS)
Course Prescription
Course Overview
Capabilities Developed in this Course
| Capability 3: | Knowledge and Practice |
| Capability 4: | Critical Thinking |
| Capability 6: | Communication |
| Capability 8: | Ethics and Professionalism |
Learning Outcomes
- Demonstrate a command of advanced precepts of voice leading and tonal harmony. Topics include: chromatic harmony, including Neapolitan sixths, augmented sixths and chromatic mediants, sonata form and analysis. (Capability 3.1)
- Recognize many formal typologies (Capability 6.1)
- Interpret an unseen piece of music by making use of various analytical approaches and parameters (Capability 3.1)
- Recognize complex forms of harmonic prolongation and melodic diminution (Capability 3.1)
- Harmonize an advanced chorale melody in four parts in the style of J. S. Bach, making appropriate use of such features as passing notes, neighbour notes, suspensions and chromatic chords, and demonstrating stylistic awareness (Capability 3.1)
- Supply analytical symbols of functional harmony to a chorale or other work (Capability 3.1)
- Understand appreciate and comment perceptively on listening examples from a range of periods, styles, genres and composers, with particular focus on how a variety of musical materials are used to create specific musical and/or dramatic effect (Capability 4.1)
- Further develop materials-of-music skills including aural perception, musicianship, basic post-tonal theoretical concepts and terminology. (Capability 3.1)
- Demonstrate competency in performance within a musical ensemble through the Applied Musicianship Workshop. This includes musical intelligence, skills and knowledge in a practical performance context, fundamental knowledge of the healthy alignment of the singing mechanism, ensemble skills including reliability, punctuality, collaboration and rehearsal etiquette (Capability 8.1)
Assessments
| Assessment Type | Percentage | Classification |
|---|---|---|
| Harmony and Analysis/Materials of Music Coursework | 40% | Individual Coursework |
| Individual Applied Musicianship Test | 10% | Individual Test |
| Final Examination | 50% | Individual Examination |
| 3 types | 100% |
| Assessment Type | Learning Outcome Addressed | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
| Harmony and Analysis/Materials of Music Coursework | ||||||||||
| Individual Applied Musicianship Test | ||||||||||
| Final Examination | ||||||||||
Teaching & Learning Methods
Lectures and tutorials in Harmony and Analysis:
• examine the primary musical parameters of rhythm, pitch and form, and introduce the secondary parameters such as texture;
• provide exercises and training in the handling of these materials in notated form, to enable students to recognize, identify and analyse these features and to understand their significance in a given musical context.
Lectures in Materials of Music:
• further explore these musical materials, utilizing active listening to perceive the musical characteristics of a variety of musical examples;
• provide training in Materials of Music skills including aural perception, musicianship, more advanced theoretical concepts and terminology
Applied Musicianship (choral performance project):
• rehearse selected repertoire, leading to a concert performance or a workshop performance;
• provide exercises in contextual listening including work on inner hearing (intervallic/melodic relationships) internal pulse and subdivision, holding a part;
• inform students of the techniques and discipline of choral ensemble singing as a tool to develop musicianship skills and professional skills in the workplace (this will help foster an immediate practical context for study undertaken in the areas of both musicianship and music theory);
• develop students’ understanding of the nature of the vocal instrument, linguistic models (including IPA) and singers’ score markings.
Workload Expectations
This course is a standard fifteen-point course and students are expected to spend 10 hours per week involved in each fifteen-point course that they are enrolled in.
For this course, you can expect 24 hours of lectures, 11 one-hour theory tutorials, 11 one-hour applied-musicianship classes, 48 hours of reading and thinking about the content and 56 hours of work on assignments, test preparation and performance preparation.
Delivery Mode
Campus Experience
Attendance is required at scheduled activities including lectures, tutorials and Applied Musicianship Workshop to receive credit for components of the course.
Please note in particular that, owing to its practical nature, your contribution through active participation in Applied Musicianship is regarded as compulsory coursework. If you miss more than two sessions without independent evidence such as a medical note you will not be eligible to participate in any planned performance and you will not be eligible to take the Applied Musicianship test (10%). It is your personal responsibility to sign the participation registers at every class. These will be available during the class and for a short while afterwards.
Lectures will be available as recordings.
Other learning activities including tutorials will not be recorded.
Owing to its practical nature the Applied Musicianship workshop is not recorded and in-person attendance is required.
The activities for the course are scheduled as a standard weekly timetable, other than any specially arranged rehearsals or performances, which will be notified at the beginning of semester.
Learning Resources
Course materials are made available in a learning and collaboration tool called Canvas which also includes reading lists and lecture recordings (where available).
Please remember that the recording of any class on a personal device requires the permission of the instructor.
Cook, Nicholas. A Guide to Musical Analysis. London: Dent, 1987.
Forte, Allen. Tonal Harmony in Concept and Practice. New York: Holt, Rinehart and Winston, 1962.
Green, Douglass M. Form in Tonal Music: An Introduction to Analysis.
Second edition. New York: Holt, Rinehart and Winston, 1979.
Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening, third edition. New York: Oxford University Press, 2012.
Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.
Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer, 1989.
Schoenberg, Arnold. Fundamentals of Musical Composition. Edited by
Gerald Strang and Leonard Stein. Faber: London, 1970.
Tovey, Donald. Essays in Musical Analysis. Six volumes. London:
Oxford University Press, 1935–1944.
Student Feedback
At the end of every semester students will be invited to give feedback on the course and teaching through a tool called SET or Qualtrics. The lecturers and course co-ordinators will consider all feedback and respond with summaries and actions.
Your feedback helps teachers to improve the course and its delivery for future students.
Class Representatives in each class can take feedback to the department and faculty staff-student consultative committees.
Other Information
Attendance in class as well as engagement with course activities and readings is vital to academic success. Owing to the nature of music teaching and learning, consistent attendance is essential at all lectures, tutorials and studio lessons. Students must make every effort to attend class and complete all the necessary in-class requirements. All planned absences (such as overseas competitions, family events, masterclasses or work-related commitments) must be pre-approved by the Head of School. If approval is given, all Course Coordinators, Tutors and other teachers must be informed of your absence in advance. Unplanned absences relating to illness, bereavement, or other emergencies can only be excused with appropriate evidence from the University doctor, counsellor or other official source. It is students’ personal responsibility to make up all work missed, as individual catch-up classes will not be available.
Please note ‐ owing to its practical nature, your contribution through active participation in Applied Musicianship Workshop is regarded as compulsory coursework. Failure to complete this compulsory coursework component will result in a DNC (did not complete) Fail Grade for the course.
Academic Integrity
The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in coursework as a serious academic offence. The work that a student submits for grading must be the student's own work, reflecting their learning. Where work from other sources is used, it must be properly acknowledged and referenced. This requirement also applies to sources on the internet. A student's assessed work may be reviewed for potential plagiarism or other forms of academic misconduct, using computerised detection mechanisms.
Class Representatives
Class representatives are students tasked with representing student issues to departments, faculties, and the wider university. If you have a complaint about this course, please contact your class rep who will know how to raise it in the right channels. See your departmental noticeboard for contact details for your class reps.
Inclusive Learning
All students are asked to discuss any impairment related requirements privately, face to face and/or in written form with the course coordinator, lecturer or tutor.
Student Disability Services also provides support for students with a wide range of impairments, both visible and invisible, to succeed and excel at the University. For more information and contact details, please visit the Student Disability Services’ website http://disability.auckland.ac.nz
Special Circumstances
If your ability to complete assessed coursework is affected by illness or other personal circumstances outside of your control, contact a member of teaching staff as soon as possible before the assessment is due.
If your personal circumstances significantly affect your performance, or preparation, for an exam or eligible written test, refer to the University’s aegrotat or compassionate consideration page https://www.auckland.ac.nz/en/students/academic-information/exams-and-final-results/during-exams/aegrotat-and-compassionate-consideration.html.
This should be done as soon as possible and no later than seven days after the affected test or exam date.
Learning Continuity
In the event of an unexpected disruption we undertake to maintain the continuity and standard of teaching and learning in all your courses throughout the year. If there are unexpected disruptions the University has contingency plans to ensure that access to your course continues and your assessment is fair, and not compromised. Some adjustments may need to be made in emergencies. You will be kept fully informed by your course co-ordinator, and if disruption occurs you should refer to the University Website for information about how to proceed.
Student Charter and Responsibilities
The Student Charter assumes and acknowledges that students are active participants in the learning process and that they have responsibilities to the institution and the international community of scholars. The University expects that students will act at all times in a way that demonstrates respect for the rights of other students and staff so that the learning environment is both safe and productive. For further information visit Student Charter https://www.auckland.ac.nz/en/students/forms-policies-and-guidelines/student-policies-and-guidelines/student-charter.html.
Disclaimer
Elements of this outline may be subject to change. The latest information about the course will be available for enrolled students in Canvas.
In this course students may be asked to submit coursework assessments digitally. The University reserves the right to conduct scheduled tests and examinations for this course online or through the use of computers or other electronic devices. Where tests or examinations are conducted online remote invigilation arrangements may be used. In exceptional circumstances changes to elements of this course may be necessary at short notice. Students enrolled in this course will be informed of any such changes and the reasons for them, as soon as possible, through Canvas.