Print Page
Active as of Summer Session 2021
I. General Information
1. Course Title:
Music Theory and Musicianship II: Written
2. Course Prefix & Number:
MUSC 2595
3. Course Credits and Contact Hours:
Credits: 3
Lecture Hours: 3
4. Course Description:
The study of the basic elements of music and how they work together. Continuation of study on harmony and part-writing. Emphasis on phrase structures, extended chords, and small musical forms. Continuation of written recognition of the elements of music through music performance, dictation, and improvisation using a variety of musical styles from Western and non-Western traditions. Students must take
MUSC 2594 concurrently.
5. Placement Tests Required:
Accuplacer (specify test): |
Reading College Level CLC or Reading College Level |
Score: |
|
6. Prerequisite Courses:
MUSC 2595 - Music Theory and Musicianship II: Written
All Credit(s) from the following...
Course Code | Course Title | Credits |
MUSC 1459 | Musicology | 3 cr. |
MUSC 2511 | Music Theory and Musicianship I: Aural | 2 cr. |
MUSC 2512 | Music Theory and Musicianship I: Written | 3 cr. |
9. Co-requisite Courses:
MUSC 2595 - Music Theory and Musicianship II: Written
All Credit(s) from the following...
Course Code | Course Title | Credits |
MUSC 2594 | Music Theory and Musicianship II: Aural | 2 cr. |
II. Transfer and Articulation
1. Course Equivalency - similar course from other regional institutions:
Bemidji State University: MUS 2202: Music Theory and Musicianship II
Moorhead State University: MUS 108A: Music Theory II
St. Cloud State University: MUSM 202. Theory II
2. Transfer - regional institutions with which this course has a written articulation agreement:
Bemidji State University, August 24th, 2020, Bachelors of Music Degree
III. Course Purpose
Program-Applicable Courses – This course is required for the following program(s):
Associates of Fine Arts Degree in Music
IV. Learning Outcomes
1. College-Wide Outcomes
College-Wide Outcomes/Competencies |
Students will be able to: |
Assess alternative solutions to a problem |
Orchestrate different solutions within the confines of Western music theory practices to resolve a harmonic sequence including modulations. |
Analyze and follow a sequence of operations |
Apply analytical techniques learned in class and engage in critical thinking in a paper about a musical composition by a composer studied in the class. |
Apply abstract ideas to concrete situations |
Label and identify cadential dominants as well as other second-inversion triads. |
2. Course Specific Outcomes - Students will be able to achieve the following measurable goals upon completion of
the course:
- Name the appropriate sections of the phrase model;
- Recognize the function of predominant triads and seventh chords;
- Recognize the phrase model within a musical phrase or work;
- Recognize standard embellishing tones such as suspensions, passing, neighbor, appoggiaturas, etc;
- Write second-inversion triads in part writing exercises with appropriate voice-leading;
- Identify the common conventions of the mediant and submediant chords according to voice-leading and harmonic principles;
- Recognize submediant and mediant chords in score analysis;
- Recognize the function of a backrelating dominant in score analysis; and
- Create a harmonic sequence, with and without applied chords.
V. Topical Outline
Listed below are major areas of content typically covered in this course.
1. Lecture Sessions
- Written Theory Review
- Predominant Introduction to Musical Functions
- Harmonic Functions The Idealized Phrase
- Cadences & Cadential Dominant Classical Cadence Types
- Phrase Model & Prolongation Prolongation
- Submediant/ Mediant Harmonic Analysis
- Nondominant Sevenths Tendency Tones
- Sequences
- Applied Chords
- Tonicization
- Modulation
- The Period
- Hybrid Themes
- Compound Themes
I. General Information
1. Course Title:
Music Theory and Musicianship II: Written
2. Course Prefix & Number:
MUSC 2595
3. Course Credits and Contact Hours:
Credits: 3
Lecture Hours: 3
4. Course Description:
The study of the basic elements of music and how they work together. Continuation of study on harmony and part-writing. Emphasis on phrase structures, extended chords, and small musical forms. Continuation of written recognition of the elements of music through music performance, dictation, and improvisation using a variety of musical styles from Western and non-Western traditions. Students must take
MUSC 2594 concurrently.
5. Placement Tests Required:
Accuplacer (specify test): |
Reading College Level CLC or Reading College Level |
Score: |
|
6. Prerequisite Courses:
MUSC 2595 - Music Theory and Musicianship II: Written
All Credit(s) from the following...
Course Code | Course Title | Credits |
MUSC 1459 | Musicology | 3 cr. |
MUSC 2511 | Music Theory and Musicianship I: Aural | 2 cr. |
MUSC 2512 | Music Theory and Musicianship I: Written | 3 cr. |
9. Co-requisite Courses:
MUSC 2595 - Music Theory and Musicianship II: Written
All Credit(s) from the following...
Course Code | Course Title | Credits |
MUSC 2594 | Music Theory and Musicianship II: Aural | 2 cr. |
II. Transfer and Articulation
1. Course Equivalency - similar course from other regional institutions:
Bemidji State University: MUS 2202: Music Theory and Musicianship II
Moorhead State University: MUS 108A: Music Theory II
St. Cloud State University: MUSM 202. Theory II
2. Transfer - regional institutions with which this course has a written articulation agreement:
Bemidji State University, August 24th, 2020, Bachelors of Music Degree
III. Course Purpose
1. Program-Applicable Courses – This course is required for the following program(s):
Associates of Fine Arts Degree in Music
IV. Learning Outcomes
1. College-Wide Outcomes
College-Wide Outcomes/Competencies |
Students will be able to: |
Analyze and follow a sequence of operations |
Apply analytical techniques learned in class and engage in critical thinking in a paper about a musical composition by a composer studied in the class. |
Apply abstract ideas to concrete situations |
Label and identify cadential dominants as well as other second-inversion triads. |
2. Course Specific Outcomes - Students will be able to achieve the following measurable goals upon completion of
the course:
- Name the appropriate sections of the phrase model;
- Recognize the function of predominant triads and seventh chords;
- Recognize the phrase model within a musical phrase or work;
- Recognize standard embellishing tones such as suspensions, passing, neighbor, appoggiaturas, etc;
- Write second-inversion triads in part writing exercises with appropriate voice-leading;
- Identify the common conventions of the mediant and submediant chords according to voice-leading and harmonic principles;
- Recognize submediant and mediant chords in score analysis;
- Recognize the function of a backrelating dominant in score analysis; and
- Create a harmonic sequence, with and without applied chords.
V. Topical Outline
Listed below are major areas of content typically covered in this course.
1. Lecture Sessions
- Written Theory Review
- Predominant Introduction to Musical Functions
- Harmonic Functions The Idealized Phrase
- Cadences & Cadential Dominant Classical Cadence Types
- Phrase Model & Prolongation Prolongation
- Submediant/ Mediant Harmonic Analysis
- Nondominant Sevenths Tendency Tones
- Sequences
- Applied Chords
- Tonicization
- Modulation
- The Period
- Hybrid Themes
- Compound Themes