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:

9. Co-requisite Courses:

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 24^th, 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

1. Written Theory Review
2. Predominant Introduction to Musical Functions
3. Harmonic Functions The Idealized Phrase
4. Cadences & Cadential Dominant Classical Cadence Types
5. Phrase Model & Prolongation Prolongation
6. Submediant/ Mediant Harmonic Analysis
7. Nondominant Sevenths Tendency Tones
8. Sequences
9. Applied Chords
10. Tonicization
11. Modulation
12. The Period
13. Hybrid Themes
14. Compound Themes