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General Information

Course ID (CB01A and CB01B)
MUSI D004A
Course Title (CB02)
Comprehensive Musicianship II (First Quarter)
Course Credit Status
Credit - Degree Applicable
Effective Term
Fall 2021
Course Description
This course covers principles, literacy, and parameters of music including writing scores, comprehensive and aural analysis, sight-singing, rhythmic training, ear training, and keyboard work including extended pitch vocabulary.
Faculty Requirements
Course Family
Not Applicable

Course Justification

This course is a major preparation requirement in the discipline of music for at least one CSU or UC. This course is required for the A.A. Music degree at °®¶¹´«Ã½. This course is part of the core six-quarter group of courses, each of which is required. The student needs this course to graduate or be transfer ready as a music major. This course introduces the student to modulation to distantly related keys and extended chord vocabulary.

Foothill Equivalency

Does the course have a Foothill equivalent?
No
Foothill Course ID

Course Philosophy

Formerly Statement

Course Development Options

Basic Skill Status (CB08)
Course is not a basic skills course.
Grade Options
  • Letter Grade
  • Pass/No Pass
Repeat Limit
0

Transferability & Gen. Ed. Options

Transferability
Transferable to both UC and CSU
C-IDArea(s)StatusDetails
MUSMusicApprovedMUSI D004A & MUSI D004B & MUSI D004C required for C-ID MUS 140 and C-ID MUS 145 and C-ID MUS 150 and C-ID MUS 155

Units and Hours

Summary

Minimum Credit Units
4.0
Maximum Credit Units
4.0

Weekly Student Hours

TypeIn ClassOut of Class
Lecture Hours3.57.0
Laboratory Hours1.50.0

Course Student Hours

Course Duration (Weeks)
12.0
Hours per unit divisor
36.0
Course In-Class (Contact) Hours
Lecture
42.0
Laboratory
18.0
Total
60.0
Course Out-of-Class Hours
Lecture
84.0
Laboratory
0.0
NA
0.0
Total
84.0

Prerequisite(s)

MUSI D003C or by audition

Corequisite(s)

Advisory(ies)

Limitation(s) on Enrollment

Entrance Skill(s)

(Student must audition or meet course prerequisite(s).)

General Course Statement(s)

Methods of Instruction

Lecture and visual aids

Discussion of assigned material

Discussion and Problem solving performed in class

Quiz and examination review performed in class

Homework and extended projects

Collaborative learning and small group exercises

Collaborative Projects

Assignments

  1. Composition of four part vocal texture pieces - two phrases, including secondary Authentic functions, extended vocabulary, and modulation to distantly related keys via secondary or extended chord vocabulary pivot chords
  2. Analysis of intermediate level four part chorales as well as pieces such as Chopin Mazurkas and Preludes demonstrating extended chord vocabulary from secondary authentic functions to modal borrowing, Neapolitans, and augmented 6th chords
  3. Composition of melodies including diatonically responsible chromaticism creating parallel, contrasting, and or asymmetrical periods where subphrases include motivic manipulation
  4. Composition of a tune plus accompaniment texture or a small ensemble texture in a particular common practice style
  5. Readings in the principal text as well as of various handouts
  6. Comprehensive analysis from score and from recording
  7. Computer lab work on assignments both specific to a particular week and in pursuit of quarter length goals distributed at the beginning of the quarter
  8. (Optional) Suggested extra credit assignments in pursuit of the performance or study of any style of music from any culture, especially those not presented to any significant extent at the college and linked to the course by the student

Methods of Evaluation

  1. Direct observation of student in class board work evaluated for the extent to which the student is making progress towards the minimum 70% accuracy required to be deemed successful
  2. Computer lab work for skill development, effort, and improvement evaluated for the extent to which the student is making progress towards the minimum 70% accuracy required to be deemed successful
  3. Individual sight singing/rhythmic training final exam graded on a percentage of accuracy basis to a minimum 70% accuracy standard for success.
  4. Final written exam including notation, dictation, and low level analytical symbols.
  5. Periodic and final in class melodic and rhythmic dictation evaluated for the extent to which the student is making progress towards the minimum 70% accuracy required to be deemed successful.
  6. Written assignments (2-3 per week) evaluated for the extent to which they are above, at, or below the established standard predicting success in the element of the assignment
  7. Individual keyboard final assessment resulting in a statement of progress towards, ultimately, passing a transfer placement exam

Essential Student Materials/Essential College Facilities

Essential Student Materials: 
  • Music manuscript paper
  • Access to a keyboard instrument
  • Access to a computer laboratory containing Music notation and ear training software
Essential College Facilities:
  • Classroom with enough staff lined boards to allow all students to work simultaneously, piano, multiple media sound playback equipment with adequate speaker system
  • Computer lab facility suitable for Comprehensive Musicianship instructional and notational software

Examples of Primary Texts and References

AuthorTitlePublisherDate/EditionISBN
*Benward, Bruce. "Music in Theory and Practice - Vol II". Boston: Mc Graw Hill, 9th edition, 2014.
*Sadie, Stanley Ed. "The New Grove Dictionary of Music and Musicians", Grove Press, 2nd edition 2001.

Examples of Supporting Texts and References

AuthorTitlePublisher
Berkowitz, Charles et al. "A New Approach to Sight Singing", New York: W.W. Norton, 6th edition, 2017.
Burkhart, Charles. "Anthology for Musical Analysis", New York: Holt, Rinehart, Winston, 7th edition 2012.
Sadie, Stanley Ed. "The Norton/Grove Concise Encyclopedia of Music", New York: W.W. Norton, 2003.
Starer, Robert. "Rhythmic Training". New York: MCA Music, 1969.

Learning Outcomes and Objectives

Course Objectives

  • Discuss the interaction of musical parameters in works ranging from simple to moderately complex, including a comprehensive, multiparameter analysis of at least one piece with multiple sections
  • Demonstrate intermediate to advanced sight singing, rhythmic training, and ear training skills
  • Play and devise and play, at the keyboard, basic chord progressions which include modulation and the use of the extended vocabulary of modal borrowing, Neapolitan chords, and Augmented sixth chords as well as all diatonically responsible versions of secondary authentic chords and continue work on sight reading and basic facility at the keyboard necessary for, ultimately, passing a typical transfer placement exam
  • Explain and apply intermediate level notating abilities such as key changes without key signature changes and enharmonic passages as well as enharmonic modulation
  • Analyze and compose in both four part chorale style and technique as well as melody plus accompaniment textures: simple binary and ternary forms including modulation and the use of the extended vocabulary of modal borrowing, Neapolitan chords, and Augmented sixth chords as well as all diatonically responsible versions of secondary authentic chords
  • Recall and identify complex forms in relation to form determination and creation - given pieces using various form extending devises, the student will state the prototypical and then explain how it is extended in the piece in question
  • Apply different texture realizations of figured bass by sight at the keyboard - given a single figured bass, for instance, the student will produce any of the four basic accompanimental patterns
  • Produce an analysis of a piece with student colleagues from a recording including the synthesis of a score - given a recording, the student will notate melody and essential bass and provide appropriate analytical statements in a form at least congruent with the Format for Comprehensive Analysis (ala Jan LaRue)

CSLOs

  • Apply the stylistic principles of and normative adherence to the rules of strict four part writing using tertian triads and 7th chords in all positions including secondary authentic, modal borrowing, Neapolitan, augmented 6th chords, and modulating functions.

  • Analyze pieces accurately and comprehensively at the level of complexity of Chopin Mazurkas.

Outline

  1. Discuss the interaction of musical parameters in works ranging from simple to moderately complex, including a comprehensive, multiparameter analysis of at least one piece with multiple sections
    1. Analyze a single parameter in several moderately complex tonal pieces
    2. Compare events in a single parameter across several moderately complex tonal pieces
    3. Analyze the interaction of harmony and melody in short excerpts from moderately complex tonal pieces utilizing extended pitch vocabulary
    4. Analyze the interaction of external influences with harmony and melody in short excerpts from moderately complex tonal pieces
    5. Given a recording, produce a comprehensive, multiparameter analysis of a simple piece (little or no use of extended pitch vocabulary) with multiple sections and notate bass line or principle linear element or both for at least one of the sections
  2. Demonstrate intermediate to advanced sight singing, rhythmic training, and ear training skills
    1. Independent practice in sight singing using movable Do solfeggio and numbers (for bass lines) including chromatic non chord tones as well as extended chord vocabulary chord tones
    2. Group practice in sight singing using movable Do solfeggio and numbers (for bass lines)including singing against obvious interference by the instructor
    3. Independent practice in rhythmic training, reading and perfecting intermediate to advanced level rhythms performed through a variety of means including, for example, monotone singing, clapping, moving feet, and beating with beaters
    4. Group practice in sight singing, reading and perfecting intermediate level rhythms performed through a variety of means including monotone singing, clapping, moving feet, and beating with beaters
    5. Individual ear training practice on interval recognition and melodic and harmonic dictation using computer assisted instruction
  3. Play and devise and play, at the keyboard, basic chord progressions which include modulation and the use of the extended vocabulary of modal borrowing, Neapolitan chords, and Augmented sixth chords as well as all diatonically responsible versions of secondary authentic chords and continue work on sight reading and basic facility at the keyboard necessary for, ultimately, passing a typical transfer placement exam
    1. Given starting and ending keys, the student will devise and play a two phrase, modulating chord progression which includes modal borrowing as the pivot to a not closely related key.
    2. Given starting and ending keys, the student will devise and play a two phrase modulating chord progression which includes a Neapolitan chord as the pivot to a not closely related key.
    3. Given starting and ending keys, the student will devise and play a two phrase modulating chord progression which includes an augmented sixth chord as the pivot to a not closely related key..
  4. Explain and apply intermediate level notating abilities such as key changes without key signature changes and enharmonic passages as well as enharmonic modulation
    1. Analyze pieces for notational practices not found in simpler pieces
    2. Notate enharmonic pivot chords in both preceding and succeeding identities
  5. Analyze and compose in both four part chorale style and technique as well as melody plus accompaniment textures: simple binary and ternary forms including modulation and the use of the extended vocabulary of modal borrowing, Neapolitan chords, and Augmented sixth chords as well as all diatonically responsible versions of secondary authentic chords
    1. Compose four part chorale style and melody plus accompaniment periods demonstrating modal borrowing with and without modulation
    2. Compose in four part chorale style and melody plus accompaniment periods demonstrating the use of Neapolitan and Neapolitan 6 chords with and without modulation
    3. Compose four part chorale style and melody plus accompaniment periods demonstrating the use of augmented sixth chords with and without modulation
  6. Recall and identify complex forms in relation to form determination and creation - given pieces using various form extending devises, the student will state the prototypical and then explain how it is extended in the piece in question
    1. Identify harmonic progression extensions
    2. Identify extensions by the development of melodic material
    3. Identify extensions by registral or orchestrational changes
  7. Apply different texture realizations of figured bass by sight at the keyboard - given a single figured bass, for instance, the student will produce any of the four basic accompanimental patterns
    1. Realize a given melody and figured bass with a block chord accompaniment
    2. Realize a given melody and figured bass with an Alberti bass accompaniment
    3. Realize a given melody and figured bass with a broken chord accompaniment
    4. Realize a given melody and figured bass with an arppegiating accompaniment
  8. Produce an analysis of a piece with student colleagues from a recording including the synthesis of a score - given a recording, the student will notate melody and essential bass and provide appropriate analytical statements in a form at least congruent with the Format for Comprehensive Analysis (ala Jan LaRue)
    1. Within a collaborative group, take individual responsibility for one of the parameters in the format for comprehensive analysis while taking collective responsibility for all parameters
    2. Produce notation of the melody (principal linear element) of a piece being analyzed comprehensively
    3. Collaborate with at least one other group member in producing a roman numeral analysis of a piece with the symbols placed in proper alignment with the melody

Lab Topics

  1. Computer assisted instruction: Melodic dictation
  2. Computer assisted instruction: Harmonic dictation
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