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General Information

Course ID (CB01A and CB01B)
MUSI D004C
Course Title (CB02)
Comprehensive Musicianship II (Third Quarter)
Course Credit Status
Credit - Degree Applicable
Effective Term
Fall 2021
Course Description
This course covers principles, literacy, and parameters of music including writing, comprehensive and aural analysis, sight-singing, rhythmic training, ear training, and keyboard work exploring post-tonal practice and the influence of non-notated, experimentally notated, and non-Western music on an emerging worldwide art music culture.
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. It is articulated with San Jose State University. This course is required for the °®¶¹´«Ã½ A.A. Music degree. This course is part of the core six-quarter group of courses, each of which is required. This course introduces the students to post tonal practices.

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 D004B 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 short model examples of post tonal style and technique
    1. Impressionistic technique
    2. Experimentalism I: Ives
    3. Serial technique
    4. Neo classicism: Hindemith technique
    5. Messiaen technique
    6. Experimentalism II: Aleatoric and Chance music
    7. Minimalism
    8. African composite rhythm and Balinese gamelan effects
  2. Readings in the principal text as well as of various handouts
  3. (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 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 with 70% being the minimum standard for success
  4. Individual keyboard final exam graded on a percentage of accuracy basis with 70% being the minimum standard for success
  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 (approximately 1 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. Final written exams including writing (narrative English and music notation) and dictation

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, and 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 Music Publishers, 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, 5th edition 2010.
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: Universal Music Publishers, 1997.

Learning Outcomes and Objectives

Course Objectives

  • Discuss the interaction of musical parameters in post tonal and non common practice pieces from a variety of musical cultures
  • Demonstrate intermediate to advanced sight singing, rhythmic training, and ear training skills as well as analysis of pieces used for these purposes
  • Play at the keyboard: Various tonal and post tonal materials both devised and at sight as well as rhythmic ratios from 3 to 9 in one hand against from 3 to 9 in the other
  • Explain and apply post tonal notational experiments
  • Discuss the evolution of musical materials from pre notation chant to post tonal experimentalism

CSLOs

  • Apply the stylistic principles and norms of various post tonal genres in writings with instrumentation appropriate to the genre.

  • Use both solfeggio and intervallic naming in accurately singing post tonal melodies as well as quasi tonal bass lines while other parts are being played.

Outline

  1. Discuss the interaction of musical parameters in post tonal and non common practice pieces from a variety of musical cultures
    1. Given recordings of pieces from musical cultures such as Japanese, Chinese, Balinese/Javanese, Indian, Pakistani, Persian, North African/Middle Eastern, West African, East African, South African, Latin American, the student will discuss predominant to less involved parameters from the parameters in a systematic multi parameter comprehensive analysis.
    2. Given scores of post tonal pieces, the student will discuss predominant to less involved parameters from the parameters in a systematic multi parameter comprehensive analysis.
  2. Demonstrate intermediate to advanced sight singing, rhythmic training, and ear training skills as well as analysis of pieces used for these purposes
    1. Sight singing quasi tonal, chromatically rich melodies
    2. Sight singing non tonal melodies using interval names
    3. Given 2-3 minutes prepare for performance and perform additive rhythms and metric modulation
    4. Analyze short examples of post tonal style and technique
    5. Write dictation of tonal and non tonal melodies
    6. Impressionist materials
    7. Identify tertian and non tertian sonorities
    8. Transcribe gapped, pentatonic (both anhemitonic and hemitonic), and synthetic modes from recorded and live acoustic performance
    9. Experimentalism I: Ives
    10. Serial technique
    11. Neo classicism: Hindemith theory and technique
    12. Messiaen technique
    13. Experimentalism II: Aleatoric and Chance music
    14. Minimalism
    15. African composite rhythm and Balinese gamelan effects
  3. Play at the keyboard: Various tonal and post tonal materials both devised and at sight as well as rhythmic ratios from 3 to 9 in one hand against from 3 to 9 in the other
    1. Impressionistic
    2. Chromatic quasi tonal
    3. Additive rhythm
    4. Gapped, pentatonic (both anhemitonic and hemitonic), and synthetic modes in both pitch centric and non pitch centric applications
    5. Rhythmic ratios from 3 to 9 by one student against from 3 to 9 by another
    6. Rhythmic ratios from 3 to 9 in one hand against from 3 to 9 in the other by individual students [Note: different technique and different facility standards applied for keyboard majors]
  4. Explain and apply post tonal notational experiments
    1. Extensions of standard notation ala Ives, Carter ,Crumb, etc.
    2. Graphic notation
    3. Original eccentric systems
  5. Discuss the evolution of musical materials from pre notation chant to post tonal experimentalism
    1. Give an accounting of what is gained and what is lost through transcription of pre notation chant into contemporary standard notation
    2. Discuss the expansion of pitch resources with the evolution of common practice within the common practice era
    3. Discuss and demonstrate post tonal contributions to contemporary mainstream resources

Lab Topics

  1. Computer assisted instruction: Melodic dictation
  2. Computer assisted instruction: Harmonic dictation
  3. Computer assisted instruction: Interval recognition and dictation
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