3
Units, Room 305,
MWF, 11:00-11:50 A.M.
Joel
Jacklich, Professor of Music;
http://faculty.imperial.cc.ca.us/users/music/
(also
“by appointment” as posted on office door)
Phone: (760) 355-6287 (Office), 352-8791 (Home)
E-mail:
joel.jacklich@imperial.edu
(Because I receive over 200 e-mails a day from
discussion groups to which I belong, I use the “delete” key a lot, to ensure
YOUR e-mail will be read, write “IVC Music
30” and nothing else in subject line.)
Text:
Kamien, Roger.
MUSIC: An Appreciation. 4th
Brief Edition. McGraw-Hill: New
York, 2001.
Students should read the text and listen to the included CDs
for each lesson BEFORE coming to class to discuss those same lessons.
There will be a question and answer period to start each class covering
the assigned text lesson for clarification of problem areas.
For each hour of scheduled class time per week, the student should expect
an additional two hours of reading and listening per week (3 hrs in class + 6
hrs.
GRADING:
One LIVE Classical music concert some time during the semester (Free public concerts will be posted and
announced. Those students with
schedule conflicts will make arrangements with the instructor for an alternate
Classical music listening experience)
100 pts
Additional LIVE Classical music concerts for Extra Credit (One page written review
required) up to a maximum of 25 pts per concert review, up
to 100 pts maximum for all extra credit.
25 pts ea. (up to 4 times) Extra Credit
Attendance
100 pts
Tests*:
Elements of Music
100 pts
Middle Ages and Renaissance
100 pts
Baroque
100 pts
Classical
100 pts
Romantic
100 pts
Twentieth Century
100 pts
FINAL (Cumulative)
200 pts
======
1,000 pts (up to 1,100 w/Ex.Cred.)
*Tests
must be taken at the scheduled times.
Accommodations will be made for school-sanctioned
activities (e.g., field trips and members of IVC sports teams at
scheduled sporting events). Illness must
be documented by a doctor's note, and death in the immediate family by a funeral
notice. Missed
tests may not be made up without instructor approval PRIOR
to the original test date.
Semester
grades will be based on a strict percentage of possible points:
90-100%
= A
(900-1,000 pts)
80-89% = B
(800-899 pts)
70-79% = C
(700-799 pts)
60-61% = D
(600-699 pts)
0-59% = F (0-599 pts)
Accommodations:
Any student
with a documented disability who needs to arrange reasonable accommodations must
contact the instructor and Disabled Student Programs and Services (DSPS) at the
beginning of the semester. (SDP&S
Office, 2117 Health Sciences Bldg., Phone: (760) 355-6312)
Course
Content:
Pitch
(highness and lowness of sound/fast and slow frequency of vibration),
Dynamics
(Loudness and softness)
Tone
Color (Timbre)
Performing Media (Orchestra, Band, Dance Band [Big Band, Jazz Band], Piano Trio, String Quartet, WW Quintet, etc.)
Voices:
Soprano, Mezzo Soprano, Alto, Tenor Baritone, Bass, Countertenor,
Castrato
Instruments:
Woodwinds: Flute and
Piccolo, Oboe and English Horn, Clarinet Family, Bassoon and Contrabassoon,
Saxophone family
Strings: Violin, Viola,
Violoncello, String Bass, Harp, Guitar
Percussion: Pitched: Timpani, Chimes, Bells, /Marimba, Celeste, etc.
Unpitched:
Snare Drum, Bass Drum, Cymbals, Gong. Wood Block, Whistle, etc.
Keyboards:
Piano, Harpsichord, Clavichord, Organ
Electronic:
Synthesizers, M.I.D.I. capable instruments, Tape, etc.
Rhythm:
Beat, Meter, Accent and Syncopation, Tempo
Notation:
Notating Pitch, Rhythm, Silence (rests), the Score
Melody
Harmony:
Consonance and Dissonance, the Triad, Broken Chords (Arpeggios)
Key (Tonality): Major Scale, Minor Scale, Key Signatures,
Chromatic Scale, Modes, Modulation, Tonic Key, Dominant Key
Musical
Texture: Monophonic, Heterophonic, Polyphonic, Homophonic, Changes of
texture
Musical
Form: Motive, Phrase, Cadence, One-Part Form, Binary Form, Ternary Form,
Compound Binary Form (March), Compound Ternary Form (Minuet and Trio), Sonata
Allegro Form, Baroque Rondo Form, Five-Part Rondo, Seven Part Rondo (Sonata
Rondo/Rondo Sonata), Arch Form, Free Form
M
Middle
Ages and Renaissance:
Gregorian Chant,
Church Modes, Development of Polyphony--Organum, Secular Music of the Middle
Ages: Instrumental (e.g., Estampie), Vocal (Troubadour, Trouvčre, Minnesinger),
School of Notre Dame—Measured Rhythm; Ars Nova; Word Painting, the Motet, the
Mass, the Italian Madrigal, the English Madrigal, Instrumental Music; Composers:
Leonin, Perotin, Philippe de Vitry, Guillaume de Machaut, Guillaume Dufay,
Josquin Desprez, Palestrina, Weelkes, Morley, Andrea Gabrieli.
The
Baroque Period:
Unity of Mood,
Driving Dance Rhythm, Spun-out Melody, Terraced Dynamics, Beginning of
Homophony, Chords and the Basso Continuo (Figured Bass and Figured Bass
Realization), Virtuosity and Improvisation, the Baroque Orchestra, Baroque
Forms: Concerto Grosso (Concertino, Ripieno, Tutti) and Ritornello Forms, Fugue
(Subject, Answer, Exposition, Episode, Rectus, Inversion, Retrograde, Retro.
& Inv., Stretto, Augmentation, Diminution), Elements of Opera: Recitative,
Aria, Ensemble, Chorus, Instrumental Interludes, Overture (Italian and French),
Monteverdi, Sonata da Chiesa, Sonata da Camera, Trio Sonata, Baroque Suite,
Tempered Tuning, Chaconne, Passacaglia, Basso Ostinato, Ground Bass, J.S.
Chorale, Chorale Prelude, Cantata, Oratorio.
Composers: Monteverdi, Purcell, Vivaldi, Corelli, Bach, Handel.
Classical
Period:
Contrast of Mood,
Balanced Symmetrical Phrases, Dance Rhythms, Folk-like Melodies, Reserve and
Restraint, Classical Forms: Sonata Cycle, Sonata Allegro Form, Repeated
Exposition, Double Exposition, Development, Recapitulation, Cadenza, Concerto,
Theme and Variations, Minuet and Trio, Rondo, Classical Symphony, the Classical
Orchestra, Classical Concerto, Chamber Music, the String Quartet, Development of
the Piano, Opera, Seria, Opera Buffa, Singspiel.
Composers: Haydn, Mozart, Beethoven.
Romantic
Period:
Individuality of
Style, Expressive Aims and Subjects, Nationalism and Exoticism, Program Music
vs. Absolute Music, Expressive Tone Color, Expanded Harmony, Expanded Range of
Dynamics, Pitch, and Tempo Rubato, Form--from the Miniature to the Monumental,
the Art Song (Lied), Tempo Rubato, Program Symphony, Symphonic Poem (Tone Poem),
Opera, Music Drama. Composers:
Schubert, Robert and Clara Schumann, Chopin, Liszt, Mendelssohn, Berlioz,
Smetana, Dvorak, Grieg, Sibelius, the “Russian Five”, Tchaikovsky, Brahms,
Verdi, Puccini, Wagner.
Twentieth
Century:
Impressionism,
Post-Romanticism, Neoclassicism, Expressionism, Music since 1950: Serialism,
Chance Music, Minimalism, Musical Quotation, Return to Tonality, Electronic
Music, Mixed Media, Jazz, Musical Theater, Rock. Composers: Debussy, Ravel, R. Strauss, G. Mahler, Stravinsky,
Schoenberg, Berg, Webern, Bartok, Kodaly, Ives, Gershwin, Copland, Hindemith,
Bernstein, Webber, Williams.