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AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Phone: (386) 575-4153 X44073 Welcome to Advanced Placement Music Theory. You have decided to embark on a journey that will help you discover the elements of music. This course is not for the faint of heart, but if you are willing to put in the time and energy, you will leave with a much deeper understanding of music. AP Music Theory is designed around the AP exam which is done in several parts, written and aural dictation, and sight-singing. Out of Class Study This class will be structured in such a way as you will get A LOT of information during actual class time. It is up to YOU to digest the information outside of class in personal or group study time. Study groups are highly encouraged. A good rule of thumb for figuring study time at the AP level is a ratio 1:1. One minute of study time for every one minute of class time. If you feel that your written portion of a class assignment is done, you should practice sight-singing and dictation. School Retake Policy Students may only retake ONE Summative per nine weeks. Students must retake that summative BEFORE the next summative is administered. School Homework Policy Homework is given as an essential part of the curriculum to reinforce student skills and assess student learning. Believing homework is important to promote student success; Deltona High School teachers will assign homework as appropriate, assess that homework for accuracy, provide timely feedback, and assign the homework to the Formative category. Required Materials Three- ring binder Five Dividers Pencils and pens Staff paper (you can purchase at the local music store or for free on www.musictheory.net) Computer/internet access Notebook paper Notebook (Spiral bound or journal type) AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Phone: (386) 575-4153 X44073 Online resources Musictheory.net Sonicfit.com Required Textbooks Barron’s AP Music Theory (with Audio Compact Discs) by M. Elizabeth and N. Scoggin o This will need to be purchased by the end of the first week of school. Students will find the book on www.amazon.com. The price of the book is $24.40 + tax, shipping, and handling Tonal Harmony by Stefan Kostka and Dorothy Payne o Will be provided in class as a supplement text Grading Policy Formative: 40% 10% Class Work and Homework 10% Concept Application Summative: 60% 20% Open Book review Quizzes 20% Aural Skills Assessment 30% Exams Course Plan Student Objectives/ Skills Aural Skills Sunshine State Standards FCAT AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Week 1.1 Basic Notation Week 1.2 Musical Staff Clefs/ Letter Names Signs/ Symbols Scales: Major, Minor, Modal forms, Pentatonic, Blues and Whole Tone scales Rhythmic Elements rhythmic dictation Intervals MUA 3.4.2 Rhythmic Dictation Melodic Dictation 2 ms. Intervals MUA 3.4.2 Rhythmic Dictation Melodic Dictation Group SightSinging same as above MUB 2.4.1 Melodic Shape/ Phrases Rhythmic and Melodic Dictation Sonata Allegro Form Them and Variations Analysis Mozart Analysis Haydn Review wks 1-4 Four Part Writing Rules Relative/ Melodic/ Harmonic Minor Assign Notecards - Elements of Music same as above Sight-singing Harmonic and Relative minor Recognize Cadences Four- Part Writing Analysis of SA Selection Inversions of Triads same as above Chordal Analysis Intervals Music Terms and Symbols Hot Seat on Triads Melodic Dictation Sightsinging in Notes and Rests Time/ Key Signatures Forms: Binary/ Ternary Rondo Week 1.3 Major Scales- All Cadences Major, Minor, Aug, Dim. Chords Circle of Fifths Week 1.4 Week 1.5 Week 1.6 Week 1.7 Phone: (386) 575-4153 X44073 Composition #1 Assignment MUA 3.4.3 R- M MUD 1.4.1 MUD 1.4.2 MUD 1.4.1 R- M R- M MUA 3.4.2 MUB 2.4.2 MUD 1.4.2 R-M MUD 3.4.3 MUB 2.4.1 R-M MUC 1.4.1 Same as Above M Same as above M AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Perform Compositions Phone: (386) 575-4153 X44073 Trios Recorgnize Cadences MUA 2.4.1 Week 1.8 Review Seventh Chords and Inversions Same as Above Samve as Above Week 1.9 Analysis of Composition Review for 9 weeks exam Same as Above Intervals Same as above Four Part Writing Rules Review Sample AP Aural MUA 3.4.3 Bass Movt. 5th apart Bass Movt 2nd apart Review Keys/ Major and Minor Scales Drills Cadences Music Analysis Voice Leadings Cadences Aurally Melodi Dictation Harmonic Dictation Week 2.1 Week 2.2 MUA 3,4,2 M MUE 1.4.1 R- M Stylistic Practices Doubling Week 2.3 Seventh Chordsand Inversions Same as Above Non- Harmonic Tones Assignment of Holiday Arrangement Week 2.4. Work on Holiday Arrangement Non- Harmonic Tones MUB 2.4.1 MUA 3.4.3 MUB 2.4.2 same as above Sight-singing Individually Same as Above Chordal Analysis MUC 1.4.3 Analyis of Composition Melodic Dictation MUE 1.4.2 Realization of Figured Bass Harmonization of Melody line Secondary Dominants Intervals Sample AP Aural Same as Above Harmonization of a Melody Line Week 2.5 Week 2.6 MUC 1.4.1 MUE 1.4.1a R-M AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Week 2.7 SAMPLE AP EXAM Week 2.8 Review of Exam and Final Semester Exam - Rough Drafts of Holiday Comp. Week 2.9 Phone: (386) 575-4153 X44073 SAMPLE AP EXAM All State Standards All Sundshine State Standards Exam and Perform Holiday Arrangements MUA 2.4.3 MUC 1.4.1 MUA 2.4.1 Week 3.1 Four Part Writing Secondary Dominant Resolutions Harmonization of Melody Line Week 3.2 Ecclesiastical Modes Intervals Samples for AP Same as Above M- R same as above MUC 1.4.3 MUE 1.4.2 M-R Sight-singing Melodic Dictation MUC 1.4.2 MUC 1.4.3 M-R Hot Seat Review Harmonic Progressions Week 3.3 Drop the Laser Music History Week 3.4 Catch up and Review All material Week 3.5 Same as Above same as above MUC 1.4.2 MUC 1.4.3 MUE 2.4.3 M-R same as above MUE2.4.1 MUC 1.4.2 Mr - R Realize Figured Bass Review Root Relationships Week 3.6 Modulations in Four Part Writing AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Phone: (386) 575-4153 X44073 SecondaryDominants Week 3.7 none MUC 1.4.2 none MUC 1.4.2 MUC 1.4.3 Media Center Research Week 3.8 Group Research Projects Week 3.9 SAMPLE A.P. EXAM Week 4.1 Review and Grading of AP Exam Week 4.2 Selections for Past AP Exams Week 4.3 Preparation of John Cage's "Sonata's for Prepared Piano"_ Twelve Tone Row Sample AP Exam Past AP Exams MUC 1.4.2 Mr - R Harmonic Dictation Sight singing Week 4.4 Twelve Tone Row Composition Review all aspects of Exam same as above MUC 1.4.2 Week 4.5 SAMPLE AP EXAM Sample AP Exam All of State Standards Week 4.6 Review All Material for REAL Exam All of State Standards Week 4. 7 AP EXAM - TBA All of State Standards Week 4.8 All Textbooks Turned In Course Objectives The following is a summary of the material to be covered and skills to be mastered in the AP Music Theory course in preparation for the AP Music Theory Examination. I. Musical Terminology and II. Notational Skills: 1. Notate and identify pitch in four clefs: treble, bass, alto, and tenor. M-R AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Phone: (386) 575-4153 X44073 2. Notate, hear, and identify simple and compound meters. 3. Notate and identify all major and minor key signatures. 4. Notate, hear, and identify the following scales: chromatic, major, and the three forms of the minor. 5. Name and recognize scale degree terms, e.g., tonic, supertonic, etc. 6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only). 7. Notate, hear, and identify whole tone and pentatonic scales. 8. Notate, hear, and identify all perfect, major, minor, diminished, and augmented intervals inclusive of an octave. 9. Notate, hear, and identify triads and seventh chords including inversions. 10. Define and identify common tempo and expression markings. 11. Analysis of motivic treatment and development. III. Basic Compositional Skills: 1. Compose a bass line for a given melody to create simple two-part counterpoint in seventeenth- and/or eighteenth-century style; analyze the implied harmonies. 2. Realize a figured bass according to the rules of eighteenth-century chorale style, major or minor key, using any or all of the following devices: diatonic triads and seventh chords, inversions, non-harmonic tones, and secondary-dominant and dominant seventh chords. 3. Realize a four-part chorale-style progression from Roman and Arabic numerals. IV. Score Analysis (with or without aural stimulus): 1. Identify authentic, plagal, half, Phrygian half, and deceptive cadences in major and minor keys. 2. Identify in score the following non-harmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), and pedal tone. 3. Small-scale and large-scale harmonic procedures, including: A. identification of cadence types B. Roman-numeral and figured-bass analysis, including non-harmonic tones, seventh chords, and secondary-dominant chords C. identification of key centers and key relationships; recognition of modulation to closely related keys 4. Melodic organization and developmental procedures: A. scale types; modes B. melodic patterning AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Phone: (386) 575-4153 X44073 C. motivic development and relationships (e.g., inversion, retrograde, sequence, imitation) 5. Rhythmic/metric organization: A. meter type (e.g., duple, triple, quadruple) and beat type (e.g., simple, compound) B. rhythmic devices and procedures (e.g., augmentation, diminution, hemiola) 6. Texture: A. types (e.g., monophony, homophony, polyphony) B. devices (e.g., textural inversion, imitation) V. Aural Skills: 1. Detect pitch and rhythm errors in written music from given aural excerpts. 2. Notate a melody from dictation, 6 to 8 bars, major or minor mode, mostly diatonic pitches, simple or compound time, treble or bass clef, 3 to 4 playings. 3. Notate melodies from dictation, 6 to 8 bars, major or minor mode, chromatic alteration from harmonic/melodic scales, simple or compound time, treble or bass clef, 3 to 4 playings. 4. Sight-sing melodies, 4 to 8 bars long, major or minor key, duple or triple meter, simple or compound time, treble or bass clef, using solfege, pitch names, numbers, or any comfortable vocal syllable(s). 5. Hear the following non-harmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), and pedal tone. 6. Notate the soprano and bass pitches and Roman and Arabic numeral analysis of harmonic dictations in eighteenth-century chorale style. Features may include seventh chords, secondary dominants, major or minor key, 3 to 4 playings. 7. Identify processes and materials in the context of music literature representing a broad spectrum of genres, media, and styles: A. melodic organization (e.g., scale-degree function of specified tones, scale types, mode, melodic patterning, sequences, motivic development) B. harmonic organization (e.g., chord function, inversion, quality) C. tonal organization (e.g., cadence types, key relationships) D. meter and rhythmic patterns E. instrumentation (i.e., identification of timbre) F. texture (e.g., number and position of voices, amount of independence, presence of imitation, density) G. formal procedures (e.g., phrase structure; distinctions among literal repetition, varied repetition, and contrast; small forms) AP Music Theory Syllabus Mrs. Lauren Martin Email: [email protected] Phone: (386) 575-4153 X44073 I have read and understand the AP Music Theory Syllabus. I realize I am enrolled in a collegelevel class, and that I am expected to study for AP Music Theory at least one hour a day, every day. I will also participate in weekly lunch study sessions that are student-organized and run. Parent/Guardian: ____________________________________________________ NAME OF PARENT ____________________________________________________ SIGNATURE OF PARENT ____________________________________________________ WORK TELEPHONE ____________________________________________________ HOME TELEPHONE Student: ____________________________________________________ NAME OF STUDENT ____________________________________________________ SIGNATURE OF STUDENT ____________________________________________________ CELL PHONE (or best contact number)