MANHATTANVILLE COLLEGE

DEPARTMENT OF MUSIC

MUSIC THEORY STUDIES

 

MUT 1035: BASIC MUSIC THEORY I 

Section 1: Dr. Jerry Kerlin • 3 credits • Fall 2006

 

instructor

 

 

Jerry Kerlin, PhD

office: Music Building, Room 28

office telephone: (914) 323-5256

email: kerlinj@mville.edu

office hours:    

• Wednesday 11a–1p

• Thursday 6:30–8:30p

• Friday 11a–1p

 

 

 

 

course location
and time

 

 

Music Building, Room 7

Wednesday, Friday 9:20–10:35a (Section 1)

 

 

 

 

prerequisites

 

 

Suggested prerequisite: An elementary reading knowledge of music.

 

 

 

 

course
description

 

 

Manhattanville College Catalogue 2005–2007, page 86:

• “MUT 1035: Basic Music Theory I (3 cr.)

This course provides preparation in music theory for pre-professional students as well as other students. The course is designed for non-majors interested in acquiring basic skills in music reading, sight-reading, and ear-training. Compositional projects. Suggested: An elementary reading knowledge of music. (Fall)”

• “MUT 1036: Basic Music Theory II (3 cr.)

This is a continuation of Basic Music Theory I. Prerequisite: MUT 1035 or equivalent. (Spring)”

 

 

 

 

required text

 

 

Duckworth, William. 2007. A Creative Approach to Music Fundamentals. 9th ed. Belmont, CA: Thomson Schirmer. Interactive CD-ROM included. ISBN 0-495-09093-X.

 

 

 

 

course content

 

 

• towards a philosophy of musicing (music making): articulation of ontogeny (What is music?), epistemology (How do we know music?), and axiology (What are the values of music?)

• parameters of musicing, first through oracy (hearing and performing), then through literacy (notating)

• vocabulary of terminology and typology common to Western music with comparison to world music systemics

• speech syllables used in rhythm study

• movable tonic solfege and other systems used for pitch study

• comparatives: timbre/tone color/tone quality, dynamics, tempo, duration, pitch, texture, articulation

• macrobeat, microbeat and subdivision, rhythm, meter, conducting patterns

• intervals: quantitative and qualitative measurements

• scales: pentatonic (gapped scales), major, minor, modes, blues

• simultaneity, basic chords and inversions, texture

• microform (phrase form) and macroform (structure of instrumental musics)

• improvisation and composition



course activities

and assignments

 

 



• using speech syllables for hearing, reading, and notating rhythm

• using movable tonic solfege and other systems for hearing, reading, and notating pitch

• experiencing traditional singing games, songs, composed canons, Western art music, and world musics to reinforce parameters of musicing: from song to hand to page

• completing reading and writing exercises from the text and from handouts

• practicing reading and writing exercises using the interactive CD-ROM

• taking rhythm and pitch dictation

• improvising and composing using basics

• weekly examinations on facts, concepts, and skills of musicing, and rhythm and melody dictation

• midterm and final exams on facts, concepts, and skills of musicing, and rhythm and melody dictation

 

 

 

 

assessment

 

 

20%     • regular, on-time attendance and participation

20%     • daily assignments

20%     • weekly examinations

20%     • midterm examination

20%     • final examination

 

 

 

 

supplementary
texts (not required)

and readings

 

 

• Elliott, David. 1995. Music Matters: A New Philosophy of Music Education. New York: Oxford University Press.

• Kodαly, Zoltαn. 1941/1972. Choral Method: 333 Reading Exercises. Rev. English ed. taken from the 1966 Hungarian ed. London: Boosey and Hawkes.

• Locke, Eleanor G., ed. 1982. Sail Away: 155 American Folk Songs to Sing, Read, and Play. New York: Boosey and Hawkes.

• Thomas, Ronald B., Americole Biasini, Lenore Pogonowski, et al. 1970. Manhattanville Music Curriculum Program: MMCP Synthesis—1970: A Structure for Music Education. Purchase, NY: Manhattanville College.