HONORS MUSIC THEORY SYLLABUS
Amy L. Berryman, Teacher
"F" Period
2007-2008
COURSE OVERVIEW
This 18-week course is designed for the advanced music student who desires a
serious study of music and preparation for the AP Music Theory class. The
concepts are developed through in-depth assignments and activities. Students
are given some AP Music Theory assignments at the later point of the spring
semester. The music technology lab, including the Sibelius® software, digital
keyboards and listening stations, is open to students throughout the school day,
and before and after school hours, to reinforce and explore music concepts
implemented in class.
COURSE OBJECTIVES
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Define and recognize basic musical terms and theory concepts
Understand, notate, and aurally identify major and minor scales
Understand, notate, and identify major and minor key signatures
Analyze, notate, and aurally identify major, minor, diminished, and
augmented intervals and triads.
Recognize, notate, and play simple and complex rhythms in simple and
compound meter
Sing and notate diatonic melodies with a variety of rhythms and meters
Transpose diatonic melodies
Identify phrase structure and texture of a variety of compositions
Understand, notate, and identify cadences, non-harmonic tones, chord
progressions, and basic forms
Analyze harmonic structure using Roman numerals and figured bass
Create musical compositions following guidelines in meter, form, phrase
structure, key, chord progressions, modulations and non-harmonic tones
Implement daily aural training by creating a listening journal
PIANO SKILLS
Each student is required to play on the piano, in one octave, all the major scales.
In addition, all chords we study must be played in root position and inversions.
Students learn the scales, chords, and piano technique as we learn the form of
the scale or chord in class. Proper fingering is emphasized.
Resource for this activity:
Bastien, James. Scales, Chords and Arpeggios. San Diego, California: Neil A. Kjos
Music Company, 1988
ASSESSMENT
Homework
Dictations
Quizzes
Tests/Exam
Sight-Singing
Composition
20% (Includes listening log, smaller compositions)
15%
20%
20%
10%
15%
Homework is usually due at the beginning of each class. There are point
deductions for work completed past the due date with unexcused explanations or
absences. For sight-singing assessment with quizzes or tests, students schedule
individual appointments with the teacher during study halls, lunch, and/or before
or after school. Depending on the climate of the class, sometimes students will
sight-sing for each other, listening for pitch and rhythm accuracy, as an
assignment.
PRIMARY TEXTBOOK
Kostka, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction to
Twentieth Century Music, 5th ed. New York: McGraw-Hill, 2004
Kostka, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction
Twentieth Century Music Workbook, 5th ed. New York: McGraw-Hill, 2004
Kostka, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction to
Twentieth Century Music Audio CD, 5th ed. New York: McGraw-Hill, 2004
OTHER RESOURCES
Baca, Mike, Willie Abrams, Manton Reece, Damon Clinkscales, Bobby Thomale
and Mike Wolfinbarger. VitalSource Bookshelf Library, VitalSource
Technologies, Inc. 2006
Benward, Bruce, and Marilyn Saker. Music in Theory and Practice, 7th ed. New
York: McGraw-Hill 2003
Benward, Bruce, and Marilyn Saker. Music in Theory and Practice Workbook, 7th
ed. New York: McGraw-Hill 2003
Finn, Ben, and Jonathan Finn. Sibelius 4.1 Software, Sibelius USA Inc, 2006
Ottman, Robert, and Nancy Rogers. Music for Sight Singing, 7th ed. Englewood
Cliffs, NJ: Prentice Hall, 2007
Ricci Adams' Music Theory Website: www.musictheroy.net
Turek, Ralph. Analytical Anthology of Music, 1st ed. New York: Alfred A Knopf,
Inc. 1984
White, Gary. Music First! 3rd ed. New York: McGraw-Hill, 1996