Assessment of Learning Objectives – MU242 Music Theory and Keyboard Harmony II
Spring 2013
Student Learning Outcomes
By the end of the semester, students will be able to:
Learning Outcome 1 – Partwrite four-voice SATB textures using the standards of common practice
Learning Outcome 2 – Construct harmonic progressions whose structure adheres to the tonal phrase model
Learning Outcome 3 – Write, analyze, and play harmonic expansions of tonic and dominant using chords in inversion
Learning Outcome 4 – Write and embellish contrapuntal musical textures using non-chord tones
Learning Outcome 5 – Prepare, resolve and analyze seventh chords in musical context
Learning Outcome 6 – Define and identify basic elements of form: motive, phrase, period, sentence
Learning Outcome 7 – Analyze binary and ternary forms: sectional, contrasting, simple, rounded, balanced
Learning Outcome 8 – Compose and play phrases and forms using the elements above
Learning Outcome 9 – Write about the structure of music, utilizing appropriate terminology
MU242 Music Theory and Keyboard Harmony II, Spring 2013
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Gen Ed. Obj.
Outcome desired
Outcome desired
1.Communicate effectively through
reading, writing, listening and
speaking
L.O. 6 Define and
identify basic
elements of form:
motive, phrase,
period, sentence
L.O. 9 Write about
the structure of
music, utilizing
appropriate
terminology
2. Use analytical reasoning to
identify issues or problems and
evaluate evidence in order to make
informed decisions
L.O. 3 Write,
analyze, and play
harmonic
expansions of tonic
and dominant using
chords in inversion
L.O. 5 Prepare,
resolve and
analyze seventh
chords in musical
context
L.O. 7 Analyze
binary and ternary
forms: sectional,
contrasting,
simple, rounded,
balanced
3. Reason quantitatively and
mathematically as required in their
fields of interest and in everyday
life
L.O. 3 Write,
analyze, and play
harmonic
expansions of tonic
and dominant using
chords in inversion
L.O. 4 Write and
embellish
contrapuntal
musical textures
using non-chord
tones
L.O. 5 Prepare,
resolve and
analyze seventh
chords in musical
context
L.O. 7 Analyze
binary and ternary
forms: sectional,
contrasting,
simple, rounded,
balanced
4. Use information management
and technology skills effectively for
academic research and lifelong
learning
NA
NA
NA
NA
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Outcome desired
Outcome desired
Page 2
5. Integrate knowledge and skills in
their program of study
L.O. 1 Partwrite
four-voice SATB
textures using the
standards of
common practice
L.O. 2 Construct
harmonic
progressions
whose structure
adheres to the tonal
phrase model
L.O. 3 Write,
analyze, and play
harmonic
expansions of
tonic and dominant
using chords in
inversion
L.O. 4 Write and
embellish
contrapuntal
musical textures
using non-chord
tones
6. Differentiate and make informed
decisions about issues based on
multiple value systems
NA
NA
NA
NA
7. Work collaboratively in diverse
groups directed at accomplishing
learning objectives
L.O. 2 Construct
harmonic
progressions
whose structure
adheres to the tonal
phrase model
L.O. 7 Analyze
binary and ternary
forms: sectional,
contrasting, simple,
rounded, balanced
L.O. 8 Compose
and play phrases
and forms using
the elements
above
8. Use historical or social sciences
perspectives to examine formation
of ideas, human behavior, social
institutions, or social processes
NA
NA
NA
NA
9. Employ concepts and methods
of the natural and physical
sciences to make informed
NA
NA
NA
NA
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Page 3
judgments
10. Apply aesthetic and intellectual
criteria in the evaluation or creation
of works in the humanities or the
arts
L.O. 1 Partwrite
four-voice SATB
textures using the
standards of
common practice
L.O. 2 Construct
harmonic
progressions
whose structure
adheres to the tonal
phrase model
L.O. 8 Compose
and play phrases
and forms using
the elements
above
Description of assessment activity that occurred and the student learning outcome(s) it addresses
Students were given the following instructions:
Construct the bass line, roman numerals and figured bass for a four-measure phrase in a minor key and meter of your
choice that adheres to the tonal phrase model, includes a tonic expansion and ends on an authentic cadence.
This assessment was used as both a formative and summative assessment, administered both mid-semester and at the
end of the semester, and will continue to be administered in future semesters. The mid-semester assessment was given
after each of the individual skills necessary to complete the exercise had been reviewed, introduced and/or practiced in
class and in assigned homework.
The end of the semester was given during the last weeks of class in preparation for the final exam, and as a means of
assessing students’ progress over the course of the semester.
This activity addresses student learning outcomes 2 and 3:
Learning Outcome 2 – Construct harmonic progressions whose structure adheres to the tonal phrase model
Learning Outcome 3 – Write, analyze, and play harmonic expansions of tonic and dominant using chords in inversion
MU242 Music Theory and Keyboard Harmony II, Spring 2013
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Data collection instrument(s) used for assessment
A rubric was used to assess each student’s work. See Appendix A.
Analysis and summary of the assessment results
The initial, mid-semester assessment showed extremely positive results. See Appendix B. 100% of students were able to
compose a phrase that contained a single, clear dominant harmony and displayed metric placement of chords that
supported the second-level structure. Other areas of strength included: writing a tonic expansion (91% of students were
able to write an exemplary tonic expansion); writing a phrase that contains a single, clear structural pre-dominant harmony
(82%); and composing a bass line that displays a balance of conjunct and disjunct motion (82%).
Writing harmonies that follow a logical progression, according to common practice, was more challenging for students
(73% exemplary, 27% developing). The most typical error in this area was using chords functionally incorrectly, usually in
root position in the context of a tonic expansion.
The area of greatest weakness was writing a roman numeral and figured bass analysis that accurately reflects the bass
line written (64% exemplary, 36% developing). This is a simple error of spelling, but one that should not be an issue at this
level of study. If this is still an area of weakness in the end-of-semester assessment, then it is an area that must be
addressed in this and earlier courses in the sequence.
The end-of-semester assessment showed a decline in every area except writing a roman numeral and figured bass
analysis that accurately reflects the bass line written. By the end of the semester, all students were able to do this with
great accuracy. A significant factor in considering the end-of-semester assessment results is that the sample size was
smaller (class of 11 for the mid-semester assessment; class of 7 for the end-of-semester assessment).
An additional, albeit anecdotal, factor in the decline of students’ scores at the end of semester is the focus of class
lectures and activities at the time of assessment. When the mid-semester assessment was given, the focus of class
lectures and activities was phrase writing – composing tonic expansions, metric placement of structural harmonies, and
functions of individual harmonies – the very skills required for this assessment. Given at that time, the assessment
therefore seems like a logical extension of what was being studied in class. The focus of class lectures and activities at
the time of the end-of-semester assessment was composing larger-scale forms: periods, binary forms, ternary forms. The
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Page 5
most common error encountered in these assessments was students attempting to compose the required four measures
as two phrases, i.e. a period, rather than one (despite the instructions). Several students indicated this by including a
second-level analysis (not required). In addition, this second assessment was assigned as homework, whereas the first
was completed in class. I believe that the dedicated time in class spent on the first assessment assignment, in silence,
sitting at a piano keyboard, and the opportunity to focus on this single task has a significant impact of student
performance. From speaking with students, they typically do not complete homework in this type of environment.
How the assessment results affected the student learning outcomes identified, and plans to address areas for
students’ improvement.
The initial assessment showed me that students are in fact able to utilize the skills and concepts studied in class, and can
use improvement in attention to the details of writing: correct spelling of notes/ chords, roman numerals, figured bass,
meter, and the standard protocols of music writing such as bracketing grand staves, clefs, key signatures, etc.
The second assessment showed that students improved significantly in the weak area from the first assessment, but
require additional maintenance of skills that were previously strong.
While I will not be at QCC, I would hope that this assessment would be given again in fall semester, with a few changes,
specifically addressing issues mentioned in the analysis and summary (above). Maintaining the same circumstances for
both assessments (either both completed in class, or both assigned as outside homework) would be one way to eliminate
variables. In addition, incorporating short skill/concept maintenance “drills” at the beginning of each class period (5-10
minutes) would be a benefit to keep fundamental skills sharp.
MU242 Music Theory and Keyboard Harmony II, Spring 2013
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Exemplary (3)
Appendix A
Phrase Model Composition Rubric
Developing (2)
Elementary (1)
Not present (0)
Harmonies follow a
logical progression,
according to
common practice
All harmonies follow
logical progression
from stability to
instability and back
Most harmonies follow
logical progression.
Some chords are used
functionally incorrectly
or progression from
stability to instability is
reversed.
Few harmonies follow
logical progression.
Most chords and/or
inversions are used
indiscriminately
Harmonies follow no
logical progression
Phrase contains a
tonic expansion
Tonic expansion
utilizes passing,
neighbor, incomplete
neighbor, pedal, or
arpeggiating motion in
the bass with
prolongational chords
in inversion in a
metrically weak
position
Tonic expansion
utilizes some
unidentified motion in
the bass and/or some
prolongational chords
in root position and/or
some in a metrically
strong position
Tonic expansion
utilizes mostly
unidentified motion in
the bass and
prolongational chords
in root position with
some in a metrically
strong position
Tonic expansion not
present – utilizes
solely unidentified
motion in the bass
Phrase contains a
single, clear
structural
predominant
Phrase contains ii or
IV (root position or
inversion) as a
predominant in a
Phrase contains ii or
IV (root position or
inversion) as a
predominant in a
Phrase contains chord
other than ii or IV as a
predominant
Phrase contains no
discernable
predominant harmony
MU242 Music Theory and Keyboard Harmony II, Spring 2013
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harmony
metrically accented
position
metrically unaccented
position
Phrase contains a
single, clear
structural dominant
harmony
Phrase contains V or
V7 in root position as
a dominant in a
metrically accented
position
Phrase contains V or
V7 as a dominant
either in inversion or in
a metrically
unaccented position
Phrase contains V or
V7 as a dominant
either in inversion and
in a metrically
unaccented position
Bass line displays a
balance of conjunct
and disjunct motion
Bass line displays a
balance of conjunct
and disjunct moion
Bass line displays
more disjunct than
conjunct motion
Bass line displays
Bass line displays
mostly disjunct motion; overwhelmingly
disjunct motion
distinct lack of
conjunct motion
Roman numeral and
figured bass
analysis accurately
reflect bass line
written
Roman numeral and
figured bass analysis
accurately reflect bass
line written, with no
errors
Roman numeral and
figured bass analysis
reflects bass line
written, with no more
than three errors
Roman numeral and
figured bass analysis
contains four to six
errors
Roman numeral and
figured bass analysis
contains more than six
errors, or is not
present
Metric placement of
chords supports
second-level phrase
structure
Metric placement of all
chords supports
second-level phrase
structure – all
structural chords are
metrically accented; all
prolongational chords
are metrically
unaccented
Metric placement of
most chords support
second-level phrase
structure. Some
structural chords are
metrically unaccented
Metric placement of
few chords supports
second-level phrase
structure. Most chords
are incorrectly
metrically placed
No chords are
correctly metrically
placed; or there is no
meter
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Phrase contains no
discernible structural
dominant harmony
Page 8
Appendix B
Phrase Model Composition Rubric with Data – Mid-semester
Exemplary (3)
Developing (2)
Elementary (1)
Harmonies follow a
logical progression,
according to common
practice
Not present (0)
73%
27%
0%
0%
91%
9%
0%
0%
Phrase contains a single,
clear structural
predominant harmony
82%
9%
0%
9%
Phrase contains a single,
clear structural dominant
harmony
100%
0%
0%
0%
Bass line displays a
balance of conjunct and
disjunct motion
82%
2%
0%
0%
Roman numeral and
figured bass analysis
accurately reflect bass
line written
64%
36%
0%
0%
100%
0%
0%
0%
Phrase contains a tonic
expansion
Metric placement of
chords supports secondlevel phrase structure
MU242 Music Theory and Keyboard Harmony II, Spring 2013
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!
Phrase Model Composition Rubric with Data – End-of-semester
Exemplary (3)
Developing (2)
Elementary (1)
Not present (0)
Harmonies follow a
logical progression,
according to common
practice
71%
14%
14%
0%
Phrase contains a tonic
expansion
71%
14%
0%
14%
Phrase contains a single,
clear structural
predominant harmony
43%
43%
14%
0%
Phrase contains a single,
clear structural dominant
harmony
57%
43%
0%
0%
Bass line displays a
balance of conjunct and
disjunct motion
57%
43%
0%
0%
100%
0%
0%
0%
57%
43%
0%
0%
Roman numeral and
figured bass analysis
accurately reflect bass
line written
Metric placement of
chords supports secondlevel phrase structure
!
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Page 10
!
Appendix C
Phrase Model Composition Scoring – Mid-semester
3
4
5
6
7
8
STUDENT
1
2
Harmonie
s follow a
logical
progressi
on,
according
to
common
practice
Phrase
contains
a tonic
expansio
n
3
3
2
3
3
2
2
3
3
2
3
3
3
Phrase
contains
a single,
clear
structural
predomin
ant
harmony
3
3
3
3
3
Phrase
contains
a single,
clear
3
3
3
3
3
MU242 Music Theory and Keyboard Harmony II, Spring 2013
9
10
11
3
3
3
3
3
3
3
3
3
3
2
3
3
0
3
3
3
3
3
3
3
Page 11
structural
dominant
harmony
Bass line
displays a
balance
of
conjunct
and
disjunct
motion
3
3
3
3
3
3
3
3
2
3
2
Roman
numeral
and
figured
bass
analysis
accuratel
y reflect
bass line
written
3
3
2
3
3
3
2
2
3
2
3
Metric
placemen
t of
chords
supports
secondlevel
phrase
structure
3
3
3
3
3
3
3
3
3
3
3
!
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Page 12
!
Phrase Model Composition Scoring – End-of-semester
3
4
5
6
7
8
STUDENT
1
2
Harmonie
s follow a
logical
progressi
on,
according
to
common
practice
Phrase
contains
a tonic
expansio
n
2
3
3
3
1
3
3
3
2
3
3
0
3
3
Phrase
contains
a single,
clear
structural
predomin
ant
harmony
3
3
2
2
2
3
1
Phrase
contains
a single,
clear
2
3
2
3
3
2
3
MU242 Music Theory and Keyboard Harmony II, Spring 2013
9
10
11
12
Page 13
structural
dominant
harmony
Bass line
displays a
balance
of
conjunct
and
disjunct
motion
2
3
3
2
3
2
3
Roman
numeral
and
figured
bass
analysis
accuratel
y reflect
bass line
written
3
3
3
3
3
3
3
Metric
placemen
t of
chords
supports
secondlevel
phrase
structure
2
3
3
3
2
2
3
!
MU242 Music Theory and Keyboard Harmony II, Spring 2013
Page 14
!
Appendix D
Student Artifacts
!
MU242 Music Theory and Keyboard Harmony II, Spring 2013
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