Revision
1. Course ID and Number: Music 1 4.5
College of the Redwoods
CURRICULUM PROPOSAL
C‐ID Descriptor (if applicable): 2. Course Title: Introduction to Music 3. Check one of the following: New Course (If the course constitutes a new learning experience for CR students, the course is new). Required ‐ Justification for Need (Provide a brief description of the background and rationale for the course. This might include a description of a degree or certificate for which the course is required or the relationship of this course to other courses in the same or other disciplines. To see examples of such descriptions, consult pages 10‐11 of The Course Outline of Record: A Curriculum Reference Guide. Updated/Revised Course If curriculum has been offered under a different discipline and/or name, identify the former course: Should another course be inactivated? No Yes Inactivation date: Title of course to be inactivated: (If yes, complete a Course Inactivation Form found on the Curriculum Website.) 4. If this is an update/revision of an existing course, provide explanation of and justification for changes to this course. Be sure to explain the reasons for any changes to class size, unit value, and prerequisites/corequisites. Last revised in February 2011. 5. List the faculty with which you consulted in the development and/or revision of this course outline. Faculty Member Name(s) and Discipline(s): Bill Allison, Brian Newkirk, Carol Ryder, Music 6. If any of the features listed below have been modified in the new proposal, indicate the “old” (current) information and “new” (proposed) changes. If a feature is not changing, leave both the “old” and “new” fields blank. FEATURES OLD NEW Course Title TOPS/CIPS Code Catalog Description (Please include complete text of old and new catalog descriptions.) Grading Standard Select Select Total Units Lecture Units Lab Units Prerequisites Corequisites Recommended Preparation Maximum Class Size Repeatability— Maximum Enrollments Select Select Other Curriculum Proposal: Revised 05.08.15 Academic Senate: (pending)
Page 1 of 9 1. DATE: September 23, 2015 2. DIVISION: Arts and Humanities 3. [CB04] COURSE CREDIT STATUS: D Credit ‐ Degree Applicable 4. [CB01] COURSE ID AND NUMBER: Music 1 5. [CB02] COURSE TITLE: Introduction to MusicI (Course title appears in Catalog and schedule of classes.) 6. SHORT TITLE: Introduction to Music (Short title appears on student transcripts and is limited to 30 characters, including spaces.) 7. [CB03] LOCAL ID (TOPs code): 1004.00 Taxonomy of Program Codes 8. NATIONAL ID (CIP code): 500901 Classification of Instructional Program Codes 9. DISCIPLINE(S): Music Select from Minimum Qualifications for Faculty Course may fit more than one discipline; identify all that apply: 10. FIRST TERM NEW OR REVISED COURSE MAY BE OFFERED: Fall 2016 11. COURSE UNITS (Note: 1 lecture unit requires 18 hours in‐class/36 hours out‐of‐class; 1 lab unit requires 54 in‐class hours) [CB07] [CB06] TOTAL UNITS: 3.0 Lecture Units: 3.0 Lab Units: min. units max. units TOTAL HOURS: 54.0 Lecture Hours: 54.0 Lab Hours: min. hours max. hours 12. MAXIMUM CLASS SIZE: 30 13. WILL THIS COURSE HAVE AN INSTRUCTIONAL MATERIALS FEE? No Yes Fee: $ If yes, attach a completed Instructional Materials Fee Request Form found on the Curriculum Website. GRADING STANDARD Letter Grade Only Pass/No Pass Only Grade‐Pass/No Pass Option [CB12] Is this course a repeatable lab course? No Yes If yes, how many total enrollments? Select Is this course to be offered as part of the Honors Program? No Yes If yes, explain how honors sections of the course are different from standard sections. CATALOG DESCRIPTION ‐ The catalog description should clearly describe for students the scope of the course, its level, and what kinds of student goals the course is designed to fulfill. The catalog description should begin with a sentence fragment. An introduction to the fundamentals of music theory, notation, and performance. The course addresses rhythm notation; note reading on the treble, bass, alto, and tenor staffs; the keyboard; scales; the circle of fifths; and key signatures. The course also includes clapping exercises, recorder playing, and review writing. Special Notes or Advisories (e.g. Field Trips Required, Prior Admission to Special Program Required, etc.): PREREQUISITE COURSE(S) No Yes Rationale for Prerequisite: Course(s): Curriculum Proposal: Revised 05.08.15 Academic Senate: (pending)
Page 2 of 9 Describe representative skills without which the student would be highly unlikely to succeed. COREQUISITE COURSE(S) No Yes Rationale for Corequisite: Course(s): RECOMMENDED PREPARATION No Yes Course(s): Math 372 Rationale for Recommended Preparation: Students who are unable to fluently add simple fractions are unlikely to succeed in the sections of this course that address rhythm and counting. COURSE LEARNING OUTCOMES –This section answers the question “what will students be able to do as a result of taking this course?” State some of the outcomes in terms of specific, measurable student actions (e.g. discuss, identify, describe, analyze, construct, compare, compose, display, report, select, etc.). For a more complete list of outcome verbs please see Public Folders>Curriculum>Help Folder>SLO Language Chart. Each outcome should be numbered. 1. Identify durational symbols; correctly write durational symbols; identify durational equivalencies; identify the kind of note that equals one beat, and one beat division, in a given time signature; supply count symbols for, and clap, rhythm patterns in a variety of key signatures in simple and compound time. 2. Identify, by pitch name and octave designation, notes on the treble, alto, tenor, and bass staffs; write notes on the treble, alto, tenor, or bass staff, or locate the correct key on the keyboard, when given pitch name and octave designation. 3. Write the pitch a half step or whole step above or below a given pitch; write chromatic and whole‐tone scales, one octave, ascending and descending, beginning on a given pitch. 4. Identify how many sharps or flats a given major or minor key contains, and which pitches in that key are sharp or flat; write the key signature of any major or minor key on the treble and bass staffs; write major scales and the three forms of the minor scale (natural, harmonic, melodic), one octave, ascending and descending, beginning on a given pitch; identify keys that are relative, parallel, closely‐related, and enharmonic to a given key. 5. Demonstrate the ability to play simple melodies on a recorder, and to carry a part in a recorder ensemble. 6. Write a critical analysis of a performance and/or a recording. COURSE OBJECTIVES ‐ This section describes the objectives the course addresses through the course content. Objectives can include specific disciplinary questions or goals that are central to the course subject matter and are meant to address what the various intents of the course are. Each objective should be numbered. 1. Write and identify durational symbols. 2. Identify durational equivalencies (e.g., two of note a equal one of note b). 3. Identifry what kind of note equals one beat, and what kind of note equals one beat division, in a given time signature. 4. Supply count symbols for, and clap, rhtyhm patterns in a variety of key signatures in simple and compound time. 5. Identify, by pitch name and octave designation, notes on the treble, alto, tenor, and bass staffs. 6. Given a pitch name and octave designation, write the given note on the treble, alto, tenor, or bass staff, or locate it on keyboard. 7. Write the pitch a half step or whole step above or below a given pitch. 8. Write chromatic and whole‐tone scales, one octave, ascending and descending, beginning on a given pitch. 9. Identify how many sharps or flats a given major or minor key contains, and which pitches in that key are sharp or flat. 10. Write the key signature of any major or minor key on the treble and bass staffs. 11. Write major scales and the three forms of the minor scale (natural, harmonic, melodic), one octave, ascending and descending, beginning on a given pitch. 12. Identify keys that are relative, parallel, closely‐related, and enharmonic to a given key. 13. Demonstrate the ability to play simple melodies on a recorder, and to carry a part in a recorder ensemble. 14. Write a critical analysis of a performance and/or a recording. METHODS OF INSTRUCTION – Clear methods by which instructor will facilitate acquisition of objectives. Include here descriptions, NOT lists. Course outline must clearly articulate how these methods of instruction are related to, and help student work towards, achieving the objectives and student learning outcomes. Instructional methodologies will be consistent with, but will not be limited to, the following types or examples. The first nine to ten hours of instruction focuses exclusively on rhythm concepts: durational symbols, durational Curriculum Proposal: Revised 05.08.15 Academic Senate: (pending)
Page 3 of 9 equivalencies, the concepts of meter and beat division, time signatures, and clapping simple rhythm patterns. After roughly 10 hours of instruction, the keyboard, clef symbols, and reading from the staff are introduced concurrently with continuing instruction in rhythm, and, after roughly 15 hours of instlruction, when students have mastered note reading in the treble staff, they begin playing the recorder. From this point on, each class meeting is divided into three segments, one devoted to addressing new concepts in pitch content (the octave designation system, half and whole steps, chromatic and whole tone scales, major keys, minor keys, key relationships, etc.); one to recorder playing; and one to training in progressively more advanced rhythm concepts. Review writing is introduced after about ten hours of instruction, and review writing assignments are given once stipulations for successful review writing have been presented and discussed. COURSE CONTENT–This section describes what the course is “about”‐i.e. what it covers and what knowledge students will acquire. Concepts: What terms and ideas will students need to understand and be conversant with as they demonstrate course outcomes? Each concept should be numbered. 1. Durational symbols (notes and rests). 2. Meter. 3. Beat divisions. 4. Time signatures. 5. Clef symbols (treble, alto, tenor, bass), and the staff. 6. Octave designation system. 7. Half and whole steps. 8. Scales (chromatic, whole‐tone, major, and the three forms of the minor). 9. Circle of fifths. 10. Keys, major and minor, and key signatures. 11. Relative, parallel, closely‐related, and enharmonic keys. 12. Recorder performance: fingering technique; embouchure and tonguing techniques; legato and detached phrasing. 13. Review writing: background research; effective structural approaches; effective marshaling of evidence to support viewpoint. Themes and Issues: What motifs, if any, are threaded throughout the course? What primary tensions or problems inherent in the subject matter of the course will students engage? Each item should be numbered. 1. Pitch recognition. 2. Recognition of rhythmic symbols and nomenclature. 3. Relationships between keys. 4. The mathematical basis of the rhythm notation system. 5. Connecting cognitive skills (recognition of music notation symbols) with psycho‐motor skills (ability to realize in performance, via clapping or playing, on recorder or keyboard, notated musical passages). 6. Memorization (of note and rest symbols, of pitch placements in treble and bass staffs, of the circle of fifths, and the order of sharps and flats in key signatures). Skills: What abilities must students have in order to demonstrate course outcomes? (E.g. write clearly, use a scientific calculator, read college‐level texts, create a field notebook, safely use power tools, etc). Each skill should be numbered. 1. Add fractions quickly and accurately (in order to conceptualize the addition of rhythmic values). 2. Memorize note and rest symbols, pitch placements on the treble and bass staffs. 3. Visualize the keyboard, in order to identify half‐step and whole‐step relationships between the keys. 4. Visualize the circle of fifths, in order to identify how many sharps or flats a given key has, which notes are sharp or flat in that key, and what keys are relative, parallel, closely‐related, and enharmonic to that key. 5. Exhibit effective posture, breath control, fingering, and tonguing techniques while playing the recorder. 6. Clap in synchronization with other class members. 7. Conduct basic research on a musician, effectively structure a review of a performance or album by said musician, and effectively marshal evidence to support a particular assessment of said performance or album. REPRESENTATIVE LEARNING ACTIVITIES –This section provides examples of things students may do to engage the course content both inside and outside of class (e.g., critically reading outside‐of‐class, researching outside‐of‐class, writing outside‐
of‐class, writing papers outside‐of‐class, completing homework outside‐of‐class, attending a field trip). These activities should relate directly to the Course Learning Outcomes. Each activity should be numbered. 1. Listening to lectures on course content. 2. Supplying count symbols for, and clapping, rhythm exercises in a variety of time signatures in simple and compound time. 3. Identifying notes in treble, alto, tenor, and bass staffs by pitch name and octave designation, and, given a pitch Curriculum Proposal: Revised 05.08.15 Academic Senate: (pending)
Page 4 of 9 name/octave designation, writing the note on one or more of these staffs as directed, or locating the note on a keyboard. 4. Writing key signatures, scales, and the circle of fifths, identifying key relations. 5. Playing recorder. 6. Discussing the review‐writing process. ASSESSMENT TASKS –This section describes assessments instructors may use to allow students opportunities to provide evidence of achieving the Course Learning Outcomes. Each assessment should be numbered. Representative Assessment Tasks (These are examples of assessments instructors could use.): Required Assessments for All Sections (These are assessments that are required of all instructors of all sections at all campuses/sites. Not all courses will have required assessments. Do not list here assessments that are listed as representative assessments above.): 1. Individual or small‐group performance (clapping exercises, recorder playing). 2. Written quizzes. 3. Review‐writing assignments. EXAMPLES OF APPROPRIATE TEXTS OR OTHER READINGS –This section lists example texts, not required texts. Author, Title, and Date Fields are required Author James Duncan and Orpha Ochse Title Fundamentals of Music Theory Date 2007 Author Earl Henry and Jennifer Snodgrass Title Fundamentals of Music: Rudiments, Musicianship, and Composition, sixth edition Date 2012 Author Michael Houlahan Title From Sound to Symbol: Fundamentals of Music, second edition Date 2011 Author William Duckworth Title A Creative Approach to Music Fundamentals Date 2008 Other Appropriate Readings: Michael Kinney, Mastering Music Fundamentals: A Guided Step‐by‐Step Approach (2004) COURSE TYPES 1. Is the course part of a Chancellor’s Office approved CR Associate Degree? No Yes If yes, specify all program codes that apply. (Codes can be found in Outlook/Public Folders/All Public Folders/ Curriculum/Degree and Certificate Programs/choose appropriate catalog year): Required course for degree(s) Restricted elective for degree (s) FIN.ARTS.LA.A.AA, FIN.ARTS.LA.B.AA, FIN.ARTS.LA.C.AA, FIN.ARTS.LA.D.AA Restricted electives are courses specifically listed (i.e. by name and number) as optional courses from which students may choose to complete a specific number of units required for an approved degree. 2. Is the course part of a Chancellor’s Office approved CR Certificate of Achievement? No Yes If yes, specify all program codes that apply. (Codes can be found in Outlook/Public Folders/All Public Folders/ Curriculum/Degree and Certificate Programs/choose appropriate catalog year): Required course for certificate(s) Restricted elective for certificate(s) Restricted electives are courses specifically listed (i.e. by name and number) as optional courses from which students may choose to complete a specific number of units required for an approved certificate. 3. [CB24] Is this course a part of an CCCCO approved education program? 1 ‐ Program applicable 4. [CB08] Basic Skills: NBS Not Basic Skills 5. [CB10] Work Experience: NWE Not Coop Work Experience 6. [CB22] Noncredit Category: Credit course, not applicable 7. Course eligible Career Technical Education funding (applies to vocational and tech‐prep courses only): No Yes 8. [CB23] Course developed using a Chancellor’s Office Economic Development Grant: No Yes 9. [CB11] Purpose: Y Credit Course Course Classification Status (All credit courses should be categorized as “Y – Credit Curriculum Proposal: Revised 05.08.15 Academic Senate: (pending)
Page 5 of 9 Course”). 10. Accounting Method: W Weekly Census 11. [CB13] Disability Status: N Not a Special Class 12. [CB09] Course SAM Priority Code: E Not Occupational Definitions of SAM Priority Codes COURSE TRANSFERABILITY 1. [CB05] Current Transferability Status: A Transferable to both UC and CSU 2.
[CB21] Course Prior to Transfer Level: Y Not Applicable Definitions of Course Prior to Transfer Levels CURRENT TRANSFERABILITY STATUS (Check at least one box below): This course is currently transferable to: Neither CSU nor UC CSU as general elective credit CSU as a specific course equivalent (see below) If the course transfers as a specific course equivalent give course number(s)/ title(s) of one or more currently‐active, equivalent lower division courses from CSU. 1. Course Music 219, Campus CSU/Chico 2. Course , Campus UC as general elective credit UC as specific course equivalent If the course transfers as a specific course equivalent give course number(s)/ title(s) of one or more currently‐active, equivalent lower division courses from UC. 1. Course , Campus 2. Course , Campus PROPOSED CSU TRANSFERABILITY (Check at least one of the boxes below): No proposal Remove as General Education Propose as General Elective Credit Propose as a Specific Course Equivalent (see below) If specific course equivalent credit is proposed, give course number(s)/ title(s) of one or more currently‐active, equivalent lower division courses from CSU. 1. Course Music 009, Campus SJSU 2. Course Music 130, Campus SFSU PROPOSED UC TRANSFERABILITY (Check one of the boxes below): No proposal Remove as General Education Propose as General Elective Credit OR Specific Course Equivalent (fill in information below) If “General Elective Credit OR Specific Course Equivalent” box above is checked, give course number(s)/ title(s) of one or more currently‐active, equivalent lower division courses from UC. 1. Course Music 11, Campus UCSB 2. Course Music 1A, Campus UCSD CURRENTLY APPROVED GENERAL EDUCATION (Check at least one box below): Not currently approved CR CR GE Category(‐ies): Area C: Humanities, Secondary GE Category (if applicable) CSU GE Category: C‐1 CSU IGETC Category: 3‐A IGETC PROPOSED CR GENERAL EDUCATION (Check at least one box below): Approved as CR GE by Curriculum Committee: No proposal Not approved
Remove as General Education Curriculum Proposal: Revised 05.08.15 Academic Senate: (pending)
Page 6 of 9 Review to maintain CR GE Status New GE Proposal Approved to remove CR GE status
CR GE Area Designation(s) ‐ To be proposed and/or maintained. Area A: Natural Science Area B: Social Science Area C: Humanities Area D: Language and Rationality D1: Writing D2: Oral Communications D3: Analytical Thinking Area E: Multicultural Understanding* *To be considered part of CR GE Area E, all courses must meet the following condition: The course must also be (or be proposed) in one other CR GE area. General Education Outcomes For each GE area this course satisfies (See BP4025 for Area descriptions), list the course outcome(s) that map to each of the specific GE area outcome(s). Explain how this course’s outcomes map to each of the two outcomes listed under the appropriate area. (Note: one course outcome can satisfy both Area outcomes.) Area A – Natural Sciences  communicate scientific ideas;  apply scientific concepts to analyze natural relationships. Area B – Social Sciences  communicate intellectual ideas related to the social sciences;  apply social science concepts to analyze social, historical, political, anthropological or psychological relationships. Area C – Humanities  communicate aesthetic and/or cultural ideas;  analyze ideas or practices specific to the influence of culture on human expression. Students write a minimum of two reviews during the course of the semester in which they are required to address a live performance they have attended, or an album they have listened to. These reviews follow a standard format in which the student introduces the subject of their review, and presents sufficient background information for their subsequent discussion of the subject's music to be contextually meaningful; lucidly and vividly describes the music, noting particularly successful or unsuccessful aspects of the music and clearly identifying reasons for its success (or lack thereof); and offers an overall assessment of the relative success of the recording or performance, using the previous work of the subject and/or the work of similar artists as the basis of formulating the aesthetic standards that are applied. The review‐writing process assesses the student's ability to communicate complex aesthetic, cultural, and aesthetic ideas by prompting him/her to articulate aesthetic criteria, show at least a basic recognition of the cultural background of the aesthetic criteria they are applying (since an important part of this assignment is the realization that aesthetic criteria do not emerge "from nature," but in specific cultural and historical environments), and consistently apply the aesthetic criteria they articulate. Of course, the review‐writing component of the class develops other important skills traditionally been considered integral to G.E. classes as well, such as the ability to conduct research using appropriate methods and tools (which is necessary in order to supply adequate background information), and analyze and adapt communication on the basis of audience (since they are encouraged to write to a particular audience that possesses a particular base of knowledge.) What is unique about Music 1 in the context of C.R.'s G.E.‐eligible music courses is that it is the one course in which students not only think and write about the work of others, but also participate in an ensemble performance themselves on finals day. This requires them to exercise other skills traditionally considered essential to G.E. classes, such as analyzing and interpreting creative expressions, resources, and data, and using problem solving skills effectively. In their ensemble performances, a group of students perform a short piece several times until all students have had the opportunity to play all different parts of the work. In order to succeed, students must thoroughly understand the parameters of information conveyed by the music notation (pitch, rhythm, tempo, dynamics, etc.), and develop the technique necessary to accurately realize all the parameters of information conveyed by the notation. They must understand the musical role that each different part plays in the work as a Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
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whole in order to perform that particular part effectively. Finally, they must work with fellow students to successfully realize the individual parts in an ensemble setting, coming to an understanding the whole is greater than the sum of its parts. Through mastering each individual step in this process, and analyzing how one step leads to the next, students face, in an (admittedly) simple format, the eternal creative question: how craft serves art, how cognition of notational symbols, mastery of the psycho‐motor skills necessary to realize those symbols, and an intentional sense of teamwork allows a group of musicians to create a performance that their audience perceives as communicative and aesthetically satisfying. Area D – Language, Communication and Rationality Area D1‐ Writing  generate, compose, revise and communicate ideas clearly in writing;  analyze ideas presented in writing, media, speech or artistic representations. Area D2 – Oral Communication  generate, compose, revise and communicate ideas clearly;  analyze ideas presented in writing, media, speech or artistic representations. Area D3 – Analytical Thinking  communicate analytical and/or computational ideas;  apply analytical and/or computational concepts to analyze relationships. Area E – Multicultural Understanding  communicate an awareness of cultures in a diverse global community;  analyze issues from multiple perspectives, specifically as they relate to gender, self identity, ethnicity, race, socioeconomic status, sexuality, worldview, collective behavior, and/or values. GE Criteria for Breadth and Generality GE courses should be broad and general in scope. Typically such courses are introductory‐‐ not advanced or specialized—and the content encompasses a broad spectrum of knowledge within a given field of study. Explain how the proposed GE course fulfills GE criteria for breadth and generality. Music 1 is C.R.'s most elementary music theory course, assuming no previous knowledge. As such, it introduces its students to the fundamental concepts and practices of music: the essential properties of sound, basic theoretical concepts pertaining to rhythm and pitch, the essentials of music notation and reading, the cultivation of basic technical facility on an instrument, the principles of teamwork in an ensemble format, and practice in assessing the relative aesthetic merit of another musician's performance or recording in a comprehensible and accessible manner. PROPOSED CSU GENERAL EDUCATION BREADTH (CSU GE) (Check at least one box below): NO PROPOSAL A. Communications and Critical Thinking A1 – Oral Communication A2 – Written Communication A3 – Critical Thinking B. Science and Math B1 – Physical Science B2 – Life Science B3 – Laboratory Activity B4 – Mathematics/Quantitative Reasoning C. Arts, Literature, Philosophy, and Foreign Language D. Social, Political, and Economic Institutions C1 – Arts (Art, Dance, Music, Theater) E. Lifelong Understanding and Self‐Development C2 – Humanities (Literature, Philosophy, E1 – Lifelong Understanding Foreign Language) E2 – Self‐Development Rationale for inclusion in this General Education category: Same as above Proposed Intersegmental General Education Transfer Curriculum (IGETC) (Check at least one box below): NO PROPOSAL 1A – English Composition 1B – Critical Thinking‐English Composition Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
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1C – Oral Communication (CSU requirement only) 2A – Math 3A – Arts 3B – Humanities 4A – Anthropology and Archaeology 4B – Economics 4E – Geography 4F – History 4G – Interdisciplinary, Social & Behavioral Sciences 4H – Political Science, Government & Legal Institutions 4I – Psychology 4J – Sociology & Criminology 5A – Physical Science 5B – Biological Science 6A – Languages Other Than English Rationale for inclusion in this General Education category: Same as Above Submitted By: Ed Macan Tel. Ext.: 4321 Date: September 23, 2015 Dean/Director: Erin Wall Review Date: September 30, 2015 For Dean/Director only: Does this course change require a substantial or nonsubstantial change to a degree? Yes CURRICULUM COMMITTEE USE ONLY Approved by Curriculum Committee: No Yes Date: Academic Senate Approval Date: Board of Trustees Approval Date: Curriculum Committee Approved: 04.25.14; 09.01.14
Academic Senate Approved: 05.02.14
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No