Music Theory II, MUS 217
Spring 2014 Course Syllabus
MWF, 12:00 – 1:00 pm, Fine Arts 27
Instructor:
Dr. Christopher Bartlette
Fine Arts 30; 777-4403; cbartlet@binghamton.edu
Office Hours: MWF, 1:00 – 3:00pm, other times by appointment
Assistant:
Mr. Christian Martin, cmarti16@binghamton.edu
Office: Fine Arts 37
Textbooks:
Clendinning/Marvin, The Musician’s Guide to Theory and Analysis,
2nd ed., textbook, workbook, and anthology
Pre-Requisites:
Theory I (MUS 215) and Musicianship I (MUS 216)
Co-Requisite:
Musicianship II (MUS 218)
Course Description:
Theory II continues where Theory I left off. In Theory I, we reviewed music fundamentals,
learned how melodies relate to one another (through counterpoint and part writing), and
studied how chords move (through harmonic progression, voice-leading chords, and
sequences). During this semester, we will continue to explore harmony and voice
leading in a style that is reminiscent of common-practice tonal music. We will expand
our understanding of harmony by exploring diatonic and chromatic chord progressions.
We will incorporate embellishing tones, which will take us from the background of
structural harmony into the musical foreground. We will also begin to view musical
works on a larger level, studying how music is structured in terms of form. Theory II is
the continuation of an exciting journey that covers multiple semesters. By the end of the
journey, we will confidently analyze and compose music that is representative of
common-practice tonality.
Course Objectives:
Write and identify the following: Diatonic and secondary triads and seventh chords (by
Roman numeral and bass-position symbol), embellishing tones, cadences, pivot-chord
and direct modulations.
Compose the following: Harmonic progressions in four voices, including diatonic and
secondary triads and seventh chords in a variety of exercises including bass
harmonization, melody harmonization, and figured bass. Model composition of a twovoice dance suite movement.
Analyze the following: Phrase model; sequences; phrases, periods, double periods,
phrase groups, sentences; closely related keys.
General Education “A” Designation
This course has the General Education “A” designation. Students in “A” courses will
demonstrate an understanding of the creative process and the role of imagination and
aesthetic judgment in at least on principal form of artistic expression in such fields as
art, art history, cinema, creative writing, dance, graphic design, music, and theater.
Course Components:
Assignments (35% of course grade) are given frequently throughout the semester and
are due at the beginning of the designated class.
There is a Model Composition Project (15%), which will require the submission of
drafts and multiple revisions. The result will be a two-voice minuet in binary form.
There will be two in-class Exams (30%), and a comprehensive Final Exam (20%) that
will take place during the scheduled final exam period at the end of the semester.
Grading:
In order to receive a grade on any assignment, project, or exam, you must complete and
submit the materials on time. Unexcused late work and unexcused missed exams will
receive a zero grade. Grades reflect the degree of command of the materials, according
to the following chart. Grades may be lowered due to the degree of completion of
assigned materials.
A (93-100%), A- (90-92%)
High degree of mastery, with few or no errors.
B+ (87-89%), B (83-86%), B- (80-82%)
Good command of materials; errors reveal misunderstandings.
C+ (77-79%), C (73-76%), C- (70-72%)
Fair work, with lapses in understanding concepts.
D (60-69%): Poor understanding of subject matter.
F (0-59%): Unsatisfactory work; a failing grade.
Note that I will round grades as in the following example: 86.500% will round up to 87%;
86.499% will round down to 86%. I do not give extra credit work; however, I will drop
your two lowest homework grades. The music department views the grade of D as
passing but unsatisfactory. Therefore, a course in which a grade of D was received may
not be used to fulfill the requirements for the major or minor in music. This course
cannot be taken Pass/Fail if it is to count toward the minimum requirements for the
major or minor in music.
Music Theory II, Mus 217, Spring 2014 Course Syllabus, Page 2
Attendance:
In accordance with university policy, you must attend at least 75% of all class meetings
to receive credit for the course. Thus, if you miss more than 10 class meetings for any
reason, you will receive an F for the semester. (I reserve the right to excuse absences
from this requirement in the case of an emergency.)
In the case that you have an anticipated absence, you will be able to make up
coursework and exams only with my permission and if you make arrangements prior to
the absence. In the case of an emergency, you will be able to make up coursework and
exams only with my permission and according to a deadline that I will set.
It is expected that you will arrive on time for class. I will take attendance at the beginning
of the scheduled class meeting time. If you arrive to class late, you may receive a ½
absence. If you are running late, you are encouraged to come to class. Please note,
however, that if you miss part of an in-class presentation, it is your responsibility to get
any course material that you missed.
Student Athletes and Students with Other School Commitments:
Students with commitments to athletic
school teams or clubs, should identify
written schedule of traveling days, so
accordingly. Note that absences due to
of 10 absences for the semester.
teams, musical ensembles, or other traveling
themselves to me immediately and bring the
that we can discuss the situation and plan
other commitments will count towards the limit
Electronics:
You are not allowed to use electronic devices during class without my permission.
Further, you may not make recordings or take pictures in class without my permission.
If you require your phone to be on in the case of an emergency, let me know before
class begins. Otherwise, any use of electronic devices will result either in confiscation of
the device for the duration of class, or a reduction in your course grade.
Food and Drink:
Our classroom is the choral rehearsal room, and it is the policy that no food or drink is
allowed in the classroom.
Music Theory II, Mus 217, Spring 2014 Course Syllabus, Page 3
Blackboard and E-mail:
Assignments, grades, and other course information will be regularly updated on our
Blackboard course page. You are expected to check Blackboard regularly. You are
also expected to monitor your Binghamton University e-mail account; this is the account
that I will use to contact you via e-mail.
Academic Integrity:
The University Bulletin states,
“The faculty assumes that themes, term papers, studio work, results of laboratory
experiments, examinations and computer-generated material submitted by the
student represent the student’s own work. The presentation for academic credit of
the same work in more than one course is prohibited, unless a joint project
receives the express and prior consent of the instructors involved. All student
work, including collaborations, should conform to the University's ethical
standards…. Whenever there is a question regarding academic integrity, students
and faculty should consult the Student Academic Honesty Code, which appears
[in] the University Bulletin.”
For this course, the pertinent issues are as follows:
•
•
•
•
Plagiarism: Presenting the work of another person as one’s own work.
Cheating on Examinations
Unauthorized Collaboration
Forgery
The University Bulletin states,
“Violations of the code vary in severity, so that the appropriate punishments vary.
Some violations (Category I) may be handled by the instructor and student(s)
involved. However, violations requiring more severe penalties (Category II) are
appropriately dealt with by the Academic Honesty Committee of the relevant
school in accordance with procedures laid out in the Rules of Student Conduct.
Category I violations are serious but may be dealt with by the instructor. Category
II violations may result in letters of reprimand, probation, suspension or expulsion
from the University, transcript notation, and/or revocation of degree or honors.
Behavior explicitly permitted in a course syllabus or explicitly permitted by the
instructor for a specific assignment is not a violation of the code.”
In this course, minor (Category I) violations will result in a minimum of a zero grade for
the assignment, project, or exam at issue. Additional penalties may also be applied,
according to the severity of the violation. Serious (Category II) violations will be handled
according to the Rules of Student Conduct.
Music Theory II, Mus 217, Spring 2014 Course Syllabus, Page 4
Disability-related Equal Access Accommodations:
Students who wish to request academic accommodations to insure their equitable
access and participation in this course should notify the instructor by the second week
of class. Authorizations from Services for Students with Disabilities (SSD) are generally
required. We encourage you to contact SSD at (607) 777-2686 and to schedule an
appointment with the Director or Learning Disabilities Specialist. Their website
(www.binghamton.edu/ssd)
includes
information
regarding
their
Disability
Documentation Guidelines. The office is located in UU – 119.
Tentative Calendar (subject to change)
Week 1: Jan. 27, 29, 31
Chapter 13: V7, PD, and Melody Harmonization
Week 2: Feb. 3, 5, 7
Chapter 14: Expanding the Tonic and Dominant Areas
Last Day to Add/Drop: Feb. 7
Week 3: Feb. 10, 12, 14
Chapter 15: Diatonic Harmonies and Root Progressions
Week 4: Feb. 17, 19, 21
Chapter 16: Embellishing Tones in Four Voices
Week 5: Feb. 24, 26, 28
Chapter 17: vii° and Other Voice-Leading Chords
Exam #1: Feb. 28
Week 6: Mar. 3, 5, 7
Chapter 18: Phrase Structure and Motivic Analysis
Week 7: Mar. 10, 12, 14
Chapter 19: Diatonic Sequences
Week 8: Mar. 17, 19, 21
Chapter 20: Secondary Chords to V
Week 9: Mar. 24, 26, 28
Chapter 21: Tonicizing Scale Degrees Other Than V
Last Day to Withdraw or Change Grade Option: Mar. 28
Week 10: Mar. 31; Apr. 2, 4
Tonal Counterpoint in Two Voices
Exam #2: Apr. 4
Week 11: Apr. 7, 9, 11
Chapter 22: Modulation to Closely Related Keys
Week 12: Apr. 14, 16, 18
No Classes — Spring Break
Week 13: Apr. 21, 23, 25
Chapter 22; No Classes April 21
Week 14: Apr. 28, 30; May 2 Model Composition Project
Week 15: May 5, 7, 9
Model Composition Project
Week 16:
Final Exam: May 15, 11:00-1:00, FA-27
Music Theory II, Mus 217, Spring 2014 Course Syllabus, Page 5