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This course combines a continued historical approach to musical analysis with a systematization of compositional procedures and styles from the Romantic era through the first half of the twentieth century. Remaining aspects of Western music that are covered include chromatic harmony, extended tertian and quartal harmony, especially as used in twentieth century jazz idioms, impressionism, and modern theoretical analysis, including serial composition and other twentieth century trends. Students will compose and analyze pieces in all styles studied. Prerequisite: MU201 or permission of instructor [Description from 2008–09 Online Catalogue]

1. General (C): to understand and adopt a nuanced view of changes in art music through the 19^th

1.1. Specific (C): to understand compositional devices and trends from Romanticism through

1.2. Specific (C): to understand the application of such devices in particular great works of

1.3. Specific (C): to adopt the methods for musical analyses that have become standard for

1.4. Specific (C): to adopt a multifaceted approach for analysis of any given work—tonal,

2. General (P): to empirically engage with and test by creative practice each theoretical concept

2.1. Specific (P): to engage with great compositions by listening purposefully with an ear

2.2. Specific (P): to practice each concept by composing simple examples or by amending

3. General (A): to increasingly enjoy the music from each era studied as it is fully appreciated

3.1. Specific (A): to enjoy the relationship between the ways in which music was

A serious student of music can spend an entire semester focused on music produced from a single decade in the nineteenth century. On the other hand, an intense overview can be programmed to cover the changes in musical aesthetics and compositional practice from the turn of the nineteenth through the middle of the twentieth century. It is between these two approaches—appropriating the best of both—that Musicianship IV is designed to stand.

Musicianship I focused on musical rudiments and basic tonal analysis; Musicianship II focused on structures and practices important to basic musical composition; Musicianship III toured through the Late Renaissance, Baroque, and Classical Eras aiming to provoke understanding through compositional imitation and score analysis; Musicianship IV continues the historical overview with score analysis given the primary focus while composition is limited to small exercises.

Harmony, form, and changing styles are given maximum energy in an animated musical experience by focusing in on concrete pieces of music. Analysis should not be stagnated into a stale academic exercise. For each unit of study—based on historical progression—specific masterworks are selected for comprehensive listening and study.

Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. Vol. 2 7th edition.

Burkhart, Charles. Anthology for Musical Analysis. 6th ed. Belmont, CA: Wadsworth

Institutional Policies & Specific Course Policies

Institutional policies governing academic integrity, class attendance, absence appeals, and instructional accommodations are delineated in the Student Handbook—available online in pdf format at: http://www.bbc.edu/college/docs/2008-09_BBC_Catalog.pdf. All students are responsible to keep track of their own class absences. This includes both the date of each individual cut as well as the reason. At the end of the semester, the student will have an opportunity to appeal cuts if they exceed the allowable limit. Without complete information, the appeal will be denied.

Late work is not promised a timely return, nor is it granted full credit—when it is accepted at all. Students should abide by the motto, “late work is dead work.” As a courtesy to the financial investment and commitment of time made by each class member, please completely turn off all cell phones, pagers, etc. before entering the classroom.

Exam AVG	Weekly avg	( - ) Absences	Final Grade
50% of Final	50% of Final	- ?? excessive cuts	= 100%

Each unit exam is cumulative in the sense that it presupposes an understanding of all material covered in the course prior to exam day.