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Page 1: EPARTMENT/SCHOOL Music and Dance COLLEGE … Major, Bachelor of Arts/Science Music Performance Major (Instrumental) – With specialization in guitar, keyboard, strings, winds or percussion

Request for New Course

Miller, New Course Sept. 09

EASTERN MICHIGAN UNIVERSITY

DIVISION OF ACADEMIC AFFAIRS

REQUEST FOR NEW COURSE

DEPARTMENT/SCHOOL: Music and Dance COLLEGE: CAS

CONTACT PERSON: Marilyn Saker

CONTACT PHONE: 487–1284 CONTACT EMAIL: [email protected]

REQUESTED START DATE: TERM Winter YEAR 2016

A. Rationale/Justification for the Course

The addition of “Compositional Techniques” to the department’s upper-division music-major theory and composition offerings will allow students greater flexibility in scheduling elective courses, and provide an additional option for students selecting electives. As a component in a two-year rotation of courses, “Compositional Techniques” has the potential to increase enrollment numbers in upper-division theory/composition classes and deter class cancellations. This group music composition course will also serve as a preparatory course for students wanting to enroll in individual music composition studies.

B. Course Information

1. Subject Code and Course Number: MUSC 416

2. Course Title: Compositional Techniques 3. Credit Hours: 2 4. Repeatable for Credit? Yes_______ No ü If “Yes”, how many total credits may be earned?_______ 5. Catalog Description (Limit to approximately 50 words.):

Group instruction in musical composition; original composition in small forms, illustrating various techniques and media.

Credit Hours: 2 hrs.

Prerequisites: MUSC 202 (with a grade of C or better) and MUSC 229 (with a grade of C or better) Major Restrictions: Music majors only

6. Method of Delivery (Check all that apply.)

a. Standard (lecture/lab) ü

On Campus ü Off Campus

b. Fully Online

c. Hybrid/ Web Enhanced

7. Grading Mode: Normal (A-F) ü Credit/No Credit

Page 2: EPARTMENT/SCHOOL Music and Dance COLLEGE … Major, Bachelor of Arts/Science Music Performance Major (Instrumental) – With specialization in guitar, keyboard, strings, winds or percussion

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8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.) MUSC 202 Music Theory IV (with a grade of C or better) MUSC 229 Aural Skills IV (with a grade of C or better) 9. Concurrent Prerequisites: Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject Code, Number and Title.)

10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course. (List by Subject Code, Number and

Title.)

11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent course has already been taken. (List by Subject Code, Number and Title) 12. Course Restrictions:

a. Restriction by College. Is admission to a specific College Required?

College of Business Yes No

College of Education Yes No

b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?

Yes ü No

If “Yes”, list the majors/programs

Music Major, Bachelor of Arts/Science Music Performance Major (Instrumental) – With specialization in guitar, keyboard, strings, winds or percussion Music Performance Major (Vocal) K–12 Music Education Major (Instrumental) K–12 Music Education Major (Vocal) Music Therapy Major

c. Restriction by Class Level Check all those who will be allowed to take the course:

Undergraduate Graduate

All undergraduates____ All graduate students____

Freshperson Certificate

Sophomore Masters

Junior Specialist

Senior Doctoral

Second Bachelor____ UG Degree Pending_____

Post-Bac. Tchr. Cert._ ____ Low GPA Admit_______

Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate

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Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study. Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for 600-level courses

d. Restriction by Permission. Will Departmental Permission be required? Yes No ü (Note: Department permission requires the department to enter authorization for every student registering.)

13. Will the course be offered as part of the General Education Program? Yes No ü

If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community form. Note: All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this course is NOT approved for inclusion in the General Education program, will it still be offered? Yes No C. Relationship to Existing Courses Within the Department:

14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes ü No If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.

Program Bachelor of Arts/Science Required Restricted Elective ü Program Bachelor of Music Performance Major (Instrumental) – With specialization in guitar, keyboard, strings,

winds or percussion Required Restricted Elective ü Program Bachelor of Music Performance Major (Vocal) Required Restricted Elective ü

15. Will this course replace an existing course? Yes No ü 16. (Complete only if the answer to #15 is “Yes.”)

a. Subject Code, Number and Title of course to be replaced: b. Will the course to be replaced be deleted? Yes No

17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for Graduate and Undergraduate Course Deletion.

a. When is the last time it will be offered? Term Year b. Is the course to be deleted required by programs in other departments? Contact the Course and Program Development Office if necessary. Yes No

c. If “Yes”, do the affected departments support this change? Yes No If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available.

Outside the Department: The following information must be provided. Contact the Course and Program Development office for assistance if necessary. 18. Are there similar courses offered in other University Departments? Yes No ü If “Yes”, list courses by Subject Code, Number and Title 19. If similar courses exist, do the departments in which they are offered support the proposed course? Yes No

Page 4: EPARTMENT/SCHOOL Music and Dance COLLEGE … Major, Bachelor of Arts/Science Music Performance Major (Instrumental) – With specialization in guitar, keyboard, strings, winds or percussion

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If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of support, if available. D. Course Requirements 20. Attach a detailed Sample Course Syllabus including:

a. Course goals, objectives and/or student learning outcomes b. Outline of the content to be covered c. Student assignments including presentations, research papers, exams, etc. d. Method of evaluation e. Grading scale (if a graduate course, include graduate grading scale) f. Special requirements g. Bibliography, supplemental reading list h. Other pertinent information.

NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM. E. Cost Analysis (Complete only if the course will require additional University resources. Fill in Estimated Resources for the sponsoring department(s). Attach separate estimates for other affected departments.)

Estimated Resources: Year One Year Two Year Three

Faculty / Staff $_________ $_________ $_________

SS&M $_________ $_________ $_________

Equipment $_________ $_________ $_________

Total $_________ $_________ $_________

F. Action of the Department/School and College 1. Department/School

Vote of faculty: For 19 Against 0 Abstentions 0 (Enter the number of votes cast in each category.) Diane Winder 4/17/2015 Department Head/School Director Signature Date

2. College/Graduate School A. College College Dean Signature Date B. Graduate School (if Graduate Course) Graduate Dean Signature Date

Page 5: EPARTMENT/SCHOOL Music and Dance COLLEGE … Major, Bachelor of Arts/Science Music Performance Major (Instrumental) – With specialization in guitar, keyboard, strings, winds or percussion

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G. Approval Associate Vice-President for Academic Programming Signature Date

Course Syllabus for MUSC 416 Compositional Techniques

Catalog Course Description Group instruction in musical composition; original composition in small forms, illustrating various techniques and media.

Prerequisites: MUSC 202 (with a grade of C or better) and MUSC 229 (with a grade of C or better)

Major Restrictions: Music majors only

Course Goals and Objectives • Write short vocal and instrumental compositions using specific compositional techniques.

• Develop abilities in counterpoint, harmony, and instrumentation in contemporary idioms.

• Gain a greater awareness of current practices and aesthetics. • Comprehend the basic philosophies present when creating a

composition and how this skill relates to other specializations in the field of music.

• Understand the basic tools for creating professional scores and materials.

• Know how to apply compositional techniques to develop a personal methodology of composition.

Required Textbooks and Materials

Brindle, Reginald Smith. Musical Composition. Oxford: Oxford University Press, 1996.

Gould, Elaine. Behind Bars: The Definitive Guide to Music Notation. London: Faber Music, 2011.

Music manuscript paper. Pencils and erasers. Metronome.

Music Notation Software Access to professional-quality music notation software, such as Finale or Sibelius, is required for this course. You are welcome to purchase your own software, use the programs available in the Alexander Computer Lab, or find some other means for producing a score, but access to professional-quality notation software is a requirement. Please be advised that free programs available online may not be adequate for completing some of the course assignments.

Course Schedule Week 1: Introduction and first ideas Week 2: Formal principles Week 3: Melody Week 4: Harmony Week 5: Counterpoint Week 6: Vocal writing Week 7: Accompaniments

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Week 8: The composition as a whole Week 9: Choral music Week 10: Instrumental music Week 11: Technical expansions, part 1 Week 12: Technical expansions, part 2 Week 13: Serialism Week 14: Indeterminacy, graph scores, text scores,

improvisation Week 15: Final performance

Assignments 1. Several short composition exercises for solo instrument, voice and piano, and small chamber group.

2. Selected theoretical studies of structure, counterpoint, and harmony with related composition exercises demonstrating a practical understanding of the ideas discussed.

3. Reading, listening, and score study of selected exemplary works, and brief summaries of the essential ideas in those works.

4. Analysis of an existing musical model deriving generative rules from those characteristics, and producing a new example from that example.

5. Presentation and discussion of students' exercises and compositions in class.

6. A final recital of student compositions. Timely completion of assigned listening, reading, and score study is expected. Performances and rehearsed readings of the student’s exercises and compositions must be organized and accomplished by each student.

Bibliography Ades, Hawley. Choral Arranging. Delaware Water Gap, PA: Shawnee Press, 1966.

Adler, Samuel. The Study of Orchestration. 3rd ed. New York: W.W. Norton & Company, 2002.

Benjamin, Thomas. The Craft of Tonal Counterpoint. 2nd ed. New York: Routledge, 2003.

Coker, Jerry. Improvising Jazz. 1964. Reprint, New York: Simon & Schuster, 1987.

Cope, David. Techniques of the Contemporary Composer. New York: Schirmer Books, 1997.

Delamont, Gordon. Modern Arranging Technique. 1965. Reprint, Delevan, NY: Kendor Music, 1970.

Fux, Johan Joseph. Gradus ad Parnassum: The Study of Counterpoint. [Alfred Mann, transl. and ed.] 1725. Reprint, New York: W.W. Norton & Company, 1971.

Hanson, Howard. Harmonic Materials of Modern Music. New York: Appleton–Century–Cofts, Inc., 1960.

Harrison, Lou. Lou Harrison's Music Primer. New York: C.F. Peters, 1971.

Hindemith, Paul. The Craft of Musical Composition. 4th ed. [Arthur Mandel, transl.] London: Schott, 1980.

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Jeppesen, Knud. Counterpoint. [Glen Haydon, transl.] Englewood Cliffs: Prentice-Hall, 1960.

Lenormand, Rene. A Study of Twentieth-Century Harmony. Volume One - Harmony in France to 1914. [Herbert Antcliffe, transl.] London: Joseph Williams, 1915.

Liebman, David. A Chromatic Approach to Jazz Harmony and Melody. Rottenburg: Advance Music, 1991.

Messiaen, Oliver. The Technique of My Musical Language. [John Satterfield, transl.] 1944. Reprint, Paris: Alphonse Leduc et Cie, 1990.

McHose, Allen Irvine. The Contrapuntal Harmonic Technique of the 18th Century. New York: Appleton–Century–Crofts, 1947.

Perle, George. Serial Composition and Atonality. 6th ed. Berkeley: University of California Press, 1991.

Persichetti, Vincent. Twentieth-Century Harmony. New York: W.W. Norton & Company, 1961.

Russo, William with Jeffrey Ainis and David Stevenson. Composing Music: A New Approach. Chicago: The University of Chicago Press, 1988.

Salzer, Felix. Structural Hearing. 1952. Reprint, New York: Dover Publications, 1982.

Schoenberg, Arnold. Gerald Strang and Leonard Stein, eds. Fundamentals of Musical Composition, 3rd edition. London: Faber & Faber, 1999.

Starr, Eric. The Everything Music Composition Book: A Step-by-Step Guide to Writing Music. Avon, MA: Adams Media, 2009.

Toch, Ernst. The Shaping Forces in Music: An Inquiry Into the Nature of Harmony, Melody, Counterpoint, Form. 1977. Reprint, New York: Dover Publications, 2011.

Whittall, Arnold. Musical Composition in the Twentieth Century. Oxford: Oxford University Press, 1999.

Wilkins, Margaret Lucy. Creative Music Composition: The Young Composer’s Voice. New York: Routledge Taylor & Francis, 2006.

Xenakis, Iannis. Formalized Music: Thought and Mathematics in Composition. 1963. Reprint, Hillsdale, NY: Pendragon Press, 2001.

Grading Scale 100–93% A 86–83% B 76–73% C 66–63% D 92–90% A– 82–80% B– 72–70% C– 62–60% D–89–87% B+ 79–77% C+ 69–67% D+ 59– 0% F

Final Grade Calculation

Grading for the course will be based on timely completion of all the course requirements. Because every assignment is considered a vital part of the educational experience of the course, serious and high quality work is expected at all times. Grading will be based on: 1. Assigned exercises to learn specific compositional techniques (40%) 2. Participation in class work, rehearsals, and performances

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(20%) 3. Midterm song composition project (20%) 4. Final chamber music composition project (20%)

Student Conduct Code

Students are expected to abide by the Student Conduct Code and assist in creating an environment that is conducive to learning and protects the rights of all members of the University Community. Incivility and disruptive behavior will not be tolerated and may result in a request to leave class and referral to the Office of Student Judicial Services (SJS) for discipline. You may access the Code online at www.emich.edu/sjs.

Academic Dishonesty

Academic dishonesty, including all forms of cheating, falsification, and/or plagiarism, will not be tolerated in this course and will result in a failing grade for the entire course. In addition, you may be referred to the Office of Student Judicial Services for discipline that can result in either a suspension or permanent dismissal. The Student Conduct Code contains detailed definitions of what constitutes academic dishonesty, but if you are not sure about whether something you are doing would be considered academic dishonesty, consult with the instructor. You may access the Code online at www.emich.edu/sjs.

Family Educational Rights and Privacy Act (FERPA)

The Family Educational Rights and Privacy Act (FERPA) is a Federal law designated to protect the privacy of a student’s education records and academic work. The law applies to all schools and universities that receive funds under an applicable program of the U.S. Department of Education and is applicable to students at EMU. All files, records, and academic work completed within this course are considered educational records and are protected under FERPA. It is your right as a student in this course to expect that any materials you submit in this course as well as your name and other identifying information will not be viewable by guests or other individuals permitted access to the course. The exception will be only when you have given explicit, written, signed consent. Verbal consent or e-mail is insufficient.

Religious Holidays

Current University policy recognizes the rights of students to observe religious holidays without penalty to the student. Students are to provide advance notice to the instructor in order to make up work, including examinations that they miss as a result of their absence from class due to observance of religious holidays. If satisfactory arrangements cannot be made with the instructor, students may appeal to the head of the Music and Dance Department.

Special Needs Accommodations

If you wish to be accommodated for your disability, EMU Board of Regents Policy #8.3 requires that you first register with the Students with Disabilities Office (SWD) in 240K Student Center. You may contact SWD by telephone at (734) 487–2470. Students with disabilities are encouraged to register with SWD promptly as you will only be accommodated from the date you register with them forward. No retroactive accommodations are possible.

Student and Exchange VISitor Statement (SEVIS)

The Student Exchange Visitor Information System (SEVIS) requires F and J students to report the following to the Office of International Students, 244 Student Center within ten (10) days

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of the event: • Changes in your name, local address, major field of study, or

source of funding • Changes in your degree-completion date • Changes in your degree-level (ex. Bachelors to Masters) • Intent to transfer to another school Prior permission from OIS is needed for the following: • Dropping ALL courses as well as carrying or dropping

BELOW minimum credit hours • Employment on or off-campus • Registering for more than one ONLINE course per term (F visa

only) • Endorsing I-20 or DS-2019 for re-entry into the USA Failure to report may result in the termination of your SEVIS record and even arrest and deportation. If you have questions or concerns, contact the Office of International Students at 734.487.3116, not the course instructor.

EMU Policies Additional information about EMU’s policies are posted on the Ombuds website at www.emich.edu/ombuds/.