Cell Phone Policy:
Disruption in the learning process because of cell phones will not be tolerated. Cell phones must be turned completely off (not on vibrate) during the entire class time. If a cell phone rings or vibrates during class, that person will receive a zero for that lesson.

Weekly Practice Requirement:
Majors (1 credit hour) = 12+ hours      All Others = 6+ hours

Applied Lesson Rubric 

Required Materials:
            1. Instrument and bow which are adequately maintained; Proper supplies
            2. Appropriate repertoire & study music

Course Description: Individual instruction in bass which is open to all students. Two semester hours are required for music majors whose primary area of concentration is bass. All other students may enroll for one or two semester hours.

Course Objectives:
            1. To develop increasing proficiency in bass performance
            2. To experience a variety of bass literature and to relate that literature to period specific performance practices
            3. To cultivate an aesthetic appreciation for the bass repertoire
            4. To develop appropriate time budgeting strategies as relate to practice and performance

Evaluation:
A grade will be given for each lesson based on attendance, participation, and preparation as observed in the lesson and as recorded on the weekly practice log (See Weekly Practice Requirement & Rubric). Lessons that are missed and not made-up will result in a zero for that lesson. At the end of the semester, all majors and minors will play a jury. The jury grade will count 15% toward the final grade. Music majors, minors, and other selected students will also perform in student recital. The grade for the recital will count as a lesson grade. In addition, music majors and minors will be required to attend all but one afternoon recital per semester; failure to meet all recital attendance requirements will result in a half a letter grade (5 points) reduction in every music class final average for the semester.

The final grade will be calculated by the following percentages.
Lesson Grades - 85%
Jury/Studio Class - 15%

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Attendance Policy:
            The teacher should be notified, as far in advance as possible, when the student will not be attending a lesson. Students are encouraged to swap lessons with another student in the event of a conflict or illness. Lessons missed do to sickness may be made-up through an additional lesson or assignment. Other missed lessons will not be made-up. Lessons missed by the teacher will be rescheduled and will not affect the final grade.

Weekly Practice Requirement:
Majors (1 credit hour) = 12+ hours        All Others = 6+ hours

Applied Lesson Rubric 

Course Content:
Unit #1 - Music & Culture
Unit #2 - Stylistic Elements of Music
Unit #3 - Music in Africa
Unit #4 - Music in India
Unit #5 - Music in Europe
Unit #6 - Music in the Middle East
Unit #7 - Music, Censorship, and Oppression
Unit #8 - Music in Asia
Unit #9 - Music in the Americas
Unit #10 - Film Music as an Expression of Culture

Course Objectives: Upon successful completion of this course, the student should be able to:

1. Develop a greater understanding of the similarities and differences among cultures
2. Develop a greater sensitivity to the world’s many societies and cultures
3. Distinguish the basic elements of music and to identify and describe these elements in an aural experience
4. Compare the elements of non-western music with those of western musical history
5. Explore the relationships between culture and musical representations
6. Demonstrate proficiency in using technology as a means to research and study

Assignments:
•Reading:
Required readings for class will come from textbooks and handouts. Students should take notes on readings to help improve comprehension.
•Quizzes:
A quiz for each reading assignment will be located on the Blackboard Web site for this course (http://courses.milligan.edu). Students are to take each quiz prior to attending that particular class period.
•Journals:
Students will be assigned regular journal writings which reflect ethnographic research or personal reflection on music and culture.
•Listening:
Listening projects for each period will be from the CDs that accompany the textbook.
•Film Analysis:
Students are required to watch films related to the particular unit being studied and to complete a film analysis sheet for each.
•Concert Attendance:
Students are required to attend 4 concerts. The two required concerts are listed below. The other 2 should be of contrasting nature. Each concert attendance should be documented in a short paper that will be presented during the final exam period. Please see the guidelines sheet for proper formatting.
•Required Concerts:
Johnson City Symphony-February 7 @ 8 pm in Seeger Chapel (Cost=free)
The Pirates of Penzance Opera-April 1, 2, or 3 @ 7:30 pm or April 4 @ 2:00 pm in the VA Theater in Johnson City (Cost=TBA)

Evaluation:
•Attendance:
•Students are expected to attend all classes and to be present for all exams. Students are allowed 2 absences for any reason. After 2 absences, the final grade will be lowered by half a letter grade for each absence.
•Students are also expected to be punctual. Three tardies equals one absence.
•Students who miss more than 6 classes will automatically receive an “F” for their course grade.
•Make-Up Policy
•Students may make-up any missed exams on the day of the final exam.
•Quizzes or in-class assignments may not be made-up.
•Due Dates
•Written assignments are expected on the due date. Late assignments may be turned in up to one week past the due date for a reduced grade.

Grading for Assignments:
Quizzes = 50 points each
Film Analysis = 100 points each
Listening Projects = 100 points each
Journal Entries = 50 points each
Final Exam = 100 points each

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Academic Honesty & Integrity
Students are expected to complete tests, quizzes, and assignments with academic integrity and honesty. This includes abstaining from cheating and plagiarism on all assignments. For more information, please see the Milligan College Student Handbook.

Plagiarism
As defined in The American Heritage College Dictionary (1997), to plagiarize is “to use and pass off as one’s own the ideas or writings of another.” This includes ideas that are printed in books, journals, electronic format, and on internet web pages. The undocumented use of another person’s intellectual property is strictly forbidden in academic and professional settings and is a criminal offense.

Research papers must contain proper documentation of all directly quoted material and paraphrased material as well. Directly quoted materials should be placed in quotation marks with a citation giving the author, date, and page number following or contained within the sentence. For paraphrased ideas and information, the sentence must contain an author and date citation. Failure to cite directly quoted or paraphrased material will constitute plagiarism, and the violator will be subject to failure for the assignment and possible failure for the course. These guidelines apply to all assignments in this course including research papers, article reviews, and film analyses.

Cell Phone Policy:
Disruption in the learning process because of cell phones will not be tolerated. Cell phones must be turned completely off (not on vibrate) during the entire class time. If a cell phone rings or vibrates during class, that person will be counted absent for the day.

Grading Scale:
Rehearsals - 60%
Performances - 40%

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Attendance Policy:
The conductor should be notified as far in advance as possible when the ensemble member will not be able to attend a rehearsal. Any player not able to attend a performance must find an acceptable substitute. The final grade will be lowered for each missed rehearsal or performance or for tardiness and/or a poor attitude.

Required Textbook:
The Teaching of Instrumental Music, 3rd edition. Richard Colwell and Thomas Goolsby.

Evaluation:
•Attendance:
   •Students are expected to attend all classes and to be present for all exams. The attendance grade will be lowered by 10 points for each absence.
    •Students are expected to be punctual. Two tardies equals one absence.
    •Students who miss more than 2 classes will automatically receive an "F" for the string portion of their course grade.
•Make-Up Policy
   •Students may make-up any missed written exams on the day of the final exam.
   •Quizzes or in-class assignments may not be made-up. Missed playing tests may be made up by appointment, within 3 days of the original test.
•Due Dates
   •Written assignments are expected on the due date. The grade will be lowered by 1/2 letter for each class period late.
•Practice Logs
   •Students are required to submit a practice log each Wednesday which accurately their practice for the week. The minimum practice requirement is 3 hours per week.
•Film Reflection
   •Students must complete a 2-3 page reflection on two films. These reflections should be thoughtful, providing insight into the world of string instruments and string players. This paper should not be a plot summary.

Grading:
Playing Tests = 50 points each
Written Assignments = 50 points each
Exams = 100 points each
Attendance = 100 points
Practice Logs = 100 points each

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Academic Honesty & Integrity:
Students are expected to complete tests, quizzes, and assignments with academic integrity and honesty. This includes abstaining from cheating and plagiarism on all assignments. For more information, please see the Milligan College Student Handbook.

Plagiarism:
As defined in The American Heritage College Dictionary (1997), to plagiarize is "to use and pass off as one's own the ideas or writings of another." This includes ideas that are printed in books, journals, electronic format, and on Internet web pages. The undocumented use of another person's intellectual property is strictly forbidden in academic and professional settings and is a criminal offense.

Research papers must contain proper documentation of all directly quoted material and paraphrased material as well. Directly quoted materials should be placed in quotation marks with a citation giving the author, date, and page number following or contained within the sentence. For paraphrased ideas and information, the sentence must contain an author and date citation. Failure to cite directly quoted or paraphrased material will constitute plagiarisem, and the violator will be subject to failure for the assignment and possible failure for the course. These guidelines apply to all assignments in this course including research papers, article reviews, and film analyses.

Recital Attendance:
For Milligan music majors and minor, failure to meet all recital attendance requirements will result in a half a letter grade (5 points) reduction in every music class final average for the semester.

Cell Phone Policy:
Disruption in the learning process because of cell phones will not be tolerated. Cell phones must be turned completely off (not on vibrate) during the entire class time. If a cell phone rings or vibrates during class, that person will be counted absent for the day.

Accommodations:
Milligan College provides reasonable accommodations for students with disabilities. To receive accommodations, students must make a formal request according to the policy outlined on pages 28-29 of the current college catalog. Once your request has been evaluated, a list of accommodations will be prepared for distribution to your professors. If you have additional questions, please contact Traci Smith, director of disability services. You may contact her by phone (8981), email (tjsmith@milligan.edu) or appointment in the McMahan Student Center.

Course Schedule
August 22
TOPICS:
•Issue instruments
•Parts of instruments
•Care and maintenance
•Basic posture and hand positions
•Bowing Open Strings
•String & Note Names/Pre-Staff Notation
•Finger Push-ups

August 27
TOPICS:
•continuation of Aug. 23 topics
ASSIGNMENTS DUE:
•Reading pp. 330-351

August 29
TOPICS:
•Tuning
•Marking Bowings
ASSIGNMENTS DUE:
•Playing Test
•Reading pp. 353-366
•Practice Log

September 3
TOPICS:
•Various Bowing Techniques
ASSIGNMENTS DUE:
•Reflection on The Red Violin
•Playing Test

September 5
TOPICS:
•Advanced Techniques (Harmonics, Shifting, Positions, Vibrato)
•The Viola
ASSIGNMENTS DUE:
•Playing Test
•Reading pp. 367-375
•Practice Log

September 10
TOPICS:
•Issue instruments
•Parts of instruments
•Care and maintenance
•Basic posture and hand positions
•Bowing Open Strings
•String & Note Names/Pre-Staff Notation
•Finger Push-ups
ASSIGNMENTS DUE:
•Reflection on Music of the Heart
•Reading pp. 376-389


September 12
TOPICS:
•Tuning
•Various Bowing Techniques
ASSIGNMENTS DUE:
•List of 20 Web sites
•Playing Test
•Practice Log

September 17
TOPICS:
•Advanced Techniques (Harmonics, Shifting, Positions, Vibrato)
•The Bass
ASSIGNMENTS DUE:
•Playing Test
•Reading pp. 390-399

September 20
•Take home final due by 1:00 pm

MUSC 265   MUSIC HISTORY SURVEY

Spring 2007 • Credit Hours: 3 • Scheduled Class Meetings: TR 9:30
Professor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment
Web Page: http://www.milligan.edu/music/kbrown• Course Web Site: http://angel.milligan.edu

Course Description: A survey of the development of Western music from the Middle Ages through the present, citing major composers and forms of each style period.

Required Textbooks:
• Listening to Music. 4th ed. Craig Wright. Wadsworth Publishing, 2004.

Other Required Materials:
• Textbook companion 6-CD Set

Course Content:
• Unit #1 - Introduction and Musical Style Elements
• Unit #2 - The Middle Ages and Renaissance
• Unit #3 - The Baroque Period
• Unit #4 - The Classical Period
• Unit #5 - The Romantic Period
• Unit #6 - The Twentieth Century

Course Objectives:
1. To distinguish the basic elements of music and to identify and describe these elements in an aural experience
2. To explore the relationships between historical events and musical evolutions
3. To identify aurally musical characteristics that correspond to specific time periods and/or composers
4. To identify the roles and relationships among musicians, composers, and other music professionals
5. To develop better research and writing skills
6. To experience a greater awareness of the connection between musical history and performance through concert attendance, listening, reading, and writing

Course Requirements:
• Reading assignments in the textbook and in supplemental materials should be completed by the due date. Students may be required to complete an online quiz for each reading assignment if the class shows a lack of reading preparation.
• 5 Listening Assignments
•Research Paper: 10-page paper on the life and work of a famous composer and an oral presentation which will consist of reading the paper
• Attendance at the following concert is required
   • La traviata by Verdi - Tuesday, April 17 @ 7:30 pm in Seeger
• Film Reflection Paper (2 pages) for the following films:
     Elizabeth
     The Red Violin
     Amadeus
     The Pianist
• Book review (6 pages) of a book dealing with some aspect of music history. (Book must be pre-approved by professor.)

Evaluation:
• Listening Assignments = 100 points each
• Quizzes = 50 points each
• Concert/Event Attendances = 100 points each
• Film Reaction Papers = 50 points each
• Papers = 50 points each
• Exams = 100 points each

Attendance:
• Students are expected to attend all classes and to be present for all exams. Students are allowed 2 absences for any reason. After 2 absences, the final grade will be lowered by half a letter grade for each absence.
• Students are also expected to be punctual. Three tardies equals one absence.
• Students who miss more than 6 classes will receive an "F" for their course grade.

Make-Up Policy:
• Students may make-up any missed exams on the day of the final exam.
• Online quizzes or in-class assignments may not be made-up.

Due Dates:
• Written assignments are expected on the due date. The grade will be lowered by a 1/2 letter for each class period late.

Cell Phone Policy:
•Disruption in the learning process because of cell phones will not be tolerated. Cell phones must be turned completely off (not on vibrate) during the entire class time. If a cell phone rings or vibrates during class, that person will be counted absent for the day.

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Selected Bibliography of Music History Books in the Milligan College Library (Updated 1/2006) 

Ammer, C. (2001). Unsung: A History of Women in American Music. Portland, OR: Amadeus.

Aubrey, E. (2000). The Music of the Troubadours. Bloomington: Indiana University Press.

Berger, M. (1991). Guide to Sonatas: Music for One or Two Instruments. New York: Anchor Books, 1991.

Block, A. (2000). Amy Beach, Passionate Victorian. New York: Oxford University Press.

Bloom, P. (2000). The Cambridge Companion to Berlioz. New York: Cambridge University
 Press.

Borroff, E. (2003). Music Melting Round: A History of Music in the United States. Scarecrow Press.

Bowen, J. (2003). The Cambridge Companion to Conducting. New York: Cambridge University Press.

Burkholder, J. P. (1995). All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven : Yale University Press.                                

Burrows, D. (1997). The Cambridge Companion to Handel. New York: Cambridge University Press

Burt, G. (1994). The Art of Film Music. Boston: Northeastern University.

Butt, J. (1997). The Cambridge Companion to Bach. New York: Cambridge University Press.

Butt, J. (1997). The Sacred Choral Music of J.S. Bach: A Handbook. Brewster, MA: Paraclete Press.

Butterfield, A. (2002). Poetry and Musical in Medieval France. New York: Cambridge University Press.

Cage, J. (1961). Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press.

Chailley, J. (1964) 40, 000 Years of Music. New York: Farra, Straus & Giroux.

Charlton, D. (2003). The Cambridge Companion to Grand Opera. New York: Cambridge University Press.

Cooke, M. (1999). The Cambridge Companion to Benjamin Britten. New York: Cambridge University Press.

Crawford, R. (2001). America’s Musical Life. New York: Norton.

Dalhaus, C. (1989). Nineteenth-Century Music. Berkeley: University of California Press.

Danziger, R. (1991). The Revelation of Music: Learning to Love the Classics. New Haven, CT: Jordan Press.

Daverio, J. (1997). Robert Schumann: Herald of a New Poetic Age. New York: Oxford
 University Press.

Day, T. (2000). A Century of Recorded Music: Listening to Musical History. New Haven: Yale       University Press.

Dolan, C. (1994). Trial of Strength: Wilhelm Furtwangler in the Third Reich. Northeastern University Press.

Dickinson, K. (2003). Movie Music: The Film Reader. New York: Routledge.

Ebrecht, R. (2002). Maurice Durufle, 1902-1986: The Last Impressionist. Scarecrow Press.

Evans, G. (2002). Music Inspired by Art: A Guide to Recordings. Scarecrow Press.

Fling, R. (2001). Musical Memorials for Musicians: A Guide to Selected Compositions. Scarecrow Press.

Gammon, P. (1994). Classical Composers. New York: Crescent Books.

Gann, K. (1997). American Music in the Twenthieth Century. New York: Schirmer Books.

Ganzl, K. (1994). The Encyclopedia Of the Musical Theater. New York: Schirmer Books.

Gerboth, W. (1969). An Introduction to Music: Selected Readings. New York: W. W. Norton.

Gibbs, C. H. (1997). The Cambridge Companion to Schubert. New York: Cambridge University Press.

Gilbert, S. Music in the Holocaust. (2005). Oxford: Clarendon.

Gilbert, S. E. (1995). The Music of Gershwin. New Have : Yale University Press.

Goldmark, D. (2005). Tunes for Toons: Music and the Hollywood Cartoon. Berkeley: Univ. of         CA Press.

Goldmark, D. & Y. Taylor. (2002). The Cartoon Music Book. Chicago: A Cappella.

Goulding, P. G. (1995). Classical Music: The 50 Greatest Composers and Their 1000 Great Works. New York: Fawcett Columbine.

Great Conductors of the Third Reich (1998). VHS

Grove Dictionary of Music. Online Database.

Harewood, E. (1987). The Definitive Kobbe’s Opera Book. New York: Putnam.

Hindley, G. (1994). Larousse Encyclopedia of Music. New York: Barnes & Noble.

Hoffer, C. R. (1999). Music Listening Today. Belmont, CA: Wadsworth

Holoman, D. K. (1988). Writing about Music: A Style Sheet from the Editors of 19th-Century Music. Berkeley: University of California Press.

Hulme, D. (2002). Dmitri Shostakovich: A Catalogue, Bibliography, Discography. Scarecrow.

Isacoff, Stuart. (2003). Temperament: How Music Became the Battleground for the Great Minds of the Western Civilization.

Kater, M. (2000). Composers of the Nazi Era: Eight Portraits. Oxford University Press.

Kavanaugh, P. (1996). Music of the Great Composers. Grand Rapids, MI: Zondervan.

Kavanaugh, P. (1996). The Spiritual Lives of the Great Composers. Grand Rapids, MI: Zondervan.

Kavanaugh, P. (1999). The Music of Angels: A Listener’s Guide to Sacred Music from Chant to Christian Rock. Chicago. Loyola Press.

Keefe, S. (2003). The Cambridge Companion to Mozart. New York: Cambridge University Press.

Kingman, D. (1979). American Music. New York: Schirmer.

Kisby, F. (2001). Music and Musicians in Renaissance Cities and Towns. New York: Cambridge University Press.

Knighton, T. & Fallows, D. (1997). Companion to Medieval and Renaissance Music. Berkeley: University of California Press.

Koehler, J. (2004). Richard Wagner: The Last of the Titans. New Haven: Yale Univ. Press.

Kuster, K. (1996). Mozart: A Musical Biography. New York: Oxford University Press.

Lawson, C. (2003). The Cambridge Companion to the Orchestra. Cambridge University Press.

Le Mee, Katharine. (2003). The Benedictine Gift to Music. New York: Paulist Press.

Lebrecht, N. (1996). The Companion to  20th-Century Music. New York: Da Capo Press.

Leibovitz, A. (2003). American Music. Random House.

Levin, G. & Tick, J. (2000). Aaron Copland’s America: A Cultural Perspective. New York: Watson-Guptil.

Lindenberger, H. (1998). Opera in History: From Monteverdi to Cage. Stanford: Stanford University Press.

MacDonald, L. (1998). The Invisible Art of Film Music. New York: Ardsley House.

Maddocks, F. (2001). Hildegard of Bingen: The Woman of Her Age. Doubleday.

Marissen, M. (1999). The Social and Religious Designs of J.S. Bach’s Brandenburg Concertos. Princeton, N.J.: Princeton University Press.

Martin, R. (2001). Beethoven’s Hair. New York: Broadway Book.

Morgenstern, S. (1956). Composers on Music: An Anthology of Composer’s Writings from Palestrina to Copland. New York: Bonanza.

Musgrave, M. (1999). The Cambridge Companion to Brahms. New York: Cambridge University Press

Neuls-Bates, C. (1986). Women in Music: An Anthology of Sources Readings from the Middle Ages to the Present. Harper & Row.

Nicholls, D. (1998). The Cambridge History of American Music. New York: Cambridge University Press.

Nicholls, D. (2002). The Cambridge Companion to John Cage. Cambridge University Press.

Nichols, D. C. (2001). Musical Encounters. Upper Saddle River, NJ: Prentice Hall.

Ochse, O. (2000). Organists and Organ Playing in Nineteenth-Century France and Belgium. Bloomington: Indiana University Press.

Parrish, C. (1958). A Treasury of Early Music. New York: W. W. Norton.

Parrott, E. (1990). How to Be Tremendously Tuned in to Opera. New York: Penguin.

Paynter, J. (1992). Companion to Contemporary Musical Thought (2 vols.) London: Routledge. 

Pendle, K. (2001). Women & Music: A History. Bloomington: Indiana University Press.

Penderecki, K. (1998). Labyrinth of Time: Five Addresses for the End of the Millennium. Chapel Hill: Hinshaw Music.

Perkins, L. L. (1999). Music in the Age of the Renaissance. New York: W. W. Norton.

Platt, H. (2003). Johannes Brahms: A Guide to Research. Routledge.

Prendergast, M. (1992). Film Music: A Neglected Art. New York: Norton.

Prendergast, M. (2000). The Ambient Century: From Mahler to Trance, the Evolution of Sound
 in the Electronic Age. New York: Bloomsbury.

Prieberg, F. (1994). Trial of Strength: Wilhelm Furtwangler in the Third Reich. Boston: Northeastern University Press.

Pople, A. (1997). The Cambridge Companion to Berg. New York: Cambridge University Press.

Raeburn, M., & Kendall, A. (1989). Heritage of Music (4 vols.).  New York: Oxford.

Reyes, A. (2005). Music in America. New York: Oxford University Press.

Rudel, A. (1995). Classical Music Top 40. New York: Simon & Schuster.

Russell, M. and James Young. (2000). Film Music. Boston: Focal Press.

Sadie, S. (2000). Mozart and His Operas. New York: ST. Martins Press.

Sadie, S. (2000). Puccini and His Operas. New York: ST. Martins Press.

Sadie, S. (2000). Verdi and His Operas. New York: ST. Martins Press.

Sadie, S. (2000). Wagner and His Operas. New York: ST. Martins Press.

Samson, J. (1994). The Cambridge Companion to Chopin. New York: Cambridge University Press.

Schenbeck, L. (1996). Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC; Hinshaw Music.

Shaw, B. (1978). The Great Composers: Reviews and Bombardments. Berkeley: Univ. of CA.   

Shelemay, K. (2001). Soundscapes: Exploring Music in a Changing World. Norton.

Simms, B. (1995). Music of the Twentieth Century: Style and Structure. New York: Schirmer

Simon, H. W. (1989). 100 Great Operas and Their Stories. New York: Doubleday.

Slonimsky, N. (2000). The Great Composers and Their Works. New York: Schirmer Books

Smialek, W. (2000). Frederic Chopin: A Guide to Research. Garland.

Stanley, G. (2000). The Cambridge Companion to Beethoven. New York: Cambridge University Press.

Steinberg, M. (2005). Choral Masterworks. New York: Oxford University Press.

Steinberg, M. (2000). The Concerto. New York: Oxford University Press.

Steindl-Rast, D. (2002). Music of Silence: A Sacred Journey through the Hours of the Days. Seastone.

Stowell, R. (2003). The Cambridge Companion to the String Quartet. Cambridge University Press.

Strunk, O. (1998). Source Readings in Music History. New York: Norton.

Suchoff, B. (2001). Bela Bartok: Life and Work. Lanham, MD: Scarecrow Press.

Suchoff, B. (2002). Bartok’s Mikrokosmos: Genesis, Pedagogy, and Style. Scarecrow.

Thompson, J. C. (1968). Music Through the Renaissance. Dubuque: W. C. Brown.                        

Tonks, P. (2001). Film Music. Harpenden: Pocket Essentials.

Warrack, J. and West, E. (1996). The Concise Oxford Dictionary of Opera. New York: Oxford University Press.

Watkins, G. (2003). Proof through the Night: Music and the Great War. University of California.

Wolff, C. (2001). Johann Sebastian Bach: The Learned Musician. New York: W. W. Norton.

Wright, C. M. (2000). Listening to Music. U.S.: Wadsworth.

Wright, C. M. (2006). Music in Western Civilization. Belmont, CA: Thompson Schirmer.

Zaslaw, N. & Cowdery, W. (1990). The Compleat Mozart: A Guide To the Musical Works of W. A. Mozart. New York: Norton.

MUSC 436/EDUC 536 - Instrumental Methods (Strings)

Fall 2008 • Professor: Dr. Kellie D. Brown • Credit Hours: 3
Scheduled Class Meetings: TR 2:10 • Location: Room 200 • Web Page: www.milligan.edu/music/kbrown

Catalog Course Description: This course is a study of the string instrument family with special emphasis on teaching materials and pedagogical aspects. Instruments included are violin, viola, cello, and bass.

Required Textbooks:
•Teaching Strings. 2nd edition. Robert H. Klotman. Schirmer Books, 1996.
•Essential Elements Conductor’s Score Book I
•3-Ring Notebook and Dividers
•Membership in Milligan's chapter of MENC (Milligan students)

Learning Outcomes:
1. Identify and present rationale for public school string education
2. Demonstrate a beginning competence on upper and lower string instruments
3. Define string terminology
4. Demonstrate basic string playing techniques
5. Evaluate and select string orchestra literature
6. Demonstrate appropriate teaching strategies for string education
7. Compile a resource notebook for future reference

Evaluation:
•Attendance:
  •Students are expected to attend all classes and to be present for all exams. Students are allowed 1 absence for any reason. After 2 absences, the final grade will be lowered by half a letter grade for each unexcused absence. (Whether an absence is excused or unexcused is at the discretion of the professor.)
•Make-Up Policy
  •Quizzes and playing tests are part of the attendance grade and may not be made-up.
  •Additional make-up work may be given for absences.
•Due Dates
  •Written assignments are expected on the due date. The grade will be lowered by 1/2 letter for each class period late.
•Practice
  •Daily practice is an essential part of acquiring beginning competency in strings. A minimum of 2 hours of practice per week is required.

Final Evaluation:
50% = Daily Grades
Playing Tests = 50 points each
Written Assignments/Quizzes = 50 points each

50% = Exam Grades
Exams = 100 points each
Article Review = 100 points

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Assignment Guidelines

Article Reviews
•An article review should be completed for 5 separate articles relating to an aspect of string teaching. These articles must be from a scholarly journal such as American String Teacher or Music Educators Journal and be dated since 1996. Each review should be 2-3 pages and typed in the following format:
    Bibliographic Citation
    Summary of the Contents of the Article
    Personal Response to the Article (including response to its ideas and practicality for teaching)

Academic Honesty & Integrity
Students are expected to complete tests, quizzes, and assignments with academic integrity and honesty. This includes abstaining from cheating and plagiarism on all assignments. For more information, please see the Milligan College Student Handbook.

Plagiarism
As defined in The American Heritage College Dictionary (1997), to plagiarize is “to use and pass off as one’s own the ideas or writings of another.” This includes ideas that are printed in books, journals, electronic format, and on internet web pages. The undocumented use of another person’s intellectual property is strictly forbidden in academic and professional settings and is a criminal offense.

Research papers must contain proper documentation of all directly quoted material and paraphrased material as well. Directly quoted materials should be placed in quotation marks with a citation giving the author, date, and page number following or contained within the sentence. For paraphrased ideas and information, the sentence must contain an author and date citation. Failure to cite directly quoted or paraphrased material will constitute plagiarism, and the violator will be subject to failure for the assignment and possible failure for the course. These guidelines apply to all assignments in this course including research papers, article reviews, and film analyses.

Recital Attendance
For Milligan music majors and minor, failure to meet all recital attendance requirements will result in a half a letter grade (5 points) reduction in every music class final average for the semester.

Accommodations
Milligan College provides reasonable accommodations for students with disabilities. To receive accommodations, students must make a formal request according to the policy outlined on pages 28-29 of the current college catalog. Once your request has been evaluated, a list of accommodations will be prepared for distribution to your professors. If you have additional questions, please contact Traci Smith, director of disability services. You may contact her by phone (8981), email (tjsmith@milligan.edu) or appointment in the McMahan Student Center.

Other Required Materials:
•Baton (14-15 inches long)
•Metronome
•Folders w/Pockets
•Set of Colored Pencils
•Secure Digital Card

Course Content:
Unit 1 - Warm-ups/Posture/Baton
Unit 2 - Right Hand Technique
Unit 3 - Left Hand Technique
Unit 4 - Score Preparation
Unit 5 - Rehearsal Methods
Unit 6 - Instrumental Techniques & Style Periods
Unit 7 - Performances & Concert Programming
Unit 8 - Choral Techniques & Style Periods
Unit 9 - Conducting Practicum

Learning Outcomes:
1. Demonstrate proficiency in standard conducting techniques
2. Acquire fundamental score preparation skills
3. Demonstrate basic rehearsal techniques
4. Identify key factors in successful concert programming
5. Present image of professionalism and leadership required for successful conductors
6. Analyze own performances through observation and self-reflection and identify needed improvements
7. Describe how conducting is related to personal musicianship and teaching and how this combination will impact student's lifelong participation and learning in music

Assignments:
•Readings - Students are expected to read all assigned material before the specified class.
•Observations - Students are required to observe and document 3 different rehearsals: school, church, and professional. Students should submit a written summary of the rehearsal including descriptive details about the pieces, performers, rehearsal techniques, and conductor.
•Conducting Practicum - Students will rehearse the Milligan College Orchestra on a piece chosen by the professor. Students will have 20 minutes to work with the ensemble. Sessions will be videotaped and students must submit a written reflection within 5 days.
•Conducting Reflections - Periodically throughout the semester, students will have the opportunity to video themselves using the music department digital DVD recorder. (Students must supply their own SC cards for recording.) After taping and viewing the recording, students are to write a 2-page reflection/critique of their conducting. Both the DVD and the written reflection should be submitted on the assignment due date.

Evaluation:
•Attendance:  Students are expected to attend all classes and to be present for all exams. Students are allowed 2 absences for any reason. After 2 absences, the attendance grade will be lowered by 10 points for each absence. Each failure to bring a baton to class will result in a 10 point deduction from the attendance grade.
•Make-Up Policy:  Students may make-up any missed exams on the day of the final exam. Quizzes or in-class assignments may not be made-up.
•Due Dates: Written assignments are expected on the due date. The grade will be lowered by 10 points for each day late.
•Cell Phone Policy: Disruption in the learning process because of cell phones will not be tolerated. Cell phones must be turned completely off (not on vibrate) during the entire class time. If a cell phone rings or vibrates during class, that person will be counted absent for the day (10 point deduction in attendance grade).


50% = Daily Grades                                 50% = Test Grades
Quizzes = 50 points each                         Regular Exams = 100 points each
Written Assignments = 50 points each       Final Exam = 100 points
Score Preparations = 100 points each        Practicum = 100 points
Observations = 100 points (combined)      Attendance = 100 points

Grading Scale:
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Academic Honesty & Integrity:
Students are expected to complete tests, quizzes, and assignments with academic integrity and honesty. This includes abstaining from cheating and plagiarism on all assignments. For more information, please see the Milligan College Student Handbook.

Plagiarism:
As defined in The American Heritage College Dictionary (1997), to plagiarize is "to use and pass off as one's own the ideas or writings of another." This includes ideas that are printed in books, journals, electronic format, and on Internet web pages. The undocumented use of another person's intellectual property is strictly forbidden in academic and professional settings and is a criminal offense.

Research papers must contain proper documentation of all directly quoted material and paraphrased material as well. Directly quoted materials should be placed in quotation marks with a citation giving the author, date, and page number following or contained within the sentence. For paraphrased ideas and information, the sentence must contain an author and date citation. Failure to cite directly quoted or paraphrased material will constitute plagiarism, and the violator will be subject to failure for the assignment and possible failure for the course. These guidelines apply to all assignments in this course including research papers, article reviews, and film analyses.

Recital Attendance:
For Milligan music majors and minor, failure to meet all recital attendance requirements will result in a half a letter grade (5 points) reduction in every music class final average for the semester.

Accommodations:
Milligan College provides reasonable accommodations for students with disabilities. To receive accommodations, students must make a formal request according to the policy outlined on pages 28-29 of the current college catalog. Once your request has been evaluated, a list of accommodations will be prepared for distribution to your professors. If you have additional questions, please contact Traci Smith, director of disability services. You may contact her by phone (8981), email (tjsmith@milligan.edu) or appointment in the McMahan Student Center.

Additional Requirements and Policies:
This course follows the guidelines and regulations contained in the Milligan College Music Student Handbook 2008-2009. You may obtain a copy of this handbook from the music office.

MUSC 364   ADVANCED CONDUCTING  (ORCHESTRAL CONDUCTING)

Spring 2007• Credit Hours: 3
Scheduled Class Meetings: MWF 1:00-1:55 (April 2-April 27) • Instructor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu • Course Web Site: http://angel.milligan.edu • Office Hours: By appointment • Web Page: www.milligan.edu/music/kbrown


Required Materials:
•Baton
•Academic Festival Overture by Brahms - Full Score
•St. Paul’s Suite by Holst - Full Score  
•MLR Instrumental Score Reading Program Workbook
•Teaching Music with Passion: Conducting, Rehearsing and Inspiring (2002) by Boonshaft                         

Grading:
•Score Preparations/Conducting - 100 points each
•Score Reading Workbook – 100 points per level
•Practicum – 100 points
•Final Exam - 100 points 

Practicum:
Each student will conduct one movement of the St. Paul Suite with the Milligan College Orchestra. The available dates and times are April 18 and April 23, 4:30-6:00.  

Attendance & Due Date Policies:
Students are expected to be present for all classes and to submit their work on time. Failure to attend class and/or submit assignments in a timely manner may result in a reduction of the final grade.     

Cell Phone Policy:
Disruption in the learning process because of cell phones will not be tolerated. Cell phones must be turned completely off (not on vibrate) during the entire class time. If a cell phone rings or vibrates during class, that person will be counted absent for the day. 

Grading Scale:          
A: 93-100 A-: 90-92 B+: 88-89 B: 84-87 B-: 80-83 C+: 78-79 C: 74-77 C-: 70-73 D+: 69 D: 66-68 D-: 65 F: 0-64

Academic Honesty & Integrity:
Students are expected to complete tests, quizzes, and assignments with academic integrity and honesty. This includes abstaining from cheating and plagiarism on all assignments. For more information, please see the Milligan College Student Handbook. 

Plagiarism:
As defined in The American Heritage College Dictionary (1997), to plagiarize is “to use and pass off as one’s own the ideas or writings of another.” This includes ideas that are printed in books, journals, electronic format, and on Internet web pages. The undocumented use of another person’s intellectual property is strictly forbidden in academic and professional settings and is a criminal offense.

Research papers must contain proper documentation of all directly quoted material and paraphrased material as well. Directly quoted materials should be placed in quotation marks with a citation giving the author, date, and page number following or contained within the sentence. For paraphrased ideas and information, the sentence must contain an author and date citation. Failure to cite directly quoted or paraphrased material will constitute plagiarism, and the violator will be subject to failure for the assignment and possible failure for the course. These guidelines apply to all assignments in this course including research papers, article reviews, and film analyses. 

Recital Attendance:
For Milligan music majors and minor, failure to meet all recital attendance requirements will result in a half a letter grade (5 points) reduction in every music class final average for the semester. 

Accommodations:
Milligan College provides reasonable accommodations for students with disabilities.  To receive accommodations, students must make a formal request according to the policy outlined on pages 28-29 of the current college catalog. Once your request has been evaluated, a list of accommodations will be prepared for distribution to your professors.  If you have additional questions, please contact Traci Smith, director of disability services.  You may contact her by phone (8981), email (tjsmith@milligan.edu) or appointment in the McMahan Student Center. 

Additional Requirements and Policies:
This course follows the guidelines and regulations contained in the Milligan College Music Student Handbook 2006-2007.  You may obtain a copy of this handbook from the music office.

Assignment Schedule:
Date: 4-2
Topic: Introduction; Review of bowings and string techniques; Practice Exercises in the workbook; Listen to St. Paul’s Suite

Date: 4-4
Topic: St. Paul’s Suite – 1st mvt.
Assignments Due: Complete Score Prep for St. Paul’s Suite - 1st mvt; Reading: Forward, Preface, 1-28
Grade: Preliminary Conducting Grade on St. Paul’s Suite - 1st mvt.

Date: 4-11
Topic: St. Paul’s Suite – 1^st & 2nd mvts
Assignments Due: Reading pp. 29-88; Complete Score Prep for St. Paul’s Suite – 2nd mvt
Grade: Final Conducting Grade on St. Paul’s Suite – 1st mvt.; Preliminary Conducting Grade on St. Paul’s Suite – 2^nd mvt

Date: 4-13
Topic: St. Paul’s Suite – 2^nd & 3rd mvts
Assignments Due: Complete Score Prep for St. Paul’s Suite – 3rd mvt
Grade: Final Conducting Grade on St. Paul’s Suite – 2nd mvt.; Preliminary Conducting Grade on St. Paul’s Suite – 3rd mvt

Date: 4-16
Topic: St. Paul’s Suite – 3^rd & 4th mvts
Assignments Due: Reading pp. 89-156; Complete Score Prep for St. Paul’s Suite – 4th mvt
Grade: Final Conducting Grade on St. Paul’s Suite – 3rd mvt; Preliminary Conducting Grade on St. Paul’s Suite – 4th mvt.

Date: 4-18
Topic: Resources for string literature
Grade: Completion of all Level III Listening Exercises

Date: 4-20
Topic: Academic Festival Overture
Assignments Due: Complete Score Prep for the Academic Festival Overture

Date: 4-23
Topic: Academic Festival Overture
Assignments Due: Reading pp.157-Postlude
Grade: Preliminary Conducting Grade on Academic Festival Overture

Date: 4-25
Topic: Academic Festival Overture
Grade: Final Conducting Grade on Academic Festival Overture

Date: 4-27
Topic: Distribute & discuss Beethoven’s “Hallelujah” from Christ on the Mount of Olives
Assignments Dues: Complete score prep of Beethoven’s “Hallelujah” 

Final Exam: Tuesday, May 1@ 10:30-12:30 

*Final Exam:
The final exam will consist of a score selected by all 3 faculty members which will demonstrate the student’s knowledge and competency in choral and instrumental conducting. The student will be supplied with a recording for the purpose of preparation.

Students will sign-up for a time slot during the final exam and will conduct the final exam piece for all 3 faculty members. The exam grade will be the result of averaging the 3 faculty scores. 

Guidelines for Using the MLR Instrumental Score Reading Program
1.   Compact discs will be kept in the music computer lab. These CDs are not to be removed from that room.
2.   Use a pencil for marking answers; then a red pen for scoring each exercise after completing it.
3.   Keep answers covered up with a piece of paper during each exercise.
4.   Limit the number of times to play the excerpt to 5 times (3 is preferred).
5.   After completing each exercise, score it with a red pen and reflect on your strengths and weaknesses before moving on to the next exercise.
6.   On the due dates listed in your syllabus, please bring your completed and scored workbooks. These workbooks will be graded and returned to you the same day.
7.   Grading for each level will be based on the completion of the assigned exercises and evidence of improvement over time. 

Bibliography of Resources for Selecting String and Full Orchestral Music: 

Daniels, D. (2005). Orchestral music: A handbook. 4th edition. Lanham, MD: The Scarecrow Press.

Farish, M. K. (1979). Orchestral music in print. Philadelphia: Musicdata. (Supplements issued in 1983, 1984, & 1994)

Littrell, D. & Racin, L. R. (Ed.) (2001) Teaching music through performance in orchestra. Chicago: GIA Publications

Littrell, D. & Racin, L. R. (Ed.) (2003) Teaching music through performance in Orchestra, Vol 2. Chicago: GIA Publications

Klotman, R. H. (1996). Teaching strings. 2nd edition. New York: Schirmer Books.

Mayer, F. R. (Ed.) (1993). The string orchestra super list. Reston, VA: MENC.

Academic Honesty & Integrity
Students are expected to complete tests, quizzes, and assignments with academic integrity and honesty. This includes abstaining from cheating and plagiarism on all assignments. For more information, please see the Milligan College Student Handbook.

Plagiarism
As defined in The American Heritage College Dictionary (1997), to plagiarize is “to use and pass off as one’s own the ideas or writings of another.” This includes ideas that are printed in books, journals, electronic format, and on internet web pages. The undocumented use of another person’s intellectual property is strictly forbidden in academic and professional settings and is a criminal offense.

Research papers must contain proper documentation of all directly quoted material and paraphrased material as well. Directly quoted materials should be placed in quotation marks with a citation giving the author, date, and page number following or contained within the sentence. For paraphrased ideas and information, the sentence must contain an author and date citation. Failure to cite directly quoted or paraphrased material will constitute plagiarism, and the violator will be subject to failure for the assignment and possible failure for the course. These guidelines apply to all assignments in this course including research papers and film analyses.

Recital Attendance
For Milligan music majors and minor, failure to meet all recital attendance requirements will result in a half a letter grade (5 points) reduction in every music class final average for the semester.

Additional Requirements and Policies:
This course follows the guidelines and regulations contained in the Milligan College Music Student Handbook 2007-2008. You may obtain a copy of this handbook from the music office.

Accommodations
Milligan College provides reasonable accommodations for students with disabilities. To receive accommodations, students must make a formal request according to the policy outlined on pages 28-29 of the current college catalog. Once your request has been evaluated, a list of accommodations will be prepared for distribution to your professors. If you have additional questions, please contact Traci Smith, director of disability services. You may contact her by phone (8981), email (tjsmith@milligan.edu) or appointment in the McMahan Student Center.

Selected Bibliography of Music History Books in the Milligan College Library (Updated 1/2007) 

Ammer, C. (2001). Unsung: A History of Women in American Music. Portland, OR: Amadeus.

Aubrey, E. (2000). The Music of the Troubadours. Bloomington: Indiana University Press.

Balthazar, S. (2004). The Cambridge Companion to Verdi. New York: Cambridge Press.

Bayley, A. (2001). The Cambridge Companion to Bartok. New York: Cambridge Press.

Berger, M. (1991). Guide to Sonatas: Music for One or Two Instruments. New York: Anchor Books, 1991.

Block, A. (2000). Amy Beach, Passionate Victorian. New York: Oxford University Press.

Bloom, P. (2000). The Cambridge Companion to Berlioz. New York: Cambridge University
 Press.

Borroff, E. (2003). Music Melting Round: A History of Music in the United States. Scarecrow Press.

Bowen, J. (2003). The Cambridge Companion to Conducting. New York: Cambridge University Press.

Burkholder, J. P. (1995). All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven : Yale University Press.                                

Burrows, D. (1997). The Cambridge Companion to Handel. New York: Cambridge University Press

Burt, G. (1994). The Art of Film Music. Boston: Northeastern University.

Butt, J. (1997). The Cambridge Companion to Bach. New York: Cambridge University Press.

Butt, J. (1997). The Sacred Choral Music of J.S. Bach: A Handbook. Brewster, MA: Paraclete Press.

Butterfield, A. (2002). Poetry and Musical in Medieval France. New York: Cambridge University Press.

Cage, J. (1961). Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press.

Chailley, J. (1964) 40, 000 Years of Music. New York: Farra, Straus & Giroux.

Charlton, D. (2003). The Cambridge Companion to Grand Opera. New York: Cambridge University Press.

Clark, C. (2005). The Cambridge Companion to Haydn. New York: Cambridge Press.

Cooke, M. (1999). The Cambridge Companion to Benjamin Britten. New York: Cambridge University Press.

Cooke, M. (2005). The Cambridge Companion to 20^th Century Opera. New York: Cambridge Press.

Crawford, R. (2001). America’s Mus