Course Syllabi

MUSC 111 & 112   APPLIED VIOLIN & VIOLA (FALL 2009)
MUSC 118 - APPLIED BASS (SPRING 2006)
MUSC 141 - BASIC MUSIC READING SKILLS (FALL 2009)
MUSC 150   WORLD MUSIC (SPRING 2004)
MUSC 190   STRING ENSEMBLE (FALL 2003)
MUSC 192   ORCHESTRA (FALL 2009)
MUSC 196   STRING QUARTET (FALL 2006)
MUSC 255   INSTRUMENTAL TECHNIQUES (FALL 2009)
MUSC 365   MUSIC HISTORY SURVEY (SPRING 2009)
MUSC 436/EDUC 536   INSTRUMENTAL METHODS I (Strings) (FALL 2008)
MUSC 363   BASIC CONDUCTING (FALL 2008)
MUSC 364   ADVANCED CONDUCTING (ORCHESTRAL CONDUCTING) (SPRING 2009)
MUSC 367   MUSIC HISTORY I (FALL 2009)
MUSC 368   MUSIC HISTORY II (SPRING 2008)
MUSC 451/EDUC 534 CURRICULUM AND METHODS FOR ELEMENTARY MUSIC (FALL 2003)
MUSC 456   VIOLIN PEDAGOGY (SPRING 2005)
MUSC 457   APPLIED CONDUCTING (ORCHESTRAL) (SPRING 2009)
MUSC 450/EDUC 533 CURRICULUM AND METHODS FOR SECONDARY INSTRUMENTAL MUSIC (SPRING 2006)
 
MUSC 111/112 - Applied Violin/Viola

Milligan College • Fall 2009 • Professor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu • Web Page: www.milligan.edu/music/kbrown
Office Hours: By appointment

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

Course Description: Individual instruction in violin/viola which is open to all students. Offered every term. One semester hour (one hour lesson per week) for music majors whose principal area of concentration is violin/viola. One-half semester hour (one-half hour lesson per week) for all other students. Exceptions at the discretion of the instructor.

Student Learning Outcomes:
1. Demonstrate increasing proficiency in the performance of violin/viola techniques and repertoire
2. Experience a variety of violin/viola literature and relate that literature to period specific performance practices
3. Analyze own performance and prescribe appropriate improvement goals
4. Develop appropriate time management strategies related 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 (SLO: 1,2,3,4). Unexcused absences 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 (SLO: 1,2,3,4). Music majors, minors, and other selected students will also perform in student recital. The grade for the recital will count as a lesson grade (SLO: 1,2,3,4). 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 (SLO: 2).

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. Excused absences may be made-up through an additional lesson or assignment. Unexcused absences will not be made-up. The determination of what constitutes an excused or unexcused absence is at the discretion of the instructor.

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) = 10+ hours      All Others = 4+ hours

Applied Lesson Rubric 

 

Excellent

Fair

Poor

Practice Schedule

• Reached or surpassed stated practice goal  
(40 points)

• Almost reached stated practice goal   
(30 points)

• Little or no practice recorded     
(20 points)

Preparation/Progress

• Assignments performed at an exceptional level of improvement and up to your ability
• All assigned material covered
(40 points)

• Assignments performed at an average level of improvement
• Less than expected assigned material covered  
(30 points)

• Assignments performed at a poor level of improvement
 • Little or no assigned material covered  
(20 points)

Attitude

• Consistently exhibited a positive attitude toward performing and learning  
(20 points)

• Frequently exhibited a positive attitude toward performing and learning   (15 points)

• Frequently exhibited a negative attitude toward performing and learning   (10 points)



MUSC 118 - Applied Bass

Milligan College • Fall 2006 • Professor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu • Web Page: www.milligan.edu/music/kbrown
Office Hours: By appointment

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 

 

Exceptional

Acceptable

Unacceptable

Practice Schedule

• Reached or surpassed stated practice goal  
(40 points)

• Almost reached stated practice goal   
(30 points)

• Little or no practice recorded     
(20 points)

Preparation/Progress

• Assignments performed at an exceptional level of improvement and up to your ability                                                  • All assigned material covered                 
 (40 points)

• Assignments performed at an average level of improvement               
• Less than expected assigned material covered  
(30 points)

• Assignments performed at a poor level of improvement               
 • Little or no assigned material covered  
(20 points)

Attitude

• Consistently exhibited a positive attitude toward performing and learning  
(20 points)

• Frequently exhibited a positive attitude toward performing and learning   (15 points)

• Frequently exhibited a negative attitude toward performing and learning   (10 points)


MUSC 141 - Basic Music Reading Skills

Milligan College •Fall 2009 • Credit Hours: 3 • Time: MWF 9:05-10:00 • Location: Seeger Classroom
Director: Dr. Kellie D. Brown, Rick Simerly • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment• Web Page: www.milligan.edu/music/kbrown
•Course Web Site: http://angel.milligan.edu


Catalog Course Description:
A study of the basic fundamentals of music. 

Required Textbook:
White, Music First!, fifth edition; Levitin, This Is Your Brain on Music.

Other Required Material:
Number 2 pencils; red pencil or pen; staff paper; flash cards           

Course Content:

            Unit #1 – Basic Pitch and Rhythmic Notation
            Unit #2 – Simple and Compound Meter
            Unit #3 – Major & Minor Scales/Key
            Unit #4 – Basic Harmonic Structures
            Unit #5 – Harmonizing, Arranging, and Composing
            Unit #6 – Music and Culture           

Student Learning Outcomes:  Upon successful completion of this course, the student should be able to:
1.
      Improve ability to read music
2.
      Demonstrate a knowledge of basic music theory including key signatures, time signatures, notation, and scales
3.
      Identify aurally basic intervals and scales
4.
      Transpose music.
5.
      Provide a simple accompaniment to a melody
6.
      Compose original music
7.
      Connect the use and importance of music to society and our daily lives 

Assignments:
Reading: Required readings for class will come from the two textbooks. Students should take notes on readings to help improve comprehension and to use for test review. (SLO:1-7 )

Written Assignments:
Homework assignments based on the topics being covered will be assigned weekly. All assignments must be completed in pencil, not pen. (SLO: 1-7)
Final Project: The final assignment will be an original musical composition of at least 60 measures in length. It must be for keyboard, solo instrument or voice and piano, or a combination of instruments. Any style is acceptable. It will be performed in class on Wednesday, December 4. (SLO: 2 & 6)
Evaluation:

Attendance:
  Students are expected to attend all classes and to be present for all exams. Students are allowed 3 absences for any reason. After 3 absences, the final grade will be lowered by half a letter grade for each absence.
Make-Up Policy

Students may make-up any missed exams on the day of the final exam or by appointment.
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.
50% = Daily Grades
Homework/Written Assignments = 50 points each
50% = Exam Grades
Regular Exams = 100 points each
Final Exam = 100 points
Final Project = 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


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.

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.

Additional Requirements and Policies: 
This course follows the guidelines and regulations contained in the Milligan College Music Student Handbook 2009-2010.  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.


MUSC 150 - World Music

Spring 2004 • Credit Hours: 3
Professor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment
Course Web Site: http://courses.milligan.edu

Catalog Course Description: An introduction to music styles of the world through readings, discussion, listening to recorded examples, and exposure to performers and instruments of world cultures. Musical skill not required. Fulfills ethnic studies requirement in the core curriculum.

Textbooks:
Worlds of Music. Jeff Todd Titon. Thomson Learning, 2002.
Songcatcher. Sharyn McCrumb. E. P. Dutton, 2001.

Other Recommended Materials:
Journal
Movie Rentals: The Red Violin, Songcatcher, Swing Kids

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.



MUSC 190 • Beginning String Ensemble

Milligan College • Fall 2003 • Credit Hours: 0.5 • Time: TBA • Location: Lower Seeger
Director: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu•Web Page: www.milligan.edu/music/kbrown
Office Hours: By appointment

Required Materials:
1. Instrument and bow which are adequately maintained; Proper supplies
2. 1 inch black 3 ring binder
3. Appropriate concert attire:
    Men & Women: Black pants, black turtle neck, black socks and black dress shoes
4. Wire, folding music stand
5. Pencils

Course Description: Small ensemble open to all beginning string players. The ensemble will rehearse weekly and will present at least one performance per semester.

Course Objectives:
1. To develop increasing proficiency in individual instrument and ensemble performance
2. To experience a variety of string chamber literature and to relate that literature to period specific performance practices
3. To develop appropriate time budgeting strategies as specifically relate to practice and performance

Evaluation:
A grade will be given based on attendance, participation, and performance. Ensemble members are expected to attend all rehearsals and to spend an adequate amount of private practice on the repertoire to be performed. All Milligan and ETSU students must register for credit. The final grade will be calculated based on the following percentages:

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.



MUSC 192 - Orchestra

Milligan College •Fall 2009 • Credit Hours: 1 • Time: M&W 4:30 - 6:00 pm • Location: Lower Seeger
Director: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment• Web Page: www.milligan.edu/music/kbrown

Required Materials:
1. Instruments that are adequately maintained; Proper supplies; Pencils
2. Appropriate concert attire:
    Men: Black tuxedo coat and pants, black tie and cummerbund, standard white tux shirt, black socks and black dress shoes
    Women: Long black dress with medium or long sleeve, black hosiery, black shoes with closed toe
3.  Bach and Before by David Newell

Course Description: An auditioned orchestra that performs representative literature for both on campus performances.

Student Learning Outcomes:
1. Demonstrate increasing proficiency in the performance of the individual instrument
2. Refine the playing techniques and musicianship needed for ensemble performance
3. Experience a variety of orchestral literature and relate that literature to period-specific performance practices
4. Develop appropriate time management strategies related to practice and performance
5. Demonstrate professional attitude and behavior required of professional orchestral players

Evaluation:
A grade will be given based on attendance, participation, attitude, and performance. (SLO: 1-5)
Orchestra members are expected to attend all rehearsals and to spend an adequate amount of private practice on the repertoire. All Milligan and ETSU students must register for credit. Majors and minors will be required to attend all but one afternoon recital per semester. For Milligan music majors and minors, 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. (SLO: 1)

Points Earned: 45 for Rehearsals, 45 for Performances, 10 for Attitude/Participation

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 by 5 points for each unexcused absence and 10 points for a missed performance.

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.



MUSC 196 - String Quartet

Milligan College • Fall 2006 • Credit Hours: 0.5

Director: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment•  Web Page: www.milligan.edu/music/kbrown

Required Materials:
1. Instrument and bow which are adequately maintained; Proper supplies; Pencils
2. Appropriate concert attire:
    Formal Men: Black tuxedo coat and pants, black tie and cummerbund, standard white tux shirt, black socks and black dress shoes
    Formal Women: Long black dress with medium or long sleeve, black hosiery, black shoes with closed toe
    Informal Men & Women: Black pants, black turtle neck, black socks, & black shoes
3. Wire, folding music stand

Course Description: Small chamber ensemble open to all string players by audition. The ensemble will rehearse weekly and will perform at various events and for at least one student recital.

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

Evaluation:
A grade will be given based on attendance, participation, and performance. Orchestra members are expected to attend all rehearsals and to spend an adequate amount of private practice on the repertoire to be performed. All Milligan and ETSU students must register for credit. Majors and minors will be required to attend all but one afternoon recital per semester.

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.



MUSC 255 - Intro to Instrumental Techniques (Strings)

Milligan College •Fall 2009 • Credit Hours: 3 • Time: M&W 10:10-11:05 • Location: TBA
Director: Dr. Kellie D. Brown, Rick Simerly • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment• Web Page: www.milligan.edu/music/kbrown
•Course Web Site: http://angel.milligan.edu

Course Description: The structure, use, techniques of playing, and care of the principal instruments in school instrumental organizations. Emphasis is on techniques necessary for basic understanding of the instruments. This course is for music education majors whose emphasis is vocal.

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

Student Learning Outcomes:
1. Through discussion, writing and examination, the student will demonstrate an understanding of the basic techniques and terminology of brass, woodwind, percussion, and string instruments.
2. Through discussion, writing and examination, the student will develop a basic understanding of the different characteristics of brass, woodwind, percussion, and string instruments.
3. Through discussion, writing and examination, the student will
demonstrate a thorough knowledge of the differences in correct playing possitions, tone production, assembly, cleaning, characteristic sound, and general care of brass, woodwind, percussion, and string instruments.
4.  The student will compile a resource notebook for future reference.

Course Requirements: Students will have designated reading assignments from the textbook. Classes will be conducted with a "hands-on" approach utilizing brass, woodwind, percussion, and string instruments. Instruments will be demonstrated in class, and students will produce a sound on specific wind instruments and designated percussion instruments. Students will also demonstrate beginning competency with one upper and one lower string instrument. Troubleshooting or diagnosis of common problems that students might encounter with each instrument is an integral part of the class. In addition to major exams, written assignments and playing tests will also be given. Test dates and topics are listed in the course outline but may be changed at the discretion of the instructor, depending upon the amount of material covered or days missed.   

Grading Policy:
The string portion of this class will be graded as follows:
Major tests - 100 points each (SLO: 1-3)
Playing Tests = 50 points each (SLO: 1,3)
Written Assignments = 50 points each (SLO: 1-4)

The brass, woodwind and percussion portion of this class will be graded as follows:
Five major tests will be administered. Two tests on the brass family, two tests on the woodwind family, and one test on the percussion family. These five tests will account for 70% of the final grade. A final, comprehensive exam covering all three instrument families will account for 30% of the final grade. (SLO: 1-3)

The string final average will account for 25% of the Intro to Instrumental Techniques grade and the brass, woodwind, and percussion final average will account for 75% of the Intro to Instrumental Techniques grade.

Attendance Policy: Class Attendance is extremely important and will affect the final grade! Two excused absences are allowed. However, when a class session is missed, important material and information, pertinent to the exams, are also missed. Each additional unexcused absence will lower the final average by 2.5 points. Students are allowed to be tardy twice. Each additional tardy will lower the final grade by 1 point. (Tardy is defined as entering the classroom after the instructor has started class.) Excused absences are at the discretion of the instructor.

Final Exam: A take-home final will be administered to each student. All finals are due (in my hands) on or before Thursday, December 10, 2009 at 10:00 a.m. (the designated final exam time for this class). Failure to turn in the test by this time will result in a final exam grade of zero. (SLO: 1-3)

Office Hours: Posted on office doors and available by appointment.

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.

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.

Schedule
Aug. 19          -           Issue violins, Introduction to instrument and basics
Aug. 24          -           Continuation of beginning string basics
                                    Assignments Due: Reading pp. 330-351
Aug. 26          -           Tuning, Marking Bowings
                                    Assignments Due: Playing Test; Reading pp. 353-366           
Aug. 31          -           Various Bowing Techniques
Sept. 2            -           Advanced Techniques (Harmonics, Shifting, Positions, Vibrato); The Viola
                                    Assignments Due: Playing Test; Reading pp. 367-375
Sept. 7            -           Issue cellos, Introduction to instrument and basics
                                    Assignments Due: Reflection on Music of the Heart; Reading pp. 376-389
Sept. 9            -           Tuning; Various Bowing Techniques
                                    Assignments Due: Playing Test
Sept. 14         -           Advanced Techniques (Harmonics, Shifting, Positions, Vibrato); The Bass
                                    Assignments Due: Playing Test; Reading pp. 390-399

Sept. 16         -           Introduction/syllabus/assign reading (chap. 13);
                                    String Take Home Exam due by 1 pm
Sept. 21         -           Discuss Principles of Brass Playing
                                    Assign French horn (chap. 15)
Sept. 23         -           Discuss French horn/examine & play/troubleshooting
                                    Assign trumpet (chap. 14)
Sept. 28         -           Discuss trumpet/examine & play/troubleshooting
                                    Assign trombone (chap. 16)
Oct. 1              -           Fall Break
Oct. 5              -           *TEST* on French horn & trumpet
                                    Discuss trombone/examine & play/troubleshooting
                                    Assign baritone (chap. 16)
Oct. 7              -           Discuss baritone/examine & play/troubleshooting
                                    Assign tuba (chap. 17)
Oct. 12            -           Discuss tuba/examine & play/
                                    Assign Principles of Woodwinds (chap. 7)
Oct. 14            -           *TEST* on trombone, baritone, & tuba
                                    Discuss chapter 7
                                    Assign flute (chap. 8)
Oct. 19            -           Discuss flute/examine & play/troubleshooting
                                    Assign clarinet (Chap. 10)
Oct. 21            -           Peter and the Wolf – Seeger Chapel
Oct. 26            -           Discuss clarinet/examine & play/troubleshooting
                                    Review for test
Oct. 28            -           *TEST* on flute and clarinet
                                    Assign saxophone (chap. 12)
Nov. 2             -           Discuss saxophone/examine & play/troubleshooting
                                    Assign oboe (chap. 9)
Nov. 4             -           Discuss oboe/troubleshooting
                                    Assign bassoon (chap. 11)
Nov. 9             -           Discuss bassoon/troubleshooting           
Nov. 11          -           *TEST* on saxophone, oboe, bassoon
Nov. 16          -           Drum sticks/hand position/snare drum/trap set
                                    Discuss and play/troubleshooting (chap. 18)
Nov. 18          -           Bass drums/timpani/auxiliary percussion (chap. 18)
Nov. 23          -           Mallet instruments (chap. 18)/Marching percussion (chap. 18)
Nov. 25          -           THANKSGIVING HOLIDAY
Nov. 30          -           THANKSGIVING HOLIDAY
Dec. 2             -           *TEST* on percussion

Final Exam – Thursday, December 10, 2009 – 8:00 a.m.


MUSC 365   MUSIC HISTORY SURVEY

Spring 2009 • 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. 5th 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 Outcomes:
1. Distinguish the basic style elements of music and to identify and describe these elements in an aural experience and through score analysis
2. Explore the relationships between historical events and musical evolutions
3. Identify aurally musical characteristics that correspond to specific time periods and/or composers
4. Compile a reference notebook for musical styles and periods
5. Synthesize stylistic elements, historical periods, and representative composers and musicians into a deeper understanding of the overall progression of western music
6. Apply appropriate stylistic traits into applied and ensemble performance
7. Demonstrate proficiency in using technology as a means to research and study

Course Requirements:
Reading:
• Required readings for class will come from textbooks and handouts. Students should take notes on readings to help improve comprehension.
Quizzes:
• Quizzes will be given during class on assigned readings. Any notes taken on the reading may be used.
Listening:
• Listening projects for each period will be from the companion CDs.
Research Paper & Presentaion:
•10-page typed paper on the life and work of a famous composer (must use at least 5 print sources dated since 1990); 1st draft will be two weeks before final draft; students will read final draft to the class as an oral presentation
Film Analysis:
• Students will be required to watch films related to the particular period being studied and to complete a written or group discussion assignment for each.
     Elizabeth
     The Red Violin
     Amadeus
     The Pianist
Book Review:
• Students will be required to complete a 6- page typed review of a book dealing with some aspect of music history. Book must be pre-approved by professor.

Evaluation:
Daily Grades: 50%
• Listening Assignments = 100 points each
• Quizzes = 50 points each
• Film Reflection Papers = 50 points each
Exam Grades: 50%
• Research Paper = 100 points
• Book Review - 100 points
• 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.

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

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.

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.

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.


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.



MUSC 363 - Basic Conducting


Fall 2008 • Credit Hours: 3 • Scheduled Class Meetings: TR 9:30 am
Professor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment
Course Web Site:  http://angel.milligan.edu

Course Description: A survey of conducting techniques and elements of interpretation

Textbooks:

Conducting: A Hands-On Approach.
2nd ed. Anthony Maiello. Belwin,1996.
Essential Dictionary of Music. Lindsey C. Harnsberger. Alfred Publishing, 1997

Dover Scores (Mozart’s Symphonies Nos. 40-41, Mozart’s Requiem, Handel’s Messiah, Beethoven’s Egmont Overture, Grieg's Peer Gynt Suites 1 & 2)

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 2009• Credit Hours: 3
Scheduled Class Meetings: TR 2:10-3:30 (April 9-April 30) • 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

Course Description: Advanced Conducting techniques, including problems of tone, balance, and interpretation. Prerequisite: MUSC 363—Basic Conducting.

Required Materials:
Baton (14-15 inches long)
Choral Scores (See Choral Course Addendum)
Band and Orchestra Scores (See Instrumental Course Addenda)
MLR Choral Score Reading Program Workbook
MLR Instrumental Score Reading Program Workbook
The Conductor as Leader (2007) by Ramona Wis

Learning Outcomes:
1.    Demonstrate proficiency in standard conducting techniques
2.    Acquire fundamental score preparation skills
3.    Demonstrate basic rehearsal techniques
4.    Acquire knowledge of standard choral, band, and orchestra repertoire
5.    Identify sources for the purchase and rental of repertoire
6.    Demonstrate proficiency in error detection in both choral and instrumental performance
7.    Present image of professionalism and leadership required for successful conductors

Grading: The final grade for this course will be an average of the two final grades from the choral and instrumental portions, with the final exam counting 15% of the final grade.

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. See course addenda for additional policies.

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

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. 

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 367 - Music History and Literature I

Fall 2009• Credit Hours: 3
Scheduled Class Meetings: TR 9:30-10:50 • Instructor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment• Web Page: www.milligan.edu/music/kbrown

Catalog Course Description: A survey of the development of Western music from antiquity to the Baroque period, citing major composers and forms of each style period.

Textbooks:
Wright, Craig. (2010). Music in Western Civilization, Media Update ed.

Other Recommended Materials:
2 Three-ring binder, at least two inches in width for handouts and notes and for paper
Pack of notebook dividers & pack of 3x5 index cards

Reference Material:
Scores and recordings on reserve in the keyboard lab.

Course Content:
Unit #1 - Elements of Style
Unit #2 - Music in Antiquity
Unit #3 - Music in the Middle Ages
Unit #4 - Music in the Renaissance Period
Unit #5 - Music in the Baroque Period

Student Learning Outcomes: Upon successful completion of this course, the student should be able to:
1. Distinguish the basic style elements of music and to identify and describe these elements in an aural experience and through score analysis
2. Explore the relationships between historical events and musical evolutions
3. Identify aurally musical characteristics which correspond to specific time periods and/or composers
4. Compile a reference notebook for musical styles and periods
5. Synthesize stylistic elements, historical periods, and representative composers and musicians into a deeper understanding of the overall progression of western music
6. Apply appropriate stylistic traits into applied and ensemble performance
7. 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. (SLO: 1,2,4,5)
•Quizzes:
Quizzes will be given during class on assigned readings. Any notes taken on the reading may be used. (SLO: 1,2,3,5)
•Listening:
Listening projects for each period will be from the CDs and scores on reserve in the keyboard lab. (SLO: 1,3,6,7)
•Concert Attendance:
Attendance at the following concerts/events is required. (SLO: 1,3,5,6)
Peter and the Wolf, Oct. 21 @ 10 am - Seeger Chapel - $free
• Milligan Orchestra Concert, Nov. 6 @ 7:30 pm - Seeger Chapel - $free
• Voices of the Mountains Renaissance Concert, Nov. 7 @ 8 pm - Renaissance Center Auditorium (Kingsport) - $10
•Research Paper & Presentation:
10-page typed paper on the life and work of a famous composer (must use at least 5 book sources and 2 articles dated since 1990, also a discography of 5 pieces with listening assignment); 1st draft will be two weeks before final draft; 2-page abstract will also be required and will be read to the class (SLO: 1-7)
•Film Analysis:
Students will be required to watch films related to the particular period being studied and to complete a film analysis sheet for each. (SLO: 2,3)
Elizabeth
The Red Violin
• Book Review:
Students will be required to complete an 6-page typed review of a book dealing with some aspect of music history. Book must be pre-approved by professor. (SLO: 2,5)
• Field Experience:
Students will attend as a class 1 service at St. Mary's Catholic Church and 1 service at St. John's Episcopal. (SLO: 1,2,3)
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.
•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 a 1/2 letter for each class period late.

50% = Daily Grades
Quizzes = 50 points each
Film Analysis = 50 points each
Listening Projects = 100 points each
Concert & Church Attendance = 50 points each

50% = Exam Grades
Regular Exams = 100 points each
Final Exam = 100 points
Research Paper & Presentation = 100 points
Book 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

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. 

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.



MUSC 368 - Music History and Literature II

Spring 2008 • Credit Hours: 3
Scheduled Class Meetings: TR 9:30
Instructor: Dr. Kellie D. Brown • 461-8978 • kbrown@milligan.edu
Office Hours: By appointment• Web page: www.milligan.edu/music/kbrown
Course Web Site: http://angel.milligan.edu

Catalog Course Description: A survey of the development of Western music from the Pre-Classical period through the Twentieth Century, citing major composers and forms of each style period.

Textbooks:
Bonds, Mark. A History of Music in Western Culture, 2nd ed.

Other Recommended Materials:
Three-ring binder, at least two inches in width for handouts and notes
Three-ring binder, one inch, for research paper
Pack of notebook dividers & pack of 3x5 index cards

Reference Material:
Scores and recordings on reserve in the keyboard lab.

Course Content:
Unit #1 - Music in the Pre-Classical Period
Unit #2 - Music in the Classical Period
Unit #3 - Music in the Romantic Period
Unit #4 - Music in the Twentieth Century

Course Objectives: Upon successful completion of this course, the student should be able to:
1. Distinguish the basic style elements of music and to identify and describe these elements in an aural experience and through score analysis
2. Explore the relationships between historical events and musical evolutions
3. Identify aurally musical characteristics which correspond to specific time periods and/or composers
4. Compile a reference notebook for musical styles and periods
5. Synthesize stylistic elements, historical periods, and representative composers and musicians into a deeper understanding of the overall progression of western music
6. Apply appropriate stylistic traits into applied and ensemble performance
7. 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:
Quizzes will be given during class on assigned readings. Any notes taken on the reading may be used.
•Listening:
Listening projects for each period will be from the CDs and scores on reserve in the keyboard lab.
•Concert Attendance:
Attendance at the following concerts/events is required
Artistic Reflections - Feb. 10 @ 3 pm, First Presbyterian Church, Bristol ($5 student)
The Tenderland (opera), April 3 @ 7:30 pm - ETSU ($5 student: 439-4276)
Symphony of the Mountains, April 5 @ 8 pm - Eastman Auditorium
•Research Papers & Presentations:
10-page typed paper on the life and work of a famous composer (must use at least 5 print sources dated since 1990) and an engaging 10-15 minute oral presentation
•Film Analysis:
Students will be required to watch films related to the particular period being studied and to complete a written or group discussion assignment for each.
     Amadeus
     The Pianist
     The Hours
•Book Review:
Students will be required to complete a 6-page typed review of a book dealing with some aspect of music history. Book must be pre-approved by professor.

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.
•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 1/2 letter for each class period late.

50% = Daily Grades
Quizzes = 50 points each
Film Analysis = 50 points each
Listening Projects = 100 points each
Concert & Church Attendance = 50 points each

50% = Exam Grades
Regular Exams = 100 points each
Final Exam = 100 points
Research Paper & Presentation = 100 points
Book 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

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.

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 minors, 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 1/2008) 

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 20th Century Opera. New York: Cambridge Press.

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

Crist, E. (2005). Music for the Common Man: Aaron Copland During the Depression and War. New York: Oxford University Press.

Cross, J. (2003). The Cambridge Companion to Stravinsky. ebook

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.

Everett, P. (2002). The Cambridge Companion to the Musical. New York: Cambridge Press.

Falconer-Salkeld, B. (2005). The MacDowell Colony: A Musical History of American’s Premier Artist’s Community. Lanham, MD: Scarecrow Press.

Fletcher, P. (2004). World Musics in Context: A Comprehensive Survey of the World’s Major Musical Cultures. New York: Oxford University.

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

Gaines, J. (2006). Evening in the Palace of Reason: Bach Meets Fredrick the Great in the Age of Enlightenment. New York: Harper.

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

Gammond, P. (1989). The Harmony Illustrated Encyclopedia of Classical Music. New York: Harmony 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

Grimley, D. (2004). The Cambridge Companion to Sibelius. New York: Cambridge Press.

Grimley, D. (2004). The Cambridge Companion to Elgar. New York: Cambridge Press.

Grove Dictionary of Music. Online Database.

Hamilton, K. (2005). The Cambridge Companion to Liszt. New York: Cambridge Press.

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.

Johnson, T. A. (2004). Baseball and the Music of Charles Ives; A Proving Ground. Lanham, MD: Saorecrow Press.

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. (2005). The Cambridge Companion to the Concerto. New York: Cambridge 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.

Kramer, L. (2002). Music Meaning: Toward a Critical History. Berkley, University of CA.

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.

Livingston, C. (2003). Charles Faulkner Bryan: His Life and Music. Knoxville: University of TN 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.

Mawer, D. (2000). The Cambridge Companion to Ravel. Cambridge University Press.

Mercer-Taylor, P. (2004). The Cambridge Companion to Mendelssohn. New York: Cambridge Press.

Miller, H. (1991). An Introduction to Music. New York: Harper.

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.

New Oxford History of Music. (1990)

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.

Parsons, J. (2004). The Cambridge Companion to the Lied. Cambridge University Press.

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.

Perrey, B. (2007). Cambridge Companion to Schumann. Cambridge: Cambridge University Press.

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.

Reck, D. (1997). Music of the Whole Earth. New York: Da Capo Press.

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.

Senici, E. (2004). The Cambridge Companion to Rossini. New York: Cambridge Press.

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.

Stanley, J. (1994). Classical Music: An Introduction to the Great Composers & Their Works. Pleasantville: Readers Digest.

Starer, R. (1987). Continuo: A Life in Music. New York: Random House.

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.

Trezise, S. (2003) The Cambridge Companion to Debussy. ebook

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.

Williamson, J. The Cambridge Companion to Bruckner. New York: Cambridge Press.

Wilson, C. (2005). Notes on Bach: 20 Crucial Works. Grand Rapids: Eerdmans.

Wilson, C. (2005). Notes on Brahms: 20 Crucial Works. Grand Rapids: Eerdmans.

Wilson, C. (2005). Notes on Mozart: 20 Crucial Works. Grand Rapids: Eerdmans.

Wilson, C. (2005). Notes on Schubertt: 20 Crucial Works. Grand Rapids: Eerdmans.

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 451/EDUC 534 -  CURRICULUM AND METHODS FOR ELEMENTARY MUSIC

Fall 2003 • Credit Hours: 3
Location: Seeger Room 200 • Meeting Time: MWF 9:05-10:00 am
Professor: Dr. Kellie D. Brown • 461-8978 (Office) • kbrown@milligan.edu • www.milligan.edu/music/kbrown
Office Hours: By Appointment

Course Web Site: http://courses.milligan.edu

Course Description: 
        A study of methods and materials of teaching music to children including studies of the child's musical development (K-6).

Required Materials:
Campbell, P. S. & Scott-Kassner, C. (2002). Music in Childhood: From Preschool through the       Elementary Grades. 2nd ed. Belmont, CA: Wadsworth.
Soprano Recorder with Baroque Fingering
Sweet Pipes Recorder Method Book I (Soprano) by Burakoff  (www.sweetpipes.com)
Journal
3-Ring Binder (at least 2”)

Course Content:
        Unit 1 - Music and Children
        Unit 2 - Theories of Music Education
        Unit 3 - Methods of Music Education
        Unit 4 - Musical Elements in Music Education
        Unit 5 - Singing, Moving, Listening, & Creating
        Unit 6 - Playing Musical Instruments      
        Unit 7 - Curriculum Design & Technology
        Unit 8 - Motivation & Management
        Unit 9 - Assessment and Evaluation
        Unit 10 - Multicultural Music Education
        Unit 11 - Music Education for Exceptional Children
        Unit 12 - Music in an Integrated Curriculum

Course Objectives:
        1. To compile a resource notebook for future teaching needs
        2. To become familiar with the models, methods, and theories of elementary music education
        3. To develop an understanding of the musical development of children
        4. To explore practical means of integrating music into the early childhood/elementary curriculum
        5. To develop a deeper understanding of the role of music in children’s lives
        6. To practice using proper research procedures and tools
        7. To develop greater ease and proficiency in lesson plan writing, curricular design, and evaluation
        8. To develop proficiency on classroom instruments
        9. To become familiar with software and other technology for music education
        10. To become familiar with a variety of texts and method books for elementary music classrooms

Course Requirements:
        •9 Lesson plans with an accompanying oral presentations 
        •8 Field Observations & Accompanying Journal
        •Resource Notebook
        •Recorder Proficiency
        •5 Article Reviews
        •8 Software Reviews
        •Weekly Readings and Online Quizzes

 Evaluation:
        Resource Notebook = 100 points
        Lesson Plans & Presentations = 100 points each (75 for written, 25 for presentation)
        Journal = 100 points
        Quizzes = 50 points each
        Final Exam = 100 points
        Playing Tests = 50 points each
        Article Reviews = 100 points
        Technology Reviews = 100 points

Attendance:  
•Students are expected to attend all classes and to be present for all class activities. Students are allowed 3 absences for any reason. After 3 absences, the final grade will be lowered by half a letter grade for each absence.
•Students who miss more than 9 classes will receive an “F” for their course grade. 

Make-Up Policy
•Students must make arrangements with the professor to make-up any missed presentations. Online quizzes may not be made up.

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

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       

Lesson Plans and Presentations
A total of 8 lesson plans corresponding to specific topics being studied will be due throughout the semester. All lessons plans should be typed, stapled, and organized according to the state guidelines (See Handout). Copies for each classmate as well as the teacher should be distributed at the beginning of the presentation.

Lesson plans are to be creative ideas about the topic being studied that are of your own thinking. After the initial idea/concept is formulated, then you may use research tools such as the internet, books, articles, etc. to find supplemental materials for your plan. All ideas that are derived from these research tools must be properly cited in the lesson plan, and copies or print-outs of the pages from where they are taken must be stapled to the back of the lesson plan. Lesson plans which are taken from internet lesson plan sites will not be accepted.

The presentation of the lesson plan should be 8-10 minutes. During this presentation, you should go through each section of your lesson plan, describing it and explaining the hows and whys. You should also bring supporting materials (books, recordings, videos, etc.) that will enhance the interest of the presentation and provide stimulation for future project ideas.

Field Observations & Journal
Between September 22 and November 21, students should make 8 field observations in various elementary classrooms and grades. A list of schools and music teachers will be provided for scheduling these field experiences. As permitted by the music teachers, students will actively engage in the activities in the classroom, including some teaching. A record of the field experience should be documented in your journal including the following information:
        Date
        School
        Grade
        Music Teacher
        Topic(s)
        Activities
        Classroom Management
        Elementary Student’s Reactions
        Your Level of Participation
        Your Overall Response/Reaction

Resource Notebook
The resource notebook is a collection of all of the materials from the class preserved in a well-organized 3-ring binder for future use.

The notebook should be divided into the following sections:
         I. Classroom Notes & Handouts
        II. Lesson Plans
        III. Supplemental Materials
        IV. Graded Assignments

Software Reviews
Students will need to locate on the internet 8 music education software products that are applicable to elementary aged children and that have free downloads, demos, or tutorials. (Examples Music Ace; Music Lessons) For each product, work through the tutorial or the demo to gain an understanding of how the software works and what its goals are. A typed review (2-3 pages) should be submitted for each software product. These reviews must be stapled or submitted in a folder. The review should contain the following information:
        Name of Product
        Target Age
        System Requirements
        Price
        Musical Skills Addressed
        User Friendliness
        Your Reaction/Rating to Its Quality, Usefulness and Practicality

Article Reviews
An article review should be completed for 5 separate articles relating to some aspect of elementary music teaching. These articles must be from a scholarly journal such as Teaching Music or Music Educators Journal and be dated since 1990. Reviews should be stapled together or submitted in a folder. 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 Integrity
Students are expected to abide by the principle of academic integrity in every assignment, test, and activity of this course. Students who commit academic dishonesty (cheating or plagiarism) will be subject to failure for the assignment and/or failure for the course.

Plagiarism is the act of using or passing off as one’s own the ideas or writings of another. Ideas and words are the intellectual property of the author and cannot be used without the proper citation. This applies to internet sources as well as books, articles, and other writings.



MUSC 456-002 -  VIOLIN PEDAGOGY

Spring 2005 • Credit Hours: 2
Location: Seeger Room 200 • Meeting Time: Tuesdays 3:20-5:10 pm
Professor: Dr. Kellie D. Brown • 461-8978 (Office) • kbrown@milligan.edu
Office Hours: By Appointment

Course Web Site: http://courses.milligan.edu

Course Description:
This course is designed to acquaint students with many aspects of the violin including its origin and development, literature, playing techniques and styles, and pedagogical techniques.

Required Textbook:
Stowell, R. (1994). The Cambridge Companion to the Violin. New York: Cambridge University Press.

Additional Readings:
Additional reading assignments will be required from books on reserve in the Milligan College library.

Other Required Materials:
•Violin and bow which are properly maintained.
•Blank writable CD-Rom

Course Content:
Unit 1 - History & Development of the Violin & Bow
Unit 2 - Left Hand Techniques
Unit 3 - Right Hand Techniques
Unit 4 - Pedagogical Techniques, Philosophies, & Literature
Unit 5 - Violin Solo Literature
Unit 6 - Famous Violinists
Unit 7 - Psychology of Violin Playing
Unit 8 - Violin & Technology
Unit 9 - Violin in World & Popular Culture

Course Objectives:
1. To trace the development of the violin from its earliest time to the present
2. To become familiar with the important literature written from the violin from the Baroque period to the present
3. To develop an understanding of various playing techniques
4. To compare and contrast various pedagogical philosophies and techniques
5. To research important violin performers and teachers from the Baroque to the present
6. To demonstrate basic teaching skills and knowledge
7. To explore the violin's role in modern society, including technology and various media

Course Requirements:
•Reading assignments in the textbook and in supplemental materials should be completed by the due date. Students will be required   to complete an on-line quiz for each reading assignment, prior to attending class.
•Practicum: Weekly teaching of a beginning students (no previous experience); Maintain a teaching log/journal
•2 Listening Assignments
•Attendance at the following concerts/events is required
•Symphony of the Mountains - Saturday, January 22 @ 8:00 pm at the Toy F. Reid Center
An Evening with Madame F - Tuesday, February 1 @ 7:30 pm in Seeger Chapel
•Celtic Music Workshop - Saturday, February 12 @ 10:00 am in Seeger Chapel
•Natalie MacMaster at ASU - Wednesday, March 2 @ 8:00 pm ($8 for students; $16 for adults)
•Attendance is optional, but strongly recommended
•Bow Fire - PEACE Center in Greenville, SC - Thursday, March 31 @ 7:30 pm ($25, $30, $35)
•8-page typed paper on the life and work of a famous violinist (must use at least 3 print sources) and an engaging 10-15 minute oral presentation
•2 Article reviews from Strings magazine; 2 Article reviews for American String Teacher
•Written reaction (2-3 typed pages) of two films: Music of the Heart and The Red Violin.
•Final Project: Book review (3-5 typed pages) and oral presentation of a fictional novel in which the violin is central to the plot; Book must be pre-approved by professor.

Evaluation:
Listening Assignments = 50 points each
Quizzes = 50 points each
Concert/Event Attendances = 100 points each
Film Reaction Papers = 50 points each
Article Reviews = 50 points each
Final Project = 100 points

Attendance:
•Students are expected to attend all classes and to be present for all exams. Students are allowed 1 absence for any reason. After 1   absence, the final grade will be lowered by half a letter grade for each absence.
•Students who miss more than 3 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.
•On-line 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 1/2 letter for each class period late.

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


Course Schedule

Date:  1/18
Topic:  Introduction
Date:  1/25
Topic:  History and Development of the Violin & Bow
Assignments Due:  Reading pp. 1-29; Film Reaction for The Red Violin
Date:  2/1
Topic:  Intro to Violin Pedagogy; Basic Set Up and Posture
Assignments Due:  Handout and pp. 1-47 in A Comparison of the Violin Playing Techniques of Kato Havas, Paul Rolland, and Shinichi Suzuki;
Date:  2/8
Topic:  Teaching Left Hand Techniques
Assignments Due:  Principles of Violin Playing & Teaching (Galamian) pp. 12-43;
Date:  2/15
 Topic:  Teaching Right Hand Techniques; Marking Bowings
Assignments Due:  Principles of Violin Playing & Teaching (Galamian) pp. 44-92
Date:  2/22
Topic:  Advanced Pedagogical Topics, Advanced & Contemporary Playing Techniques, & Pedagogical Literature
Assignments Due:  Film Reaction to Music of the Heart; Reading pp. 224-233
Date:  3/1
Topic:  Violin Literature of the Baroque & Classical Periods
Assignments Due:  Reading pp. 148-155; 168-176; 194-196; 201; 210-218; Article            Reviews #1 & 2
Date:  3/15
Topic:  Violin Literature of the Romantic & 20th Century Periods
Assignments Due:  Reading pp. 143-147; 155-167; 181-193; 196-209; 219-223; Listening Assignment #1
Date:  3/22
Topic:  Famous Violinists
Assignments Due:  Reading pp. 46-91; Listening Assignment #2; Presentations
Date:  3/29
Topic:  Famous Violinists (Presentations continued)
Date:  4/5
Topic:  Famous Violinists; Holocaust
Date:  4/12
Topic:  Psychology of Violin Playing (Practicing; Stage Fright, Alexander Technique, etc.)
Assignments Due: Reading: Handouts; Article Reviews #3 & 4
Date: 4/19
Topic:  Violin & Technology
Assignments Due:  List of 5 Internet web sites in the following categories (violin history, violin literature, violin pedagogy, & famous violinists)
Date:  4/26
Topic:  Violin in World & Popular Culture
Assignments Due: Reading pp. 234-248; Teaching Journal
Date: Final Exam  
Topic:  Final Presentations & Paper

Bibliography of Sources in the Milligan College Library 

Agus, A. (2001). Heiftz as I knew him. Portland, OR: Amadeus Press

Ammer, C. (2001). Unsung: A history of women in American music. Portland, OR: Amadeus. ML82 .A45 2001  

Auer, L. (1980). Violin playing as I teach it. New York, NY: Dover. MT260 .A83 1980

Bachmann, A. (1975). An encyclopedia of the violin. New York: Da Capo Press. ML800 .B13 1966

Beament, J. (2000). The violin explained: Components, mechanism, and sound. New York: Oxford University Press. ML802 .B25 2000

Berman, J. (1999). Dictionary of bowing and pizzicato terms. Bloomington, ID: ASTA.             ML108 .B47 1999

Biancoli, A. (1998). Fritz Kreisler: Love’s Sorrow, Love’s Joy. Portland, OR: Amadeus Press.

Blum, D. (1999). Quintet: Five journeys toward musical fulfillment. Ithaca, NY: Cornell University Press. ML394 .B66 1999   

Boyden, D. (1990). The history of violin playing from its origins to 1761. London: Clarendon Press. ML850 .B7 1990

Burton, H. (2000). Menuhin: A life. London: Faber and Faber.

Campbell, M. (2004). The great violinists. London: Robson.

The complete string guide: Standards, programs, purchase, and maintenance. (1988). Reston, VA: MENC  MT730 .C72 1988

Fairfield, J. (1999). Known violin makers. Richmond, VA: Virtuoso.

Flesch, C. (2000). The art of violin playing. New York: Carl Fischer. MT185 .F631 2000

From Mao to Mozart: Isaac Stern in China. (DVD) (2000). ML337.5 .F764 2000

Galamian, I. (1985). Principles of violin playing and teaching. (2nd ed.). Englewood Cliffs, NJ: Prentice-Hall. MT260 .G34 1985

Gerle, R. (1991). The art of bowing practice. London: Stainer & Bell

Gerle, R. (1983). The art of practising the violin. London: Stainer & Bell. MT260 .G47 1983

Great violinists of the bell telephone hour (1959-1964). (DVD) (2002)

Green, B. (2003). The mastery of music: Ten pathways to true artistry. New York: Broadway Books

Heimel, P. (2002). Oleana: The ole bull colony. Coudersport, PA: Knox Books, 2002.

Johnston, P. (2002). The practice revolution: Getting great results from the six days between music lesson. Australia: PracticeSpot Press.

Kaufman, L. (2003). A fiddler’s tale: How Hollywood and Vivaldi discovered me. Madison: University of Wisconsin.

King, A. H. (1978). Mozart wind and string concertos. Seattle : University of Washington Press. MT130.M8 K56 1978  

Kolneder, W. (1998). The Amadeus book of the violin. Portland, OR: Amadeus Press.
            ML800 .K6413 1998

Lester, J. (1999). Bach’s works for solo violin. New York, NY: Oxford Univeristy Press.             MT145.B14 L39 1999

Loft, A. (1991). Violin and keyboard: The duo repertoire. Portland, OR: Amadeus Press.             ML894 .L63 1973

Malan, R. (2004). Efrem Zimbalist: A life. Pomtpon Plains, NJ: Amadeus. 

Nelson, S. (2003). The violin and viola: History, structure, techniques. New York: Dover.

Newman, R. (2000). Alma Rose: Vienna to Auschwitz. Portland, OR: Amadeus Press. ML418.R76 N48 2000

Panum, H. (1971). The stringed instruments of the Middle Ages. New York: Da Capo Press. ML760 .P16 P83 1971

Parncutt, R. and Gary McPherson. (2002). The science and psychology of music performance: Creative strategies for teaching and learning. New York: Oxford University Press.

Perkins, M. (1995). A comparison of violin playing techniques of Kato Havas, Paul Rolland, and Shinichi Suzuki. Bloomington, ID: ASTA. MT260 .P449 C7 1995

Pincus, A. L. (2002). Musicians with a mission : Keeping the classical tradition alive. Boston : Northeastern University Press. ML385 .P55 2002   

Rose, C. (2003). The violnist. Philadelphia: Xlibris.

Ross, B. (1989). A violinist’s guide for exquisite intonation. Bloomington, IN: Tichenor.

Roth, H. (1997). Violin virtuosos: From Paganini to the 21st Century. Los Angeles, CA: California Classic Books. ML398 .R67 1997

Salgo, S. (2000). Thomas Jefferson: Musician and violinist. Charlottesville, VA: Jefferson Foundation.

Sand, B. (2000). Teaching genius: Dorothy DeLay and the making of a muscian. Portland, OR: Amadeus Press.  ML423.D35 S36 2000

Sandys, W. (1864). The history of the violin and other instruments played on with the bow. London: Smith. ML755 .S32

Scott, H. K. (ed.). (2001). Violin owner's manual. San Anselmo, CA: String Letter Pub.   ML800 .V64 2001

The sounding tree: The art of violin making. (VHS) (1993).

Speaking in strings. (DVD) (2001). ML418 .S45 2001

Starr, W. (1976). The Suzuki violinist. Knoxville, TN: Kingston Ellis Press. MT761 .S72 2000

Steinhardt, A. (1998). Indivisible by four : A string quartet in pursuit of harmony. New York: Farrar, Straus, Giroux. ML398 .G835 2000

Stern, I. (1999). My first 79 years. New York: Knopf.

Stowell, R. (1992). The Cambridge companion to the violin. New York: Cambridge University Press. ML800 .C35 1992

Stowell, R. (2001). The early violin and viola: A practical guide. New York: Cambridge University Press.

Strange, P. (2001). The contemporary violin : Extended performance techniques. Berkeley: University of California Press.

String Syllabus (1997). Urbana, IL: ASTA. ML132 .V4 S8 1997

Swalin, B. (1941). The violin concerto:A study in German Romanticism. Chapel Hill, NC: UNC Press. ML856 .S9 V5

The violin. (VHS) (1997). ML460 .H5 1997 

The violin and its music with several engraved portraits of eminent violinists. (1881). London: Dulau.

Violin in motion: An ergonomic approach to playing. (VHS) (1995)

White, C. (1992). From Vivaldi to Viotti: A history of the early classical violin concerto. Philadelphia, PA: Gordon & Breach. ML1263 .W53 1992
 

Bibliography of Violin-Related Fiction 

 STRINGED INSTRUMENT – VIOLIN/FIDDLE
Ackley-McPhail, Danielle                                       Yesterday’s Dream
Adamson, Lydia                                                     A Cat with a Fiddle
Albrand, Martha                                                     A Door Fell Shut
Andreacchi, Grace                                                  Music for Glass Orchestra
Andrews, V. C.                                                      Falling Stars
Andrews, V. C.                                                      Honey
Andrews, V. C.                                                      Melody
Arnold, Elliott                                                         Deep in My Heart: A Story
Based on the Life of Sigmund Romberg
Arnold, Margot                                                      Desperate Measures
Barkdull, Larry                                                       The Touch of the Master’s Hand
Barne, Kitty                                                            Music Perhaps
Bell, Sallie Lee                                                        Interrupted Melody
Bicknell, Sally                                                         The Midwinter Violins
Bjornson, Bjornstjerne                                            Arne
Blakely, Mike                                                         Too Long at the Dance
Blakely, Mike                                                         Shortgrass Song
Blechta, Rick                                                          Lark Ascending
Braddon, Russell                                                    Funnelweb
Brandon, Paul                                                         Swim the Moon
Britton, Vickie                                                        The Dangerous Cliffs of Severon
Brody, Alan                                                            Hey Lenny, Hey Jack
Burnell, Mark                                                         Glittering Savages
Camilleri, Andrea                                                    The Voice of the Violin
Carpelan, Bo                                                          Axel
Chang, Lan Samantha                                             Hunger
Clark, Kate                                                            The Dominant Seventh: A
Musical Story
Clark, Mary Higgins                                               All Through the Night
Cooper, Jilly                                                           Appassionata
Dalton, Moray                                                        The Body in the Road
De Lint, Charles                                                     The Little Country
Druzhnikov, Iurii                                                     Passport to Yesterday
Egolf, Tristan                                                          Skirt and the Fiddle
Evanovich, Janet                                                     Back to the Bedroom
Falkner, John Meade                                              The Lost Stradivarius
Farrell, Marjorie                                                     Lady Barbara's Dilemma
Fell, Doris Elaine                                                    Blue Mist on the Danube
Fermine, Maxence                                                  The Black Violin
Fermor, Patrick Leigh                                             The Violins of Saint-Jacques
Flynn, Don                                                             Murder in A-Flat
Fothergill, Jessie                                                     The First Violin
Frommer, Sara Hoskinson                                      The Vanishing Violinist
Garbus, Cassandra                                                 Solo Variations
George, Elizabeth                                                   A Traitor to Memory
Glatzer, Hal                                                            A Fugue in Hell’s Kitchen
Glatzer, Hal                                                            Too Dead to Swing
Gilman, Dorothy                                                     Kaleidoscope
Gilman, George S.                                                  Rhapsody in Red
Goldrick, Emma                                                     Summer Storms
Goldsborough, Robert                                            Murder in E Minor
Graham, Janice                                                       Firebird
Graham, Winston                                                    Take My Life
Graves, Sarah                                                         Repair to Her Grave
Greville, Henry                                                       Markof, the Russian Violinist
Grimes, Martha                                                      The Anodyne Necklace
Hamilton, Jane                                                        Disobedience
Harbaugh, Karen                                                    Cupid’s Mistake
Hare, Cyril                                                             The Wind Blows Death
Harrod-Eagles, Cynthia                                          Keeping Secrets
Harrod-Eagles, Cynthia                                          Orchestrated Death
Hershey, John                                                         Antonietta
Herter, Lori                                                            Possession
Hood, Ann                                                             Three-Legged Horse
Hospital, Janette Turner                                          The Tiger in the Tiger Pit
Huth, Angela                                                          Easy Silence
Jeter, K. W.                                                           Infernal Devices
Kallen, Lucille                                                         The Tanglewood Murder
Kienzle, William X.                                                 Deadline for a Critic
Komroff, Manuel                                                    The Magic Bow
Lackey, Mercedes                                                  Castle of Deception
Lackey, Mercedes                                                  Lark and the Wren
Ladew, Donald P.                                                  Stradivarius: A Novel
Larsen, Inna                                                           Heartstrings
Laymon, Richard                                                    Alarums
Lebrecht, Norman                                                  The Song of Names
Lively, Adam                                                          Blue Fruit
Lofts, Norah                                                           Rupert Hatton’s Story
MacDonald, George                                               The Musician's Quest
Machlis, Joseph                                                      Allegro
Maraini, Dacia                                                        The Violin
Maurensig, Paolo                                                    Canone Inverso
Maxwell, Evan                                                        Season of the Swan
McDonough, Yona Z.                                             Four Temperaments
McNickle, D'Arcy                                                  The Surrounded
Mestern, Pat Mattiani                                             Magdalena’s Song
Meyer, Nicholas                                                     The Canary Trainer: From the
Memoirs of John H. Watson
Meynell, Esther                                                       Time’s Door
Mohr, Clifford                                                        Requiem
Montgomery, L. M.                                                Kilmeny of the Orchard
Nathan, Robert                                                       One More Spring
Nixon, Cornelia                                                      Angels Go Naked
Ogilvie, Elisabeth                                                    When the Music Stopped
Page, Marco                                                          The Shadowy Third
Page, Patricia                                                         Hope's Cadillac
Pape, Gordon and Tony Aspler                              The Music Wars
Paul, Barbara                                                         He Huffed & He Puffed
Paul, Elliot                                                              Mayhem in B-Flat
Pearson, Diane                                                       The Summer of the Barshinskeys
Peters, Sue                                                             Laird of Doorn
Pina, Gabrielle                                                        Bliss
Quinton, Ann                                                          The Ragusa Theme
Reed, Myrtle                                                          The Master's Violin
Renin, Paul                                                             Flame
Rice, Anne                                                             Violin
Rizzo, Kay                                                             Love’s Cherished Refrain
Rizzo, Kay                                                             Love’s Tender Prelude
Rizzo, Kay                                                             Sweet Strings of Love
Rizzo, Kay                                                             Winter’s Silent Song
Roberts, Nora                                                        Carnal Innocence
Romkey, Michael                                                   The Vampire’s Violin
Roper, Robert                                                        The Trespassers
Rosenbaum, Thane                                                 The Golems of Gotham
Ross, W. E. D.                                                       Ghost Symphony
Rundell, Wyatt                                                        Jazz Band
Sarkessian, Juliet                                                    Trio Sonata
Schauffler, Robert Haven                                        Where Speech Ends: A Music
Maker’s Romance
Sellard, Parke                                                         Susan’s Violin
Seth, Vikram                                                          An Equal Music
Shaham, Nathan                                                     The Rosendorf Quartet
Shange, Ntozake                                                    Sassafrass, Cypress and Indigo
Shapiro, Anna                                                        Life and Love, Such as They Are
Shults, Sylvia                                                          Price of Admission
Sijie, Dai                                                                Balzac and the Little Chinese Seamstress
Simpson, Dorothy                                                   Last Seen Alive
Slovo, Gillian                                                          Death Comes Staccato
Smith, Joan                                                             Capriccio
Soares, Jo                                                              A Samba for Sherlock
Sousa, John Philip                                                   The Fifth String
Spalding, Albert                                                      A Fiddle, a Sword, and a Lady
Stevens, Linda                                                        Perilous Pastime
Stout, Mira                                                             One Thousand Chestnut Trees
Taylor-Hall, Mary Ann                                           Come and Go, Molly Snow
Tey, Joesphine                                                        The Expensive Halo
Thoene, Bodie                                                        Vienna Prelude
Torgov, Morley                                                      The Abramsky Variations
Tyler, Anne                                                            Searching for Caleb
Voute, Peter                                                           Double Concerto
Walter, Victor                                                        The Craftsmen
Weber, Janice                                                        Frost the Fiddler
Weber, Janice                                                        Hot Ticket
West, Rebecca                                                       The Fountain Overflows
West, Rebecca                                                       This Real Night
Wilcox, James                                                        North Gladiola
Williams, Lysa                                                        Soundless
Williams, Niall                                                        As It Is in Heaven
 


MUSC 450/EDUC 533 - Curriculum and Methods for Secondary Instrumental Music

Milligan College • Spring 2006 • Professor: Rick Simerly/Kellie Brown • 461-8939 • rsimerly@milligan.edu • Meeting Times: TR 3:00 • Web Page: www.milligan.edu/music/rsimerly • Office: Seeger Chapel 107. Office hours by appointment

Course Description: A study of the philosophy, curriculum, methods, and materials of teaching instrumental music and directing school bands and orchestras.

Required Testbooks:
Teaching Band and Orchestra: Methods and Materials (2004 ) by Lynn Cooper
Confessions of a First-Year Maestro: A Guide for Your First Year of Teaching
(2004) by Catherine Bell Robertson
Music Advocacy and Student Leadership: Key Components of Every Successful Music Program
(2005) by Tim Lautzenheiser

Objectives: The student will:

  1. Develop a personal philosophy of music education
  2. Develop systematic observation skills
  3. Develop rehearsal planning skills
  4. Develop instrumental curriculum designing skills
  5. Develop procedures for recruiting band and orchestra students
  6. Learn to organize and manage an instrumental music program
  7. Develop rehearsal techniques for large and small ensembles
  8. Understand the planning and administration of orchestra, marching band, concert band, and jazz ensemble
  9. Develop a basic knowledge of wind band and orchestra repertoire
  10. Develop a basic knowledge of budget issues and procedures
  11. Understand the importance of instrumental programs in the curriculum

Course Requirements: Students are expected to participate in class discussions regarding topics listed. Six major projects are due on the dates listed; an additional project is required for graduate students. Because an exchange of ideas is essential to this course, four of these projects (1, 2, 4, and 6) will include an oral presentation. Notebooks are required to be kept and will be evaluated as Project 6 for content, organization and neatness at the end of the semester. Students are required to do three observations of band or orchestra (depending on your emphasis) at three different schools. In addition, an interview with two directors is to be conducted and documented by the student.

Grading Policy: Projects 1-7 will account for 80% of the student’s grade. The final exam will account for 20% of the student’s grade. Failure to turn in any designated project by the date listed will result in an F for that project. Failure to turn in any two projects will result in an F for the course.

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: Two excused absences are allowed. However, when a class session is missed, important material and information pertinent to the projects is also missed. Each additional absence will lower your final grade by half a letter. Students are allowed to be tardy twice. Each additional tardy (excused or unexcused) will result in one point off the final average. Excused absences and tardiness are the discretion of the instructor.

________________________________________________________

Projects: Projects should be designed to supply as much information as possible about the pertinent topics. They will be graded on content, organization and neatness. Projects 1-7 will comprise 80% of the final grade. The final exam will be 20% of the final grade. Projects 1, 2, 4, and 6 will require an oral presentation.           

Project 1 (Tuesday, Jan. 31st) – A PowerPoint and oral presentation. This project will have a dual role. This presentation will serve as a recruiting device for band and orchestra students. In addition it should convince your school administration that band/orchestra is an important part of public education. Make the presentation a personal creative project that will excite beginners and entice them into joining the band or orchestra. The project could consist of philosophical approaches to teaching, long and short-term goals, your personal conception of the role of orchestra plus marching, concert and jazz band. Include how they are important to a school curriculum, the benefits of music education and how it helps individual students. You may include any resources such as books, magazines, articles, reviews, etc.  

Project 2 (Thursday, Feb. 23st) – A written and oral presentation. You will be given several different beginning band/orchestra method books. You are to write a brief review of each book and compare and contrast the material within. Choose the book that you like best and be able to defend your decision. Supplemental comparison graphs, charts, etc. would be helpful. 

Project 3 (Tuesday, March 14th) – A written presentation. Create a concert program for a middle school concert and a high school concert. Select appropriate literature for both programs that you would consider challenging and entertaining. Make the program attractive, organized and interesting.

Project 4 (Tuesday, April 11th) – A written and oral presentation. Create a budget for your band/orchestra essentials. You are starting a program with no instruments or equipment for grades 6 – 12 in a public school system. The school system has agreed to fund your program. You are to write an itemized proposal for a budget that will include:

a.      instruments

b.      chairs

c.      stands

d.      music

e.      other essentials

Your oral presentation is an overview of this written project

Project 5 (Tuesday, April 25th) - A written presentation. Students will observe three band/orchestra directors from different schools and will conduct an interview with two of them. Observations and interviews are to be documented and included in the notebook. It is up to each student to contact the band/orchestra director and set up an appropriate time for observation and a convenient time for the interview. (This may consist of two different visits per director.)  A separate paper comparing and contrasting the directors’ methods, techniques, and philosophies is to be written. You should include your personal thoughts and observations of these rehearsals and interviews. No oral presentation is required. 

Project 6 (Thursday, April 27th) – Notebook/Journal. A notebook/journal must be kept and maintained throughout the course. These notebooks should contain references, materials, handouts, reflections, and notes from class sessions. Sections of the notebook should be labeled with tabs. As part of a reflective teaching journal, students are required to write a reflection on the reading assignments and the previous class period every Tuesday and Thursday. Label each journal entry with a date!  Ideas for your journal writing could include hopes, fears, self-evaluations, interesting teaching techniques, bad experiences, etc. This journal will continue to serve you through your student teaching as a written record of your own professional growth. Use the following as a guide:

1.      Observation – watching and absorbing

2.      Questions – personal doubts, theories, practice knowledge

3.      Speculation – ponder about practices, events, problems, solutions

4.      Self-Awareness – reveal thoughts about who your are

5.      Digression – make personal connections that add relevance to new theories

6.      Synthesis – pulling together ideas or finding relationships

7.      Revision – changing your mind

The final product is required to be typed. Evaluation is not only on content but also on organization and neatness.

Project 7 (Thursday, April 27th) – For graduate students only. Prepare a bibliography of 50 entries of books (30) and Internet resources (20) for band and orchestra teachers. Make sure to include those published by MENC and ASTA. Great sources for the bibliography include the Milligan College library, MENC, ASTA, and online bookstores such as Amazon. Bibliographic citations should be in a standard format of your choosing (MLA, APA, etc.). Entries must not be older than 1990.

Final Exam (Wednesday, May 3 @ 1:30) - A written and oral presentation. The foundation to some instrumental programs is to have a band/orchestra handbook. Your assignment is to create such a document that informs students, parents, and interested parties about your rules, courses, and overall information about your program. Include as much information as you deem necessary. Creativity is an essential element.

________________________________________________________

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.

Written assignments 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.

Recital Attendance: For music majors and minors, 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.
 

Course Schedule

Date Topic Assignments/Readings
January 12 Syllabus/Introduction  
Week 1 (Jan. 19) Laying the Foundation Cooper: Chapter 1
Robertson: "Introduction"
Week 2 (Jan. 24 & 26) Recruiting and Retaining Beginning Students Cooper: Chapter 2
Lautzenheiser: pp. 1-84
Robertson: "The Basics Interview"
Week 3 (Jan. 31 & Feb. 2) Planning for Success Cooper: Chapter 3
Project 1 is due Jan. 31
Robertson: "The Basics Acceptance"
Week 4 (Feb. 7 & 9) Building a Curriculum Cooper: Chapter 4
Robertson: "August"
Week 5 (Feb. 14 & 16) Selecting Literature and Organizing the Music Library Cooper: Chapter 5
Robertson: "September"
Week 6 (Feb. 21 & 23) Running Effective Rehearsals Cooper: Chapter 5
Robertson: "October"
Project 2 is due Feb. 23
Week 7 (Feb. 28 & Mar. 2) Programming and Performing Cooper: Chapter 7
Robertson: "November"
Week 8 (Mar. 14 & 16) Considering Some Core Issues Cooper: Chapter 8
Lautzenheiser: pp. 86-107
Robertson: "December"
Project 3 is due March 14
Week 9 (Mar. 21 & 23) Organizing and Administering the Program Cooper: Chapter 9
Robertson: "January"
Week 10 (Mar. 28 & 30) Organizing and Administering Your Teaching Cooper: Chapter 10
Robertson: "February"
Week 11 (Apr. 4 & 7) Handling Business Issues Cooper: Chapter 11
Robertson: "March"
Week 12 (Apr. 11 & 13) Knowing the Profession Today Cooper: Chapter 12
Robertson: "April"
Project 4 is due April 11
Week 13 (Apr. 18 & 20) Exploring Personal Issues for the Music Educator Cooper: Chapter 13
Robertson: "May"
Lautzenheiser: pp. 110-136
Week 14 (Apr. 25 & 27) Comtemplating Then, Now, and Why Cooper: Chapter 14
Robertson: "Conclusion"
Project 5 is due April 25
Project 6 & 7 are due April 27
FINAL EXAM Wednesday, May 3 @ 1:30  


MUSC 457 -
Applied Conducting (Orchestral)

Milligan College • Spring 2009 • Professor: Kellie Brown • 461-8978 • kbrown@milligan.edu • Web Page: www.milligan.edu/music/kbrown • Office: Seeger Chapel 108. Office hours: Posted online & on office door

Required Materials:
1. 
Baton
2.  Study scores: Haydn Lord Nelson Mass, Audition Scores (Prelude to the Afternoon of a Faun, Bruch Violin Concerto, Brahms Tragic Overture
3.
 On Becoming a Conductor by Frank Battisti
4.
 The Grammar of Conducting by Max Rudolf

Course Description: Intensive individual study in conducting techniques, theories, and practices for band, orchestra, and choir. Also includes comprehensive analysis of musical scores. By instructor permission.

Learning Outcomes:
1. Refine and demonstrate physical and musical skills necessary to be an effective conductor
2. Conduct a variety of orchestral repertoire
3. Develop appropriate time management strategies related to practice and performance
4. Analyze musical scores and determine appropriate conducting and rehearsal strategies
5. Evaluate own effectiveness through self-observation and prescribe appropriate improvement goals

Evaluation: A grade will be given for each lesson based on attendance, participation, and preparation as observed in the lesson. Unexcused absences will result in a zero for that lesson. 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.

Assignments:
            Weekly Lesson Grade 100 points each
            Observations 100 points (combined) – JCSO: 1/27, 2/3, 2/10, 2/13, 2/14 (Bizet Carmen Suites 1 & 2,
            Tchaikovsky Romeo and Juliet, Vivaldi Concerto for 2 Trumpets)
            Reading Reflections 100 points (combined)
            MCO Conducting 50 points each (March 9, 11, 18; April 8, 15, 17)
            Listening Log 100 points (combined)

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. Excused absences may be made-up through an additional lesson or assignment. Unexcused absences will not be made-up.  The determination of what constitutes an excused or unexcused absence is at the discretion of the instructor.

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.