ncvps ap music theory syllabus-thomas moncrief-yl 2015-16

8/15/2019 NCVPS AP Music Theory Syllabus-Thomas Moncrief-YL 2015-16

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AP® Music Theory Syllabus

Instructor

o Dr. Thomas Moncrief

Instructor, AP Music Theory

Phone and Text: 70421!11"

#ffice $ours %on &'ac()oard IM* Monday am to " +m

o My +referred method of contact is ia emai' -here you can reach me 24

hours a day. es+onses are ery +rom+t ia emai'. /ou may 'eae a

messae or text my num)er anytime. A'' contacts are returned -ithin 24

hours.

Content Rights

3P +o'icy it that a'' courses are com+'iant -ith a++'ica)'e 3P

+o'icies and5or uide'ines, inc'udin, ADA5ection "045I6P om+'iance,inte''ectua' +ro+erty, and +roisions of o+yriht 8a- and the

Techno'oy, 6ducation, and o+yriht $armoni9ation Act %T6A$ Act.*

This course has hours of music inc'uded and in com+'iance -ith theT6A$ Act, it is a io'ation for this music to )e do-n'oaded or

re+roduced in any manner.

NCVPS Grading Policy 3P su)mits rades and5or +roress chec(s to schoo's at 2 -ee( intera's

throuhout the /ear8on Terms. ;rades are -eihted for each term in the

course and can )e ie-ed throuh the student


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=ina' 6xams and =ina' Pro>ects that are +art of the course re?uirements are

not exem+t. 6ndofourse 6xams are administered )y the schoo' of

record accordin to its schedu'e.

Course !escri"tionAP@ Music Theory is intended for secondary schoo' students -ho hae an interest inmusic and -ou'd 'i(e to further their understandin of musica' harmony, form, and

structure, or ain a dee+er a++reciation for the intricate e'ements in music. The +rinci+a'

study in the course is )ased on &aro?ue sty'istic +ractice ho-eer, music of othersty'istic +eriods, inc'udin the contem+orary +eriod, -i'' a'so )e studied.

The course -i'' )e administered ia an on'ine settin throuh the orth aro'ina 3irtua'Pu)'ic choo'. AP Music Theory is a year'on course of study, and the use of music

techno'oy -i'' )e used +rinci+a''y throuhout.

The ;enera' and 6x+anded ourse ontent has )een )ased u+on the 6x+anded ourse+ecifications +osted at AP entra' Music Theory. The course -i'' meet and exceed the

curricu'um descri)ed in the AP Music Theory Course Description and -i'' coer the

content found on the AP Music Theory 6xam. #ther to+ics such as MIDI, com+osition,se?uencin, trans+osition, and arranin -i'' )e inc'uded to reinforce the +rimary

conce+ts of music creation and ana'ysis.

Course #b$ecti%es

At the end of the course, students shou'd )e a)'e to:

a. otate +itch and rhythm in accordance -ith standard notation +ractices. ). ead me'odies in tre)'e, )ass, and moa)'e c'efs.c. Brite, sin, and +'ay ma>or sca'es and a'' three forms of minor sca'es.

d. econi9e )y ear and )y siht a'' intera's -ithin an octae.

e. se the )asic ru'es that oern music com+osition.f. $armoni9e a me'ody -ith a++ro+riate chords usin ood oice 'eadin %i.e.

com+osition of a )ass 'ine for a ien me'ody, -ith a++ro+riate harmonic functions*.

. Ana'y9e the chords of a musica' com+osition )y num)er and 'etter name %rea'i9ationof fiured )ass*.

h. Trans+ose a com+osition from one (ey to another %rea'i9ation of a oman numera'

+roression*.

i. 6x+ress musica' ideas )y com+osin and arranin. >. nderstand and reconi9e )asic musica' forms: ternary, )inary, rondo, theme and

ariation, stro+hic and +hrase structures.

(. Brite sim+'e rhythmic, me'odic, and harmonic dictation.'. Identify, notate and reconi9e sim+'e and com+ound meters.

m. Identify, notate and reconi9e church modes.

n. econi9e and ie ana'ysis to +rinci+a's of music theory throuhout historica' +eriods of music, to inc'ude the enaissance, &aro?ue, 'assica', omantic and 20th


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entury in )oth 3oca' and Instrumenta' forms. Identify and create common+ractice

tona'ity %functiona' triadic harmony in traditiona' four+art texture*.

o. Ana'y9e form and harmonic structure from the 20th entury %t-entiethcentury sca'es,chorda' structures, com+ositiona' +rocedures*. om+ose excer+ts usin 20th century

com+ositiona' techni?ues and 20th century counter+oint.

+. Ana'y9e and5or rea'i9e four+art functiona' harmony %-ith oca)u'ary inc'udin nonharmonic tones, seenth chords and secondary dominants*.

?. Ana'y9e e+ertoire for motiic treatments, rhythmic and me'odic interaction %in and

)et-een oices*, and harmonic ana'ysis -ith a focus on tona' function.

Course Re&uireentsCourse 'R(

mood'e.nc+s.or

Textboo)

Re&uired* Cost(a, tefan and Dorothy Payne. Tonal Harmony, !th ed. e- /or(:

Mc;ra-$i'', 200.

Additional Resources

Recoended*

Cost(aPayne #n'ine materia's:

htt+:55hihered.mcra-hi''.com5sites5007E401E"5studentFie-05

'endinnin, Gane Pi+er and 6'i9a)eth Best Marin. The Musician’s Guide to Theory

and Analysis, 2nd ed. e- /or(: B.B. orton H om+any, 2011.

Cost(a, tefan and Dorothy Payne. Workbook for Tonal Harmony, !th ed. e- /or(:

Mc;ra-$i'', 200.

oi=ranco'i, Miue'. Harmony in Context . e- /or(: M;ra-$i'', 200E.

coin, ancy. AP Music Theory e- /or(: &arron


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Printer and Scanner

Re&uired* There are seera' assinments that -i'' re?uire you to do-n'oad and +rint

them in order to com+'ete them )y hand. These -i'' then need to )e scanned in for a

rade. Pictures are a'so fine as 'on as the ?ua'ity is ood enouh to )e raded.

.ace/to/.ace (earning

Re&uired. To he'+ +re+are for the AP 6xam, the Music Theory course re?uires studentsto ta(e fu'' mach exams. 68As -i'' )e made a-are of these assinments ia the sy''a)us

and emai' communications.

Additiona''y, students are stron'y encouraed to attend Be)inar Bednesday sessions

%Bednesday times T&A and -i'' )e announced in the course -ee('y ia the 8earnin&'oc(*. A'thouh 'ie attendance is not a raded re?uirement, there -i'' )e assinments

and test ?uestions associated -ith these sessions. If 'ie attendance is im+ossi)'e, ie-in

the archies -i'' )e necessary to o)tain the information needed for these assinments.

Attendance is a'so hih'y recommended as this is a 'ie o++ortunity to as( ?uestions andhae isua' c'arification on course conce+ts.

Course PlanningThe course 'asts for E! -ee(s, coerin 20 modu'es, and fo''o-s the to+ics out'ined in

Cost(a5Payne, Tonal Harmony. Due dates and modu'e orderin is su)>ect to chane )ased on student understandin throuh formatie and summatie assessments

throuhout the course.

Bee(s 1 and 2

Modu'e 1: ;ettin tarted %+resented )y 3P*

Bee(s E, 4, and "

Modu'e 2: 6'ements of Pitch %Tonal Harmony, ha+ter 1*

Written Topics"

Cey)oard and #ctae eistersThe taff, 'efs and otation of Pitch

The Ma>or ca'e

Cey inaturesirc'e of =ifths

ca'e Deree ames and o'fee y''a)'es

Intera's and Inersion of Intera's

onsonant and DissonantThe hurch Modes

The $istory of Music otation

Aural #kills"Identify me'odic direction, hiher and 'o-er +itches

Pitch +attern dictation usin ste+-ise me'odies

Pitch +attern dictation usin ste+-ise me'odies in ma>or and minor (eys,reconi9in ma>or and minor sca'es aura''y


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Bee( !

Modu'e E: 6'ements of hythm %Tonal Harmony, ha+ter 2*Written Topics"

Duration ym)o's

Tem+o Mar(insMeter and Diisions of the &eat

im+'e and om+ound Time inatures

Irreu'ar5Mixed Meters Aural #kills"

Aura' Identification of Meter

&ein reconi9in P1, M2, ME, P4, P", M!, M7, and P aura''y, +itch +attern

dictation usin s(i+s in the tonic triad, sihtsinineconi9e ma>or and minor sca'es, reconi9e ma>or, minor, and +erfect intera's,

+itch +attern dictations usin ste+-ise me'odies and me'odies that uti'i9e s(i+s in

the tonic triad

Bee(s 7 and

Modu'e 4: Introduction to Triads and eenth hords %Tonal Harmony, ha+ter E*Written Topics"

Tertian $armony %Triads*

&ui'din &asic Triads in oot PositionTriad Identification

eenth hord onstruction

Inersion of hords and Inersion

Introduction to =iured &ass ym)o's8ead heet otation and A++'ication

Identification of hords in different textures

Aural #kills"econi9e ma>or and minor sca'es, intera's %ma>or, minor, and +erfect*,

Introduction to identifyin aumented and diminished intera's

im+'e rhythmic dictationPitch +attern dictation

Bee(

Modu'e ": Diatonic hords in Ma>or and minor Ceys %Tonal Harmony, ha+ter 4*Written Topics"

Diatonic Triads in Ma>or %oman umera's*

Diatonic Triads in minor %oman umera's*Diatonic eenth hords in Ma>or %oman umera's*

Diatonic eenth hords in minor %oman umera's*

oman umera' ea'i9ations in 4 +artsAura' Identification of Diatonic Triads and eenths in Ma>or and minor Ceys

Aural #kills"


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Me'odic dictations ino'in s(i+s in the tonic triad %ma>or and minor*,

reconi9in sca'es and intera's, reconi9in triads %ma>or, minor, aumented and

diminished*, reconi9in MM and Mm 7th chords.

Bee( 10

Modu'e !: Princi+'es of 3oice 8eadin %Tonal Harmony, ha+ter "*Written Topics"

Princi+'es of Me'ody

3oicin a sin'e triad %#+en and 'ose structure*Ty+es of Motion )et-een hords

Para''e'ism u'es %Para''e' "ths and Para''e' #ctaes*

=iured &ass ea'i9ations

Aural #kills"Me'odic dictations ino'in s(i+s in the tonic triad %ma>or and minor*,


diminished*, reconi9in MM, Mm, mm, ha'f and fu''ydiminished 7th chords.

Introduction to sihtsinin.

Bee(s 11 and 12Modu'e 7: The $armonic Proression and the e?uence %Tonal Harmony, ha+ters ! and

7*

Written Topics"oot Position Part Britin %-ith re+eated roots, 4th5"th a+art, Erd5!th a+art, and

2nd57th a+art*.

Instrumenta' ane and Trans+osition

irc'e of =ifths $armonic Proressionommon Proressions %II3iiJiiiiii3I* and 6xce+tions

Proressions in minor



diminished*, reconi9in MM, Mm, mm, ha'f and fu''y diminished 7th chords,reconi9in chord +roressions usin I, I3, and 3.

ihtsinin +itch +atterns usin I, I3, and 3.

Bee(s 1E, 14, and 1"Modu'e : Part Britin for Inerted hords Part A %Tonal Harmony, ha+ter *

Written Topics"

Triads in =irst Inersiono+rano5&ass ounter+oint

&ass Ar+eiation and the Me'odic &ass



diminished*, reconi9in MM, Mm, mm, ha'f and fu''y diminished 7th chords,

reconi9in chord +roressions usin I, ii, I3, iiJ and 3.


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ihtsinin +ractice

Bee(s 1! and 17Modu'e : Part Britin for Inerted hords Part & %Tonal Harmony, ha+ter *

Written Topics"

ix=our hord uses %adentia', Passin, Peda'* Aural #kills"

Aura' Identification of Inerted hords

Me'odic dictations ino'in s(i+s in the tonic triad %ma>or and minor*,reconi9in sca'es and intera's, reconi9in triads %ma>or, minor, aumented and

diminished*, reconi9in MM, Mm, mm, ha'f and fu''y diminished 7th chords,

reconi9in chord +roressions usin I, ii, I3, iiJ and 3.

ihtsinin +ractice

Bee( 1

MidTerm 6xam

Bee(s 1 and 20

Modu'e 10: adences, Phrases, Periods, &inary and Ternary =orms %Tonal Harmony,ha+ter 10 and 20*

Written Topics"

adences %PA, IA, $, P, D*Moties and Phrases

Ty+es of Phrases %e+eated, Para''e', ontrastin*

Antecedent and onse?uent Phrases and adence tructures %Tom*

Ty+es of Periods %e+eated Period, Dou)'e Period, Para''e' Period, ontrastinPeriod, Phrase ;rou+*

im+'e =orms %&inary, ounded &inary, Ternary, ontinuous and ectiona'*

The 12&ar &'ues Aural #kills"

Me'odic dictation usin me'odies ino'in s(i+s in the to+ic and dominant 7th

chords.ihtsinin inc'udin the dominant 7th chord.

Bee(s 21 and 22

Modu'e 11: onchord tones Part A %Tonal Harmony, ha+ter 11 and 12*Written Topics"

Bhat is a nonchord toneK

The Passin ToneThe eih)orin Tone

The us+ension

The etardationThe A++oiatura

The 6sca+e Tone

The eih)orin ;rou+

The Antici+ation


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Peda' Point

T identification )y siht

Aural #kills"Aura' Identification of onchord Tones

Dictation of intera's and chords inc'udin ana'ysis %intro to harmonic

dictation*

Bee( 2E

Modu'e 12: onchord tones Part & %Tonal Harmony, ha+ter 11 and 12*Written Topics"

6m)e''ishin a sim+'e texture

=unctions of a T %i.e.: dis+'acement, tension5reso'ution*

=iured &ass and Ts+ecia' +ro)'ems in the ana'ysis of Ts

3ariations

Aural #kills"

$armonic dictation usin I, I3, and 3 chords in root +osition, me'odic dictationusin 'ea+s in the tonic triad

Bee( 24

Modu'e 1E: Diatonic eenth hords: The 37 hord %Tonal Harmony, ha+ter 1E*

Written Topics"3oice8eadin onsiderations for 37 chords

oot Position and onsiderations

=irst Inersion and onsiderations

econd Inersion and onsiderationsThird Inersion and onsiderations

#ther reso'utions of the 37

Aural #kills"$armonic dictation usin I, I3, and 3 chords in root +osition, me'odic dictation

usin 'ea+s in the tonic triad.

Bee( 2"

Modu'e 14: Diatonic eenth hords: The II7 and 3II7 hords %Tonal Harmony, ha+ter

14*

Written Topics"The u+ertonic 7th

The u)tonic 7th in Ma>or

The u)tonic 7th in Minor The 8eadinTone 7th

Aural #kills"

ihtsinin me'odies$armonic dictation usin I, ii, I3, and 3.


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Bee( 2!

Modu'e 1": Diatonic eenth hords: #ther Diatonic eenth hords %Tonal Harmony,

ha+ter 1"*Written Topics"

The su)dominant 7th hord

The u)mediant 7th hordThe Mediant 7th hord

eenth hords and the irc'e of =ifths Proression

Aural #kills"ihtsinin me'odies

$armonic dictation usin I, I3, ii, 3, and cadentia' sixfour cadences.

Bee( 27Modu'e 1!: econdary =unctions Part A %Tonal Harmony, ha+ter 1!*

Written Topics"

Bhat is hromaticism

Diatonic s. A'tered hordsecondary =unctions and Tonici9ation

econdary Dominant hords %+e''in and A++'ication*econi9in econdary Dominant hords in ontext

Aural #kills"

ihtsinin me'odies$armonic dictation usin I, I3, ii, 3, and cadentia' sixfour cadences.

AP =reees+onse Aura' (i''s 6xam+'es.

Bee(s 2 and 2Modu'e 17: econdary =unctions Part & %Tonal Harmony, ha+ter 17*

Written Topics"

econdary 8eadinTone hordsecondary 8eadinTone +e''in and eso'ution

econi9in econdary 8eadin Tone hords in ontext

e?uences Ino'in econdary 8eadin Tone hordsDece+tie eso'utions of econdary 8eadin Ton hords

#ther econdary =unctions %i.e.: 3!54*

Aural #kills"

ihtsinin me'odies$armonic dictation usin I, I3, ii, 3, and cadentia' sixfour cadences

AP =reees+onse Aura' (i''s 6xam+'es

Bee(s E0 and E1

Modu'e 1: Modu'ations %ha+ter 1 and 1*

Written Topics"Bhat are Modu'ationsK

eie-: irc'e of =ifths and Cey inatures

Cey e'ationshi+s and 'ose'y e'ated Ceys

ommon hord Modu'ation


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Modu'ation )y ommon Tone

Modu'ation )y hromatic A'teration

e?uentia' Modu'ationMono+honic Modu'ation

Direct Modu'ation

Aural #kills"ihtsinin me'odies

$armonic dictation usin I, I3, ii, 3, and cadentia' sixfour cadences

AP =reees+onse Aura' (i''s 6xam+'es

Bee(s E2, EE, and E4

Modu'e 1: AP eie- %---.co''ee)oard.com and &arron


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emergency, or computer system failures. If ever in doubt about a duedate or an extension, please contact the course instructor.

Although this is an online course, it is not selfpaced. !easonabledeadlines have been set to insure that students have ade"uate time to

complete all assignments within the current session. Activeparticipation in this class is re"uired.

Late work is not accepted for full credit unless the teacher has beenmade aware of and approved an extension for extenuatingcircumstances #i.e.$ illness, family emergency, relocation, etc.%. &hisacknowledgement between the student and instructor must be madein writing #email or text%. 'or semester (nal grades and course (nalgrades, a formal extension should be re"uested by the school principalvia the )*+S help desk. www.help.ncvps.org.

Late work turned in after the deadline will carry a - reduction foreach week late. )o work will be accepted once a module has beenclosed or "uarter grade has been reported.

Teaching Strategies

ince this course is administered on'ine, students -i'' )e ex+ected to uti'i9e a hih

amount of music techno'oy. tudents shou'd ain mastery of these techno'oies ear'y on

in order to )e a)'e to effectie'y ain (no-'ede in the content area. The techno'oies

uti'i9ed on'ine are the same +rorams that -ou'd com+rise a music techno'oy 'a).

The Adanced P'acement +roram +resents a riorous course -ith hih ex+ectations.tudents -i'' ain (no-'ede of music theory throuh ana'ysis and ref'ection %form andana'ysis exercises*, com+osition %com+osin music*, and tona' mastery %aura' s(i''s*.

The com)ination of these three teachin strateies ena)'es the student to res+ond

successfu''y to the hiherorder thin(in s(i''s ?uestions on the Adanced P'acement6xam.

Ana'ysis of musica' com+ositions is at the forefront of AP Music Theory. The instructor

has dee'o+ed a set of f'ash)ased 'earnin uides for form and ana'ysis study. The aura's(i''s +ortion of the course is +rinci+a''y administered throuh oer 400 teachermade

exercises. tudents -i'' meet )i-ee('y for a minimum of 20 minutes indiidua''y -ith

the instructor for additiona' aura' s(i''s exercises and )e ex+ected to (ee+ a 2hour-ee('y 'istenin 'o -ith their ref'ections. The aura' musica' content -i'' )e streamed

throuh the course-are system.

Student E%aluation

Nui99es and tests -i'' )e ien throuhout the course. The +ro>ect)ased 'earnin -ithin

com+osition, form and ana'ysis and +erformance %+iano and oice* are essentia' in

dee'o+in music theory s(i''s.

http://www.help.ncvps.org/http://www.help.ncvps.org/


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Mastery of the Adanced P'acement Music Theory content -i'' )e most im+ortant in

ea'uatin students. #ne of the reatest adantaes to on'ine 'earnin is that it is studentcentered. This means that although this course is not selfpaced, studentshave the ability to spend more time where needed for additional

practice. The course-are a''o-s students to -or( to-ard mastery on an indiidua'i9ed )asis.

ncvps ap music theory syllabus-thomas moncrief-yl 2015-16

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