Version 15 July 2015

SCHOOL OF MUSIC
COURSE OUTLINE: MUS 102 / Semester 2 2015
1.0

2.0

GENERAL COURSE INFORMATION

Course Code:
MUS 102
Course Title:Materials of Music 2
Points Value:15
Prerequisites:
MUS 101. Departmental approval required for
non-Bmus students
Restrictions: None
Course coordinator / teaching staff:
Dr Gregory Camp: Course coordinator, aural lectures,
tutorials
Fisher 804-912
g.camp@auckland.ac.nz
Office hours: Wednesday 11-12, Thursday 2-3
Alex Taylor: Theory lectures, tutorials
atay099@gmail.com
Robert Wiremu: Applied musicianship
Fisher 804-909
r.wiremu@auckland.ac.nz
Sam Girling: Theory tutorials
sgir367@aucklanduni.ac.nz
CLASS CONTACT HOURS
Lectures:
Theory

Tutorials:

3.0

Monday 9-10am, Music Theatre (250-117)

Monday 12-1pm, Music Theatre (250-117)
Choir
Wednesday 9-10am Music Theatre (250-117)
Aural
Wednesday 12-1pm (Alex)
Wednesday 1-2pm (Sam)
Thursday 3-4pm (Gregory)
Thursday 4-5pm (Gregory)
Design Theatre

COURSE PRESCRIPTION

Being a musician involves having knowledge of and control over a wide

variety of musical materials. As such, students need to acquire skills in
the areas of music theory (harmony, counterpoint, analysis) and
musicianship (aural training, singing). These skills are transferable
across all musical disciplines and pathways of study. They provide
students with the confidence to articulate their musical thoughts and

ideas in performance, in composition and in the various written formats

associated with academic study.
This course enables students to develop essential skills, while at the
same time engaging with music from across historical repertoires.
Students will arrive at a comprehensive understanding of the basic
materials of music and how these materials inform all areas of musical
practice.
4.0

TEACHING AIMS

This course aims to provide students with additional knowledge and

practical skills in the areas of music theory and musicianship. Basic
musical materials rhythm and metre, melody, harmony, texture and
timbre will be examined from theoretical and aural perspectives. As a
result, this course aims to offer a holistic approach that combines music
theory with aural training and singing.
5.0

LEARNING OUTCOMES

On the successful completion of this course, students should:

Possess knowledge and awareness of the basic musical materials
(listed above), their theoretical underpinnings and partical relevance
in music-making.
Handle and manipulate these materials in notated form (on musical
manuscript), in aural analysis and singing (individual singing and
choral performance project).
Music Theory
Demonstrate a clear and theoretically-informed understanding of the
basic musical materials (rhythm and metre, melody, harmony,
texture and timbre), with reference to the set text: Steven Laitz, The
Complete Musician, 3rd ed. (Oxford: Oxford University Press, 2012).
Recognise, identify and analyse these materials and their
significance in a given musical context.
Handle these materials in notated form, as a result of the successful
completion of exercises in harmony, counterpoint and basic analysis,
including:
o Invertible counterpoint and implied harmonies
o Motivic working
o Functional harmony, including pre-dominant, submediant,
and mediant chords
o Formal analysis at the level of the musical phrase, including
various kinds of musical period and sequence
o Labelling and writing non-harmony notes (passing notes,
neighbour notes, suspensions, pedal notes, notes of
anticipation, appoggiaturas)

o Analysis and practice in writing short two-part counterpoint

examples in the style of a Bach invention
o Beginning exercises in chromatic alteration.
Aural/Musicianship
Understand, appreciate and comment perceptively on listening
examples from a range of periods, styles, genres and composers,
with particular focus on how the basic musical materials (listed
above) are used to create specific musical and/or dramatic effects,
including:
o Pulse, rhythm and metre time signatures including
changing time signatures
o Melodic organisation major and minor scales and diatonic
modes
o Harmony functional harmony
o Textural and timbral effects monophonic, polyphonic
(contrapuntal) and homophonic textures, score reading.
Complete exercises in aural perception, as follows:
o Perform at sight and notate from dictation rhythms in a range
of time signatures, including 2, 3, 4, 5, and 7 beats to the bar.
o Notate from dictation and sing from sight simple melodies in
a range of clefs, including melodies derived from any of the
scales and modes studied; recognise and notate intervals
played harmonically.
o Recognise and notate by ear major, minor and diminished
chords and their inversions, and augmented triads; sing
arpeggiated major and minor chord inversions from a given
bass note; write from dication a two-part example; write
down the bass line of a given example in up to three parts;
identify chord sequences including inversions; fill in the
missing upper or lower sections to a four-part musical
example.
Applied Musicianship (Choral Performance Project)
Be performance-ready in a theoretical or actual performance
context.
Describe the healthy alignment of the singing mechanism and
demonstrate as if in a performance context.
Describe and accurately articulate good diction base on models
present (basic IPA as directed, and the pure vowels on the Vowel
Clock using directional hand signals).
Demonstrate and understanding of critical listening skills as
related to rhythmic internalisation by reproducing any section of a
rhythmic piece studied.
Demonstrate an understanding of critical listening skills related to
pitch internalisation by singing your chosen part in a four-part
phrase indicating which part of the chord by hand signals, one
phrase of a prepared score.

6.0

Perform confidently with an understanding of presented musical

and syntactical style of any section of a piece in the curriculum.
Articulate the techniques used to ensure accurate pitch and rhythm
of a given score as directed.
COURSE STRUCTURE AND CONTENT

This course consists of two lectures and one tutorial per week, plus a
choral performance project consisting of timetabled rehearsals leading to
a performance. The teaching strategies in this course are designed to
foster the permeability and transferability of skills across the various
components of music theory and musicianship and to highlight the
holistic nature of these skills, which are also transferable across all
musical disciplines. The choral performance project provides the
opportunity for students to engage with these components in a practical
and social musical environment.
Wee
k

Theory

Aural

Course
Berg: Wozzeck
introducti Topics addressed
every week:
on and
a. exercises in
consolidati rhythmic and
melodic dictation
on

Text
Applied
ref.
musicianship
(Laitz)
Applied 1
Topics addressed
every week:
a. Technique:
b. Language and
rhythm: part
independence
c. Repertoire:
Hamilton
Dancesong to the
Creator

and sight singing

b. aural
identification of
harmonic principles,
supporting theory
lecture.
c. Musical concepts
and listening as
described in learning
outcomes point 4

2
3
4
5
6

PreDominant
Function
Embellishi
ng Tones
Six-Four
Chords
More PreDominants
The
Submedia
nt

Monteverdi:
Laetatus Sum

Ch. 9

Applied 2

Rameau:
Temple sacr
Rossini: Di
tanti palpiti
Bernstein: Pas
de deux (On
the Town)
Glass: Rubric
Test revision

Ch. 10

Applied 3

Ch. 11

Applied 4

Ch. 12

Applied 5

Ch. 13

Applied 6

Coursew
ork
Rehearsal
preparati
on
(ongoing):
5%
No theory
tutorials
in Week 1

Tutorials
start

Theory
Test 1,
5%

MIDSEMESTER
BREAK

The
Mediant
Analsys;
The Period

Aural Test

Ch. 14

Applied 7

AABA Form

Ch.
15/16

Applied 8

Two-part
Counterpo
int

Adams:
Lollapalooza

Applied 9

10

Harmonic
Sequences
Harmonic
Sequences
continune
d
Consolidat
ion and
Revision

Stravinsky: The Ch. 17

Rite of Spring
Schubert: Trout Ch. 17
Quintet

Applied 10
(Review)
No applied
musicianship

No lecture
(individiual
aural/applied
tests)

No applied
musicianship

11

12

7.0

Aural
Test, 4%
Theory
Test 2,
10%
Applied
musicians
hip
concert:
30
Septembe
r
Theory
Test 3,
10%
Individual
aural/appl
ied tests,
16%

LEARNING RESOURCES

7.1 Required Reading

Laitz, Steven G. The Complete Musician: An Integrated Approach to
Tonal Theory, Analysis, and Listening, Writing and Analysis
Workbook. New York: Oxford University Press, 2012.
7.2 Recommended or Supplementary Reading
Laitz, Steven G. The Complete Musician: An Integrated Approach to
Tonal Theory, Analysis, and Listening, third edition. New York: Oxford
University Press, 2012. Textbook.
7.3

Other Materials or Software

Auralia OR Auralia and Musition subscription to download to your
own computer. Also available on the computers in the architecture
computer lab.
7.4 Use of Cecil
Lecture handouts and announcements will be posted to Cecil. Students
must check their university email frequently.
7.5 Other Assistance / Student Support Available
Students may appreciate support offered by the University at the English
Language Academy, DELNA (Diagnostic English Language Needs
Assessment), ELSAC (English Language Self-Access Centre), the SLC
(Student Learning Centre) and DALSL (the Department of Applied

Language Studies and Linguistics). Students are also welcome to contact

the Course Coordinator for advice and assistance.
8.0

INCLUSIVE LEARNING

Students are urged to discuss privately any impairment-related

requirements face-to-face and/or in written form with the course
convenor/lecturer and/or tutor. If you live with the effects of an
impairment that impacts your learning, physical or mental health,
Student Disability Services can assist you to access support in your study.
You can contact them directly via email (disabilities@auckland.ac.nz), or
pop in to their offices in the basement of the Clocktower (room 036) for a
confidential chat.
9.0

OTHER INFORMATION

Indicative student workload

Type of study

Hour
s
Directed study (structured teaching)

Details

Lectures

23

12 x 1-hour theory lecture

11 x 1-hour musicianship lecture (no lecture
in week 12)

Tutorials

11

11 x 1-hour theory tutorial (no tutorials in

week 1)

Choral performance project

11
8

12 x 1-hour rehearsal
Final rehearsals and performance

Subtotal

54

Independent study
Weekly tasks

72

Study weeks (non teaching

weeks)
Subtotal

12

12 x 6 hours (weekly lecture

preparation/study, incl. exercises from the
text book and workbook assignment
preparation, self directed aural practice
including review in NICAI computer lab,
preparation of musical scores to be
performed in choral performance project)
2x6

84

Examination
Revision

Examination

Personal study as above

Subtotal

12

Total hours

150

10.0 ASSESSMENT
10.1 Method of Assessment
Graded coursework assessments during semester which provide
opportunity for feedback include a written aural test and written
harmony/analysis tests. There will also be opportunities to receive
formative feedback during tutorials. Along with tutorials and workbook
exercises these will help prepare students for the final examination. An
individual aural and applied musicianship test is held towards the end of
the semester. Consistent weekly participation in choral project rehearsal
sessions, musicianship lectures, and individual work will assist in
preparation for this. The final examination is worth 50% of the course,
and is weighted equally between aural perception and theory.
Owing to its practical nature, Applied Musicianship is compulsory.
Failure to attend more than two scheduled rehearsals and/or
performances (without medical certificate or other written evidence) will
result in a grade of DNC (did not complete) for this course.
Plussage
In determining the final mark, the weighting will be either (a)
coursework 50%, examination 50% or (b) examination 75% and
coursework (as defined below) 25%, whichever is to the student's
advantage, provided all assignments have been satisfactorily completed
by the due date and tests have been sat. (This system is known as
plussage.) A satisfactory standard is at least 40% for any given piece of
work. Owing to their practical component, the applied musicianship
assessment (choral performance project), individual musicianship test
and individual aural test (worth a total of 21% of the course) are
exempted from plussage calculations. These constitute the definition of
coursework under (b), whereas for (a), all the above practical elements
and the theory assignments and test are also included.
Theory Test 1 (5%)
Theory Test 2 (10%)
Theory Test 3 (10%)
Applied Musicianship (choral performance project) (5%)
Choral performance project rehearsal and concert participation
Individual Applied Musicianship and Aural Skills Test (16%)

The student should perform, with an understanding of presented

musical and syntactical style, any two sections of the prepared score, as
directed. The score for this semester is David Hamiltons Dancesong to
the Creator. (4 %)
Indicating parts of harmony by hand a short excerpt from a
chorale by Bach will be posted on CECIL one week before assessment
(12-16 October). The student may mark the score and practise hand
indications. Tempo will between 45 and 60 beats per minute. (4 %)
Sightreading
Monophonic: Sing from sight a simple
melody derived from any of the modes or scales studied. (3%)
Independence: Sing from sight the top or bottom part of a
two-part piece while the other part is played. (3%)
Sing a major, minor, or perfect interval above a given note. (2%)
Aural Test (4%)
Week 7 during aural lecture. This test will have a structure similar to the
final exam, testing the aural skills developed during the first half the
course.
Final examination (50%): weighted equally between aural and theory
(harmony/analysis)
Aural
Musical concepts: answer questions on familiar or unfamiliar
listening examples, including the musical materials and
concepts studied in class.
Rhythm and metre: write from dictation rhythms in a range of
time signatures, including 2, 3, 4, 5 and 7 beats to the bar
Melody: write from dictation melodies in a range of clefs,
including melodies derived from the scales and modes studied
Intervals: recognize and write intervals played harmonically
Harmony: recognize and notate major and minor, diminished
chords and their inversions, and augmented triads; write from
dictation a two-part example; write down the bass line of a given
example in up to 3 parts, and identify a chord sequence using
roman numerals and figures, including inversions; fill in the
missing upper or lower sections of a 4-part example

Harmony and analysis: notated tasks and analysis relating to all

chapters studied, including the analysis of seventh chords within
sequences

10.2 Assessment Criteria

Detailed information on assignment format and assessment criteria are

provided below. The grading of work is based on the NICAI Grade
Descriptors printed on the Faculty website:
https://cdn.auckland.ac.nz/assets/creative/for/current-students/courseplanning-enrolment/Planning-and-enrolment-assets/NICAI%20grade
%20descriptors.pdf .
10.3 Academic Integrity
The University of Auckland will not tolerate cheating, or assisting
others to cheat, and views cheating in coursework as a serious
academic offence. The work that a student submits for grading
must be the students own work, reflecting his or her learning.
Where work from other sources is used, it must be properly
acknowledged and referenced. This requirement also applies to
sources on the world-wide web. A students assessed work may be
reviewed against electronic source material using computerised
detection mechanisms. Upon reasonable request, students may be
required to provide an electronic version of their work for
computerised review.
10.4 Attendance and Participation
Attendance in class as well as engagement with course activities and
readings supports academic success. Therefore it is strongly
recommended that students make every effort to attend class and
complete all the necessary in-class requirements.
11.0 STUDENT FEEDBACK
At the end of the course students will have the opportunity to complete a
course evaluation form. Feedback from these forms is valuable to us as
we plan future iterations of this course.
12.0 UNIVERSITY POLICIES AND GUIDELINES
This course is based on the university policies and guidelines. For further
information, see the University and Faculty websites. On the Faculty
website, the Quick Reference Guide for New Students provides useful
information on such things as key dates, where to go for help and advice,
personal support and academic policies and procedures.
Students must note the following warning that applies to all material
provided for this course. This includes printed material and electronic
material, and material posted on CECIL. If you are not sure about the
requirements, ask for clarification from the course coordinator.
COPYRIGHT WARNING NOTICE
This material is protected by copyright and has been copied by and solely
for the educational purposes of the University under licence. You may not

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sell, alter or further reproduce or distribute any part of this course

pack/material to any other person. Where provided to you in electronic
format, you may only print from it for your own private study and
research. Failure to comply with the terms of this warning may expose
you to legal action for copyright infringement and/or disciplinary action
by the University.

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