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Showing posts with label Mark Alburger. Show all posts
Showing posts with label Mark Alburger. Show all posts

Tuesday, February 9, 2016

Mark Alburger (b. 1957)


Mark Alburger (born April 2, 1957) is a San Francisco Bay Area composer and conductor. He is the Founder and Music Director of the San Francisco Composers Chamber Orchestra as well as Music Director of San Francisco Cabaret Opera.

He is also Editor-Publisher of 21st-Century Music Journal.

Mark Alburger was born in Upper Darby, Pennsylvania, USA. He studied composition with Gerald Levinson and Joan Panetti at Swarthmore College; Jules Langert at Dominican University of California; and Roland Jackson, Thomas Flaherty, and Christopher Yavelow at Claremont Graduate University, where he was awarded a Ph.D. in Musicology in 1996. He also studied privately thereafter with Terry Riley. Alburger is best known for his use of troping techniques, combining structures and musical passages from a wide variety of pre-existing works across cultures and eras.

He is an extremely prolific composer with a large opus list, including many concerti, operas, song cycles, symphonies, and a ten-hour theatrical setting of the Bible.

As a music journalist, he has published interviews with many composers across the new music scene, including such notables as Henry Brant, Earle Brown, George Crumb, Anthony Davis, Paul Dresher, Philip Glass, Ali Akbar Khan, Joan La Barbara, Steve Mackey, Tod Machover, Meredith Monk, Pauline Oliveros, Steve Reich, Erling Wold, and Christian Wolff, and is a contributor to The New Grove Dictionary of American Music.

Dr. Alburger currently resides in Northern California with his partner Harriet March Page, mezzo-soprano and Artistic Director of San Francisco Cabaret Opera.

***


Mice and Men, Op. 45 (1992)

Act 5, Scene 1 (The Barn): Jus' feel that hair









***



San Fernando Hub: I. Fresno (Op. 48)

***



Twelve Preludes and Fugues ("Topical"): Xb. Gonna Rock His World (Op. 60)

***


Camino Real, Op. 110 (2003)

1957Alburger110CaminoReal09
Block 9









Block 10









***


The Pied Piper of Hamelin, Op. 116 (2004)

Overture ("Rats!")









Mark Alburger (b. 1957, Upper Darby, PA) is an award-winning, eclectic composer of postminimal, postpopular, and postcomedic sensibilities. He is Music Director of San Francisco Composers Chamber Orchestra and San Francisco Cabaret Opera / Goat Hall Productions, Editor-Publisher of 21st-Century Music, Music Critic for Commuter Times, and Instructor in Music Theory and Literature at Diablo Valley College.

His principal teachers were Gerald Levinson, Joan Panetti, Jules Langert, Christopher Yavelow, Tom Flaherty, and Terry Riley.

Alburger has written 181 major works over the past 36 years, including chamber music, concertos, oratorios, operas, song cycles, and symphonies.

[8957 Tan Dun / 8957 Alburger / 8956 Rotten]

Perceiving the Performing Arts


St. Mary's College
Moraga, CA
Perceiving the Performing Arts (Performing Arts 001)
Spring 2010
Prof. Rebecca Engel (Theatre)

Prof. Jia Wu (Dance)

Dr. Mark Alburger (Music)


Music Section


Overview


Course Information

Unit Credit:


Prerequisites:
Previous experience in life.

Location:
Dante 204

Meeting Times:
TTh 9:40-11:10am

Withdrawal:
It is the student's responsibility to notify the records office of a formal withdrawal.


Communication

Office:
Dante Hall 204

Telephone:
(707) 474-7273 (Cell)

Email:
mus21stc@gmail.com

Websites:
markalburger.blogspot.com
markalburger2010.blogspot.com
markalburger2009.blogspot.com
markalburger2008.blogspot.com
markalburgerevents.blogspot.com
markalburgerworks.blogspot.com
markalburgermusichistory.blogspot.com
21st-centurymusic.blogspot.com
21st-centurymusic.com
myspace.com/markalburger
goathall.org
sfcco.org

Office Hour:
11:10-40 TTh


Texts

Online:
markalburgermusichistory.blogspot.com
(Selected chapters)

Print:
Aaron Copland - What to Listen for in Music: How We Listen
(Biography and Music by Copland)
Jeanette Winterson - Art Objects
(Biography and Books by Winterson)

Internet Free Download:
http://imslp.org/wiki/Symphony_No.4,_Op.120_(Schumann,_Robert)

Optional:
Selected scores


Materials

No. 2 pencils

Computer access


Course Description

This is a course on the ways in which we perceive dance, music, and theatre -- both collectively, as members of an audience, and as individuals.


Music Objectives

1. Analyze musical examples from the perspectives of rhythm (meter/tempo), pitch (scale/mode/melody), dynamics, timbre, texture, harmony, form, and style (history/sociology/function/biography)

2. Demonstrate a knowledge of the aesthetics and history of music.


Music Grading and Evaluation

Daily attendance/participation

Written quizzes

Concert paper


Score Legend

90-100% / A

80-89% / B

70-79% / C

60-69% / D

0-59% / F


Concert Attendance

Students are required to attend performances as outlined in the overall course syllabus.


Late Assignments

There will be a 10% grade penalty on all assignments up to a week late. Assignments more than one week late will receive a failing grade. Only quizzes missed due to excused absences may be made up. Such quizzes must be made up within one week or receive a failing grade.


Attendance Policy

Students are expected to attend all class meetings. Required texts only supplement class meetings. Thus, attendance to all class meetings is essential to the successful completion of the course. Poor attendance has always resulted in a poor grade, while excellent attendance has always been a prerequisite to an excellent grade.


Academic Dishonesty

Students found cheating or plagiarizing will be subject to penalty.


Artistic Borrowing

Students found borrowing, gridding, modeling, or troping will be congratulated. Please refer to the history of art, the universe, and everything.


Music Syllabus

Session 1 - Prehistoric / Ancient Music (before c. 400)
Yurok (California) - Women's Brush Dance
Asia Minor (Turkey) - Epitaph of Seikilos

Session 2 - Medieval Music (c. 400-1400)
Gregorian Chant - Kyrie IV
Guillaume de Machaut - Notre Dame Mass: Kyrie

Session 3 - Renaissance / Baroque Music (c. 1400-1750)
Josquin des Pres - El Grillo
G.F. Handel - Messiah: Hallelujah

Session 4 - Classical / Romantic Music (c. 1750-1900)
Ludwig van Beethoven - Symphony No. 5: I
Giuseppe Verdi - Rigoletto: Quartet

Session 5 - 20th-Century Music I (c. 1900-1950)
Igor Stravinsky - The Rite of Spring: Dances of the Adolescents
Joe Garland - In the Mood

Session 6 - 20th-Century Music II (c. 1950-2000)
George Crumb - Black Angels
Roger Waters - Shine On You Crazy Diamond: III

Session 7 - 21st-Century Music (c. 2000-)
Mark Alburger - Camino Real: Block 9
Thom Yorke - Morning Bell

Session 8 - San Francisco Symphony Concert
Robert Schumann - Symphony No. 4 (1851)
Alexander Zemlinsky - Lyric Symphony (1922)


San Francisco Symphony Concert Review

Reviews of the event will identify the concert (who, what, when, and where), and comment on salient elements. The first review will be due before the final.

Review should have a:
Title
Lede Sentence
Basic News Facts
Good Mechanics / Style (endeavor to avoid 1st person)
Perceptive Content

For example formats, feel free to check reviews at
The New York Times
San Francisco Chronicle
21st-Century Music (21st-centurymusic.blogspot.com)
etc.

[9057 Perceiving the Performing Arts]

Music and the Enlightenment


St. Mary's College
Moraga, CA
Music and the Enlightenment (Performing Arts 119)
Spring 2009Dr. Mark Alburger


Overview


Course Information

Unit Credit:
1/2 Course

Prerequisites:
Previous experience in music.

Location:
Syufy 110

Meeting Times:
MW 10:20-11:20am

Withdrawal:
It is the student's responsibility to notify the records office of a formal withdrawal.


Communication

Office:
Syufy 110

Telephone:
(707) 451-0714 (21ST-CENTURY MUSIC)
(707) 474-7273 (Cell)

Email:
mus21stc@gmail.com

Websites:
markalburger2009.blogspot.com
markalburger.blogspot.com
markalburgerevents.blogspot.com
markalburgerworks.blogspot.com
markalburgermusichistory.blogspot.com
21st-centurymusic.blogspot.com
21st-centurymusic.com
myspace.com/markalburger
goathall.org
sfcco.org

Office Hours:
MW 11:20


Texts

Online:
markalburgermusichistory.blogspot.com
(Late Renaissance, Baroque, and Classical chapters)

Print:
Piero Weiss and Richard Taruskin
Music in the Western World: A History in Documents
Schirmer Books, 1984


Optional:
Selected Late Renaissance, Baroque, and Classical scores


Materials

No. 2 pencils

Computer access


Course Description

This is a course on the music of the Baroque and Classical eras, with particular (though not exclusive) focus on the Western Europe Enlightenment and forces of the time including Absolutism, Capitalism, and Protestantism.


Objectives

1. Analyze Baroque and Classical musical examples from the perspectives of key/mode, form, harmony, rhythm, and melody.

2. Demonstrate a knowledge of the historical development of genres in music from 1500-1825, plus a familiarity with various stylistic antecedents and descendants.


Grading and Evaluation (point scale)

Daily attendance/participation (c. 1200)

Weekly written quizzes (c. 1200)

Concert reviews (c. 200)


Score Legend

90-100% / A

80-89% / B

70-79% / C

60-69% / D

0-59% / F


Concert Attendance

Students are required to attend two concerts per semester. At least one should be by the St. Mary's performing arts department and (not necessarily the same report) primarily of Western Classical music (band, chamber, choral, opera, orchestral). Reviews of each event will identify the concert (who, what, when, and where), and comment on salient elements. The first review will be due by mid-term; the second by the week before the final.


Late Assignments

There will be a 10% grade penalty on all assignments up to a week late. Assignments more than one week late will receive a failing grade. Only quizzes missed due to excused absences may be made up. Such quizzes must be made up within one week or receive a failing grade.


Attendance Policy

Students are expected to attend all class meetings. Required texts only supplement class meetings. Thus, attendance to all class meetings is essential to the successful completion of the course. Poor attendance has always resulted in a poor grade, while excellent attendance has always been a prerequisite to an excellent grade. Students who miss more than two weeks of class may be dropped without notice. Students who need to take a leave of absence during the term should ask a counselor for a petition and then receive written approval from the Instructor and the Dean of Students. Leaves of absence are limited to ten instructional days.


Academic Dishonesty

Students found cheating or plagiarizing will be subject to penalty.


Artistic Borrowing

Students found borrowing, gridding, modeling, or troping will be congratulated. Please refer to the history of art, the universe, and everything.


Syllabus

Part I - Late Renaissance Music (c. 1500-1600)

Week 1 - The Reformation

8483 Martin Luther (1483-1546) - Reformation Chorale
8485 Hugh Aston (c. 1485-1558) -Lady Carey's Dompe
8490 Costanzo Festa (1490-1545) - Sackbut
8491 Henry VIII (1491-1547) - Pastime
8492 Spain - Muslim Expulsion (1492) - Good Friday
8495 Hans Sachs (1495-1576) -Mastersinger
8495 Claudin de Sermsy (c. 1495-1562) - Consort
8500 Guillaume le Heurteur (c. 1500-1550) - Kortholt
8500 Luis de Milan (c. 1500-1561) - Vihuela
8500 Tielman Susato (c. 1500-1561) - Dulcian
8504 Funj Sultanate, Sudan (c. 1504) - North & South
8505 Thomas Tallis (c. 1505-1585)

Week 2 - The Counter-Reformation

8507 Anne Boleyn (c. 1507-1535)- O Death
8510 Louis (Loys) Bourgeois (b c. 1510 -1560)
8510 Andrea Gabrieli (c. 1510-1586) - Ricercar
8510 Claude Gervaise (c. 1510-1560) - Danceries
8517 Gioseffo Zarlino (1517-1590) - Music Theory
8519 Thoinot Arbeau (1519-1595) - Orchesographie
8525 Giovanni Pierluigi da Palestrina (1525-1594)
8532 Orlando di Lasso (1532-1594) - Lieder
8535 Giorgio Mainerio (1535-1582) - Old and New
8540 Ireland - Dublin Virginal Composer (b. c. 1540)
8543 William Byrd (1543-1623)

Week 3 - The Florentine Camerata and Company

8545 Pedro de Soto (b. c. 1545) - Renaissance Organ
8548 La Paz, Bolivia (1548), and the Aymara
8551 Giulio Caccini (1551-1618) - Florentine Camerata
8553 Giovanni Gabrieli (1553-1612)
8554 Anthony Holborne (c. 1554-1602)
8556 Pierre-Francisque Caroubel (1556-1611)
8557 Thomas Morley (1557-1603) - Madrigals
8560 Samuel Voelckel (1560-1618) - Courante
8561 Jacopo Peri (1561-1633) - Opera
8563 John Dowland (1563-1626)
8566 Carlo Gesualdo (c. 1566-c. 1613)

Part II - Baroque Music (c. 1600-1750)

Week 4 - Monteverdi, Opera, Vespers, Magnificat

8567 Claudio Monteverdi (1567-1643)
8570 John Farmer (1570-1601) - Fair Phyllis
8570 William Kemp (b. c. 1570) - Kemp's Gig (c. 1595)
8571 Michael Praetorius (1571-1621)
8572 Okuni (b. c. 1572) - Kabuki (1603) - Shamisen
8576 Thomas Weelkes (1576-1623) - Madrigals
8578 Agostino Agazzari (1578-1640) - Figured Bass
8582 Thomas Ravenscroft (1582-1635) - Blind Mice
8582 Marco da Gagliano (1582-1643) - Dafne
8583 Girolamo Frescobaldi (1583-1643) - Serpent
8583 Orlando Gibbons (1583-1625) - The Silver Swan

Week 5 - Schutz, Enlightenment, Absolutism

8585 Heinrich Schutz (1585-1672) - Saul
8586 Johann Schein (1586-1630) - Crumhorn
8596 Rene Descartes (1596-1650) - Enlightenment
8619 Barbara Strozzi (1619-1677) - Beglia Occhi
8620 English (b. c. 1620) - Greensleeves to a Ground
8632 Jean-Baptiste Lully (1632-1687) - Absolutism
8637 Dietrich Buxtehude (1637-1707)
8644 Heinrich Biber (1644-1704) - Trombone Sonata
8650 Protestantism in Nigeria (c. 1650)

Week 6 - Corelli, Sonata, Purcell, Cantata

8653 Arcangelo Corelli (1653-1713) - Trio Sonata
8653 Johann Pachelbel (1653-1706) - Canon - Cello
8659 Henry Purcell (1659-1695) - Abdelazar - Dido
8660 Johann Joseph Fux (1660-1741) - Gradus
8660 Alessandro Scarlatti (1660-1725) - Cantata

Week 7 - Vernacular and Cultivated

8667 Johann Christoph Pepusch (1667-1752) - Beggars
8668 Francois Couperin (1668-1733) - Musete
8674 Jeremiah Clarke (c. 1674-1707) - Trumpet
8678 Antonio Vivaldi (1678-1741) - Concerto
8681 Georg Philip Telemann (1681-1767) - Oboe

Week 8 - Theory and Practice in Handel and Bach

8682 Jean-Joseph Mouret (1682-1738) - Rondeau
8683 Jean-Philippe Rameau (1683-1764) - Theory
8685 George Frideric Handel (1685-1759) - Oratorio
8685 Johann Sebastian Bach (1685-1750) - Fugue
8685 Domenico Scarlatti (1685-1757) - Performance

Part III - Classical Music (c. 1750-1825)

Week 9 - A Symphony of Opera Buffa and Performance

8700 G.B. Sammartini (1700-1775) - Symphony
8709 Formation of the Zulu (c. 1709) - Critical Times
8710 Giovanni Battista Pergolesi (1710-1736)
8710 Thomas Arne (1710-1778) - Philosophy
8714 Carl Philipp Emanuel Bach (1714-1788) - Piano
8714 Christoph Willibald Gluck (1714-1787) - Reform

Week 10 - A Capital Mass of Haydn and Instruments

8717 Johann Stamitz (1717-1757) - Symphony
8723 Adam Smith (1723-1790) - Capitalism
8731 Founding of Afghanistan (1731)
8732 Franz Joseph Haydn (1732-1809)
8746 William Billings (1746-1800)
8750 John Stafford Smith (1750-1837)

Week 11 - Mozart and his Rivals

8750 Antonio Salieri (1750-1825) - Minuet
8752 Muzio Clementi (1752-1832) - Sonatinas
8756 Wolfgang Amadeus Mozart (1756-1791)
8760 Rouget de Lisle (1760-1836) - La Marseillaise
8767 Johnson (b. c. 1767) - Polly Put the Kettle On

Week 12 - The World of Beethoven

8770 Ludwig van Beethoven (1770-1827)
8774 Flamenco (c. 1774) - Flamenco Guitar
8787 Franz Xaver Gruber (1787-1863)
8792 Lowell Mason (1792-1872)
8792 Gioachino Rossini (1792-1868)

[9057 Music and the Enlightenment]

Rock History



Diablo Valley College
Pleasant Hill, CA
Rock History
Fall 2010

Dr. Mark Alburger


Overview


Course Information

Unit Credit:
3, Grade Code SC - grade or credit / no credit. Please decide before Week 6.

Prerequisites:
None.

Location:
M-125

Meeting Times:
W 7:00-9:50pm

Withdrawal:
It is the student's responsibility to notify the records office of a formal withdrawal.


Communication

Office:
M-127

Telephone:
(707) 474-7273

Email:
mus21stc@gmail.com

Websites:
youtube.com/user/DrMarkAlburger
markalburger.blogspot.com
markalburger2010.blogspot.com
markalburger2009.blogspot.com
markalburger2008.blogspot.com
markalburgerevents.blogspot.com
markalburgerworks.blogspot.com
markalburgermusichistory.blogspot.com
21st-centurymusic.blogspot.com
21st-centurymusic.com
facebook.com/people/Mark-Alburger/546460824
myspace.com/markalburger
goathall.org
sfcco.org


Office Hours:
MTWTh 1:45-2:45pm by appointment
W evenings after class


Texts

Online:
markalburgermusichistory.blogspot.com (Music History - selected chapters)

Traditional:
John Covach. What's that Sound: An Introduction to Rock and Its History.
Glenn Appell. A History of Popular Music.


Materials

No. 2 pencils

8.5" x 11" 12-line music manuscript paper (loose-leaf or notebook)

Computer access, and music notation software program (the latter optional)


Course Description

A history of rock from its beginnings to the present.


Objectives

To develop an appreciation of the historical and musical aspects of rock in the context of the larger realms of art and the universe.


Grading and Evaluation (point scale)

Daily Attendance / Participation (2000)

Weekly Quizzes / Exam (2000)

Compositions / Reviews / Class Teaching (1000)



Score Legend

90-100% / A

80-89% / B

70-79% / C

60-69% / D

0-59% / F


DVC Music Technology Center

Frequent use of tutorials via the absolutely wonderful DVC Music Technology Center (MTC) is encouraged -- 15 minutes per day are recommended -- 700 minutes per semester are expected.


Concert Attendance

Students are required to attend two concerts per semester. At least one should be by the DVC music department and one (not necessarily the same presentation) primarily of Rock. Reviews of each event will identify the concert (who, what, when, and where), and comment on salient elements. The first review will be due by mid-term; the second by the week before the final.

Reviews should have a:
Title
Lede Sentence
Basic News Facts
Good Mechanics / Style (endeavor to avoid 1st person)
Perceptive Content

For example formats, feel free to check reviews at
The New York Times
San Francisco Chronicle
21st-Century Music (21st-centurymusic.blogspot.com)
etc.


Late Assignments

There will be a 10% grade penalty on all assignments up to a week late. Assignments more than one week late will receive a failing grade. Only quizzes missed due to excused absences may be made up. Such quizzes must be made up within one week or receive a failing grade.


Attendance Policy

Students are expected to attend all class meetings. Required texts only supplement class meetings. Thus, attendance to all class meetings is essential to the successful completion of the course. Poor attendance has always resulted in a poor grade, while excellent attendance has always been a prerequisite to an excellent grade. Students who miss more than two weeks of class may be dropped without notice. Students who need to take a leave of absence during the term should ask a counselor for a petition and then receive written approval from the Instructor and the Dean of Students. Leaves of absence are limited to ten instructional days.


Academic Dishonesty

Students found cheating or plagiarizing will be subject to Student Code of Conduct disciplinary procedures. Please refer to the Diablo Valley College Catalog.


Artistic Borrowing

Students found borrowing, gridding, modeling, or troping will be congratulated. Please refer to the history of art, the universe, and everything.


Syllabus

Week 1
Blues

Week 2
Dixieland

Week 3
Swing

Week 4
Bebop

Week 5
Cool

Week 6
Country Music

Week 7
Rhythm and Blues

Week 8
Rock and Roll / Soul

Week 9
The Beatles / Rolling Stones

Week 10
British Invasion / Folk Rock

Week 11
Motown Pop / Southern Soul / Psychedelia

Week 12
Art Rock

Week 13
Black Pop / Disco

Week 14
Punk / New Wave

Week 15
MTV / Heavy Metal

Week 16
Rap / Alternative Rock

Week 17
90's Rock

Week 18
Recent Rock

Music Theory



Diablo Valley College
Pleasant Hill, CA
Theory and Musicianship I
Music 122-1313
Spring 2016
Dr. Mark Alburger


Overview


Course Information

Unit Credit:
4, Grade Code SC - grade or credit / no credit. Please decide before Week 6.

Prerequisites:
None.

Location:
M-127

Meeting Times:
TTH 8:00-10:50am

Withdrawal:
It is the student's responsibility to notify the records office of a formal withdrawal.

N.B. Music 150 (Beginning Piano I) is additionally recommended for those without keyboard background.


Communication

Office:
M-127

Telephone:
(707) 474-7273

Email:
mus21stc@gmail.com

Websites:
youtube.com/user/DrMarkAlburger
imslp.org/wiki/Category:Alburger,_Mark
markalburger.blogspot.com
markalburger2016.blogspot.com
markalburger2015.blogspot.com
markalburger-2014.blogspot.com
markalburger2013.blogspot.com
markalburger2012.blogspot.com
markalburger2011.blogspot.com
markalburger2010.blogspot.com
markalburger2009.blogspot.com
markalburger2008.blogspot.com
markalburger2007.blogspot.com
markalburgerevents.blogspot.com
markalburgerworks.blogspot.com
markalburgermusichistory.blogspot.com
21st-centurymusic.blogspot.com
21st-centurymusic.com
theopusprojectcelebration.blogspot.com
facebook.com/people/Mark-Alburger/546460824
myspace.com/markalburger
goathall.org
sfcco.org


Office Time and Place:
MWF-10:50am
M-116


Texts

Online:
markalburgermusichistory.blogspot.com (Music Theory - selected chapters)

Traditional:
Mark Alburger. Music Theory.
Owen J. Lee. Music 122 Reference and Workbook.

Optional:
Mark Alburger. Performance: Analysis, Keyboard, and Solfege.
Kate Bastien. Music Flashcards.
Thomas Benjamin. Music for Sight-Singing.
Mark Levine. The Jazz Theory Book.
W.A. Mathiew. Harmonic Experience.
Walter Piston. Harmony.
Eric Salzman and Michael Sahl. Making Changes.


Materials

No. 2 pencils

8.5" x 11" 12-line music manuscript paper (loose-leaf or notebook)

Computer access, and music notation software program (the latter optional)


Course Description

This is the first course in the Music Transfer Program Theory Sequence. Music 122 is the study of the fundamentals of music (primarily Western), including notation, basic theoretical concepts, melodic and rhythmic reading, ear training, and beginning composition.


Objectives

1. Write and visually identify pitches, note values, meters, selected scales/modes, key signatures, intervals, triads, and chords in treble and bass clef staves.

2. Arrange simple progressions in appropriate styles.

3. Read, perform, and count rhythms.

4. Sing at sight simple melodies using solfege syllables (movable "do")

5. Take simple melodic and harmonic dictation.

6. Perform basic selected scales/modes, intervals, chords, and simple melodies at the keyboard.

7. Analyze simple musical examples from the perspectives of key/mode, form, harmony, rhythm, and melody.

8. Compose short compositions, including a musical setting of a poem.

9. Demonstrate a basic knowledge of the historical development of harmony in Western music.


Student Learning Outcomes

A. Utilize the modern, Western system of notating music.

B. Recognize and apply fundamental Western theoretical concepts.

C. Demonstrate basic musicianship skills including sight singing, rhythm reading, aural recognition, dictation, and keyboard realization.

D. Discuss the historical aspects of the development of the theoretical concepts presented throughout the course.

E. Compose music using fundamental Western theoretical concepts.


Grading and Evaluation (point scale)

Daily Attendance / Participation (2000)

Weekly Quizzes / Exam (2000)

Compositions / Reviews / Class Teaching (1000)



Score Legend

90-100% / A

80-89% / B

70-79% / C

60-69% / D

0-59% / F


DVC Music Technology Center (and elsewhere)

Frequent use of online tutorials via the absolutely wonderful DVC Music Technology Center (MTC) or wherever is encouraged -- 15 minutes per day are recommended.


Concert Attendance

Students are required to attend two concerts per semester. At least one should be by the DVC music department and (not necessarily the same presentation) primarily of Western Classical music (band, chamber, choral, opera, orchestral). Reviews of each event will identify the concert (who, what, when, and where), and comment on salient elements. The first review will be due by mid-term; the second by the week before the final.

Reviews should have a:
Title
Lede Sentence
Basic News Facts
Good Mechanics / Style (endeavor to avoid 1st person)
Perceptive Content

For example formats, feel free to check reviews at
The New York Times
San Francisco Chronicle
21st-Century Music (21st-centurymusic.blogspot.com)
etc.


Late Assignments

There will be a 10% grade penalty on all assignments up to a week late. Assignments more than one week late will receive a failing grade. Only quizzes missed due to excused absences may be made up. Such quizzes must be made up within one week or receive a failing grade.


Attendance Policy

Students are expected to attend all class meetings. Required texts only supplement class meetings. Thus, attendance to all class meetings is essential to the successful completion of the course. Poor attendance has always resulted in a poor grade, while excellent attendance has always been a prerequisite to an excellent grade. Students who miss more than two weeks of class may be dropped without notice. Students who need to take a leave of absence during the term should ask a counselor for a petition and then receive written approval from the Instructor and the Dean of Students. Leaves of absence are limited to ten instructional days.


Academic Dishonesty

Students found cheating or plagiarizing will be subject to Student Code of Conduct disciplinary procedures. Please refer to the Diablo Valley College Catalog.


Artistic Borrowing

Students found borrowing, gridding, modeling, or troping will be congratulated. Please refer to the history of art, the universe, and everything.


Syllabus

Week 1
Prehistoric / Treble
Notation of Rhythm
Notation of Pitch / C Major Scale

Week 2
Ancient / Treble and Bass
Half and Whole Steps / F Modes
Interval Number
Bass Clef /Interval Quality

Week 3
Medieval I / Steps and Modes
D Dorian / D Minor / E Phrygian
Perfect Fifths and Fourths

Week 4
Medieval II / Keys and Modes
Larger Intervals
G Modes

Week 5
Renaissance / Major and Minor
Chord Names and Numbers
Chords in Am and C / Scales of Am and D

Week 6
Baroque / Intervals and Chords
E Scales / C Minor / A Major
Interval Inversions

Week 7
Classical / Triads
Bb Eb Major / C Melodic Minor / B F# Minor
Typical Forms in the Common Practice Era

Week 8
Romantic/ Stacked Chords
Seventh Chords
Fm / Ab, Db / Chromatic / Triad Qualities in C

Week 9
20th-Century I / Bitonal, Inverted, Quartal
Whole Tone / Gb, F# / Bbm, Ebm / Inversions
Bitonality / Syncopation

Week 10
20th-Centur II / Counterpoint
Neighbor Tones, Passing Tones, Suspensions
C#m, G#m, D#m / B / I-IV-V in C and Eb

Week 11
20th-Century III/ Chord Cycles
Chord "Progression"
W-H & H-W Octatonic / C Blues / C I-IV-V Syncopation

Week 12
20th-Century IV / Voice-Leading
Two Basic Rules
12-Bar Blues

Week 13
20th-Century V / Figured Bass
Realization
Comparison
Inverted Chords in Figures

Week 14
21st-Century Music / Analysis
Seventh Chords in G, C, and F

Week 15-17
Review

Week 18
Exam

[9057 - Music Theory Syllabus]

Music Appreciation



Diablo Valley College
Pleasant Hill, CA
Music Appreciation

Music 110-8142
Spring 2016

Music 110-4186
Summer 2015

Dr. Mark Alburger


Overview


Course Information

Unit Credit:
3, Grade Code SC - grade or credit / no credit.

Prerequisites:
None

Location:
M-127 / M-101

Meeting Times (Fall-Spring):
T 7:00-9:50pm

Meeting Time (Summer):
MTWTh 8:15-10:20am

Withdrawal:
It is the student's responsibility to notify the records office of a withdrawal.


Communication

Office:
M-127 / M-101

Telephone:
(707) 474-7273

Email:
mus21stc@gmail.com

Websites:
youtube.com/user/DrMarkAlburger
imslp.org/wiki/Category:Alburger,_Mark
markalburger.blogspot.com
markalburger2016.blogspot.com
markalburger2015.blogspot.com
markalburger-2014.blogspot.com

markalburger2013.blogspot.com
markalburger2012.blogspot.com
markalburger2011.blogspot.com
markalburger2010.blogspot.com
markalburger2009.blogspot.com
markalburger2008.blogspot.com
markalburgerevents.blogspot.com
markalburgerworks.blogspot.com
markalburgermusichistory.blogspot.com
21st-centurymusic.blogspot.com
21st-centurymusic.com
facebook.com/people/Mark-Alburger/546460824
theopusprojectcelebration.blogspot.com
myspace.com/markalburger
goathall.org
sfcco.org


Office Time and Place:

T 9:50pm / M-127 (Fall-Spring)

MTWTh 10:20am / M-101 (Summer)


Text

Selections from:
Mark Alburger - Music History
markalburgermusichistory.blogspot.com


Materials

No. 2 pencil (with built-in eraser)
Notebook
Computer access


Course Description

This is a course in music history, literature, and listening.

Music Appreciation 110 is the study of the fundamentals of music (primarily Western), including notation; basic historical and stylistic concepts; and melodic, harmonic, and rhythmic listening.


Objectives

1. Read and hear pitches, note values, meters, rhythms, and scales/modes.

2. Analyze musical examples re form, harmony, rhythm, and melody.

3. Demonstrate a basic knowledge of the historical development of Western music.


Student Learning Outcomes

A. Utilize a basic vocabulary for the appreciation of music.

B. Aurally identify performance media and musical genres.

C. Aurally identify Western classical music styles and major works from each stylistic period.

D. Discuss the contributions of major composers to Western classical music literature.

E. Relate a historical/social perspective to the development and evolution of Western classical music styles.

F. Relate Western classical music styles to stylistic movements in art and literature.

G. Compare and contrast Western classical music styles to Western popular music styles and various non-Western musical traditions.


Grading and Evaluation (approx.)

Attendance/Participation - Fall-Spring 1800 / Summer 1200

Quizzes - Fall-Spring 1600 / Summer 1200

Reviews - Fall-Spring 200


Score Legend

A 100-90

B 89-80

C 79-70

D 69-60

F 59-0


Concert Attendance (Spring-Fall)

Students are required to attend two concerts per semester. At least one should be by the DVC music department and (not necessarily the same presentation) primarily of Western Classical music (band, chamber, choral, opera, orchestral). Reviews of each event will identify the concert (who, what, when, and where), and comment on salient elements. The first review will be due by mid-term; the second by the week before the final.

Reviews should have a:
Title
Lede Sentence
Basic News Facts
Good Mechanics / Style (endeavor to avoid 1st person)
Perceptive Content

For example formats, feel free to check reviews at
The New York Times
San Francisco Chronicle
21st-Century Music (21st-centurymusic.blogspot.com)
etc.


Late Assignments

There will be a 10% grade penalty on all assignments up to a week late. Assignments more than one week late will receive a failing grade. Only quizzes missed due to excused absences may be made up. Such quizzes must be made up within one week or receive a failing grade.


Attendance Policy

Students are expected to attend all class meetings. Required texts only supplement class meetings. Thus, attendance to all class meetings is essential to the successful completion of the course. Poor attendance has always resulted in a poor grade, while excellent attendance has always been a prerequisite to an excellent grade. Students who miss more than two weeks of class may be dropped without notice. Students who need to take a leave of absence during the term should ask a counselor for a petition and then receive written approval from the Instructor and the Dean of Students. Leaves of absence are limited to ten instructional days.


Academic Dishonesty

Students found cheating or plagiarizing will be subject to Student Code of Conduct disciplinary procedures. Please refer to the Diablo Valley College Catalog.


Artistic Borrowing

Students found borrowing, gridding, modeling, or troping will be congratulated. Please refer to the history of art, the universe, and everything.



Syllabus (Fall-Spring)


Week 1

Prehistoric Music


Week 2

Ancient Music


Week 3

Medieval Music I


Week 4

Medieval Music II


Week 5

Renaissance Music


Week 6

Baroque Music


Week7

Classical / Romantic Music I


Week 8

Romantic Music II


Week9

20th-Century Music I


Week 10

20th-Century Music II


Week 11

20th-Century Music III


Week 12

20th-Century Music IV


Week 13

20th-Century Music V


Week 14

21st-Century Music


Week 15

Review


Week 16

Review


Week 17 (18)

(Review) Exam





Syllabus (Summer)


Week 1

Prehistoric Music
Ancient Music


Week 2

Medieval Music I
Medieval Music II


Week 3

Renaissance Music
Baroque Music


Week 4

Classical / Romantic Music I
Romantic Music II


Week 5

20th-Century Music I
20th-Century Music II


Week 6

20th-Century Music III
20th-Century Music IV


[9057 - Music Literature Syllabus]