Teacher: Margarete Thomsen, D.M.A.

Email: mthomsen@mac.com

Texts Required::

1. Clendinning, Jane Piper, and Elizabeth West Marvin. 2005. The Musician’s Guide to Theory and Analysis. New York: W. W. Norton.
2. Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. 2005. The Musician’s Guide to Aural Skills, Vol. 1. New York: W. W. Norton.
3. Clendinning, Jane Piper, and Elizabeth West Marvin. 2005.
4. The Musician’s Guide to Theory and Analysis: Workbook. New York: W. W. Norton.
5. Clendinning, Jane Piper, and Elizabeth West Marvin. 2005. The Musician’s Guide to Theory and Analysis: Anthology. New York: W. W. Norton

Caution: When you order materials from the sources other than W. W. Norton, you run the risk of purchasing incomplete materials. Check your newly purchased books immediately when they arrive or you run the risk of becoming hopelessly behind. Technical Requirements:

Hardware:

• Computer, internet access, and e-mail capability. Operating systems: Windows (Windows XP or Vista) or Mac (MacOS 10.4 and later).
• Scanner that has the ability to send multiple pages as a single PDF file via e-mail. If you are purchasing a scanner, check with the manufacturer that the purchase includes software that allows you to create PDF files. JPG files will not be accepted.
• iPod or other MP3 player.
• Keyboard (digital or acoustic).
• Good computer speakers or earphones. You will need to inquire about bass reproduction when you purchase these since some of your dictations will require that you notate a bass line from a 2-part, 3-part, or 4-part dictation. If the bass reproduction is poor, you will find it impossible to complete this part of the work.
• Good quality microphone and a webcam.

Once you know you will be participating in this class, you should take care of the hardware requirements. You do not want to be learning how to use everything simultaneously with the start of class!

Software Requirements:

• Operating System: Windows XP SP2; at the present time, I cannot guarantee compatibility with Windows Vista . Macintosh OS X, Version 10.3.9 and later.
• Browser:
  Windows: Internet Explorer 6 SP2 or Firefox 2 (free download at http://www.mozilla.com/en-US/
  Macintosh: Safari or Firefox (free download at http://www.mozilla.com/en-US/
• iTunes (free download at http://www.apple.com/itunes/download/ )
• Notation Software: Sibelius Student, available for purchase for $99.00 at http://www.sibelius.com/products/sibelius_student/index.html.

Be sure to purchase this directly from Sibelius rather than from a dealer so that you get the latest release that has significant improvements.

Other Materials:

• The Musician’s Guide to Theory and Analysis web site provides review center for your text. You can access interactive scores and audio, flash cards, and “Web Facts”-enrichment to the text topics: http://www2.wwnorton.com/college/music/musictheory/
• The course website provides a wealth of listening materials, online scale and chord review, as well as an online dictionary of musical terms.
• Staff paper--Use this site to generate staff paper: http://www.arsmusicaonline.com/ResourcesStudent/Man uscriptPaper.html
• Metronome--Use this site for a metronome if you do not own one: http://www.metronomeonline.com
• Notebook, sharp pencil (#2) for handwritten assignments (pens are not allowed), and a straightedge ruler.

Prerequisites:

• Piano or keyboard skills equivalent to a second year piano course
• Successful completion of the qualifying exam. This exam covers the basic rudiments of music theory including, pitch names, grand staff (treble and bass clefs), all major and minor scales, (major, minor, diminished and augmented). Prospective students who are unable to pass this exam will have a chance to study the material independently or through a remedial course offered during the summer.

Course Fee: $650

Course Description: The AP Music Theory course is equivalent to one year of college level music theory. The course is a bit more expensive than some other online courses because it comprises two (2) college level courses: first year music written skills (normally a three-credit class) and first year music aural skills (normally a twocredit class).

Its scope includes elements of music such as notation, ear training, sight singing, rhythm, keyboard harmony, dictation, and composition within the historical framework of the “common practice period” (18th through 20th centuries). Normally, the class will address written skills on Monday, Wednesday and Friday. Tuesday and Thursday will be devoted to developing aural skills.

The short-term goal is preparation for the AP Music Theory exam. The long-term goal is to develop your ability to recognize, understand, and describe the basic materials and processes of music that are heard or presented in a score. The course will use listening, keyboard, and written exercises to foster fluency in fundamental aural, analytical, and compositional skills. Building on this foundation, the course will progress to include more creative tasks, such as the harmonization of a melody by selecting appropriate chords, composing a musical bass line to provide two-voice counterpoint, or the realization of figured-bass notation.

The AP Music Theory exam places strong emphasis on listening skills. Approximately half of the questions on the exam address the student's ability to recognize by ear (that is, by listening) melodic and rhythmic patterns, harmonic functions, small forms, and compositional techniques. Most of the musical examples are taken from standard repertoire, although some examples of contemporary jazz, vernacular music, or music beyond the Western tradition are included in the exam. The examination assumes fluency in reading musical notation and strong grounding in music fundamentals.

In the final weeks of the course, students have the opportunity to take practice AP Music Theory exams.

Time Commitment: I believe that musicians are magicians! Your skills of performance and composition can touch the hearts of your fellow human beings in a manner unmatched by any other art or discipline. However, mastering the discipline is like “painting a moving train;” the music doesn’t stand still! The course provides only a framework for learning. Mastery comes with practice: studying, listening (hence, the iPod or other MP3 player), composing and performing. You can expect to spend from 10-15 hours per week.

Why so much time? Think about it. If you were taking these two classes in a university setting, you would be in the classroom five hours a week and that doesn't count the time you spend getting there! That leaves 10 hours for studying and reviewing the course materials and completing assignments. It is absolutely essential that you block a certain amount of time each day to work on this class. Otherwise you will be hopelessly behind within a couple of weeks!

Instructor Qualifications: B.A. in Music from St. Joseph College (now Loyola-Marymount), MM in Piano Performance from University of Southern California, MM in Music Theory from the University of Michigan, DMA in Organ Performance from the University of Michigan. In addition to teaching piano, organ and theory at the secondary, undergraduate and graduate levels, I have, until 2007, been a church music director.

Through my private music studio, Ars Musica, I teach piano, organ and theory to students who range in age from six to eighty-five! In addition to performing, all of my students are required to study the theory component aligned with their performance skills. This requirement was validated in February when my students participated in the Michigan Music Teachers Association Student Achievement Day. In addition to performing three solo works by memory, the students were tested in five different areas of theory: sight reading, transposition, aural skills, rhythmic skills and written theory. Four students had perfect scores. No student achieved less than 92.5 %! I also provide coaching for graduate music students who are in need of additional preparation for their music theory comprehensive exams.