SPICER ADVENTIST UNIVERSITY

Established Vide Maharashtra Act No. XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music - Fifth Semester

MUHL 351 MUSIC HISTORY III

COURSE DESCRIPTION

This course deals with a study of 20th_

century repertoire from the post- Romantic period to the present.

Placing emphasis on developments of the characteristics of music, stylistic trends, composers and their

contribution to the period.

Student Learning Objectives:

The student who successfully completes the course will:

1. Have exposure to the musical characteristics of the Twentieth.

2. Have a clear understanding of styles and trends of the Twentieth Century music.

3. Have the knowledge about composers and their contribution to the Twentieth Century.

Text book

Wold Milo, Martin Gary, Miller James, Cykler Edmund, An Outline History of Western Music,

Wm.C.Brown Publishers,Dubuque Iowa, U

References:

Hickok Robert. Exploring Music. Fourth ed. Wm.C. Brown Publishers,

Dubuque Iwa, U.S.A, 1989

Miller, M. Hugue. History of Music. New York: Barnes and Noble,

A division of Harpers and Row publishers, 1973

Don M. Rendell (ed.). The New Harvard Dictionary of Music.

The Belknap Press,

Kerman, J. Listen. California: Worth Publishing Inc.,1980

Grout, D.A. A History of Western Music. W.W Norton and Company, 1960.

COURSE CONTENT:

I Characteristics of the period: Tonality, Melody, Rhythm, Harmony, Texture and Tone color.

II Music trends in the first half of the Twentieth Century and their composers;

A. Neoromanticism

B. Impressionism

C. Expressionism

D. Neoclassicism

E. Serialism

F. Gebrauchsmusik

III. Music for Instruments:

• Variation

• Short forms, Dances, poetic pieces

• Sonata, Chamber Music and Symphony

• Concerto

• Suite

• Ballet

• Incidental Music for films and Drama

IV. Music for Voices:

• Art Song

• Short Choral Works

• Opera Musical theater

• Oratorio/Choral Works with Orchestra

• Liturgical Music

V. Composers and their contribution to Western Music

VI. Characteristics of Music in the second half of the Twentieth Century

VII Music Trends in the second half of the Twentieth Century

• Total Serialism

• Aleatoric Music

• Music Concrete

• Minimalism

• Electronic Music

VIII. American Music

• Popular Music, Jazz its origin, and styles.

• Blues

• Ragtime

• Swing

• Dixieland Jazz

• Stride

• Boogie- Woogie

• Cool Jazz

• Free Jazz

• Bluegrass

XI. Composers and their contribution to Western Music.

Attendance

The student will attend two class periods per week through the semester.

EVALUATION

Continuous Internal Evaluation System entails a steady teaching and learning process through

monthly tests, labs and the student is required to write the Internal exam and a Final exam.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – Fifth Semester

MUCT 355 Music Theory V ( 3 Credits) Course Description This course includes the study of various modes and scales, unusual time signatures, intricate transpositions, harmonic analysis, figured bass and Secondary 7th chords as well as Dominant 7th chords and diminished 7th chords and chromatic harmony. 12-bar Blues is also included in the study. Student Learning Objectives 1. To get a clear idea of harmony and sequences. 2. To write chords using 4-part harmony. 3. To compose 8-bar melodies using major, minor, pentatonic major and minor, blues and whole-tone scales as well as the Aeolian and Dorian modes. Course Objectives 1. To make students familiar with all kinds of modes and scales. 2. To make students aware of modulation through pivot notes and pivot chords. 3. To recognize diminished 7th, dominant 7th and secondary 7th chords. Text Books 1. Trinity Guildhall Theory of Music Workbook Grade 7 2. A Handbook of Musical Knowledge Part 2 by James Murray Brown Trinity College of Music Mandeville Place, London, W.1 3. The AB Guide to Music Theory by Eric Taylor The Associated Board of the Royal Schools of Music.

Content 1. To write diminished 7th, dominant 7th and secondary 7th chords as broken chords 2. Recognizing and naming all types of cadences such as Perfect, Plagal, Imperfect and Interrupted. 3. Labelling the chords of a chorale/hymn with Roman numerals below and chord symbols above and completing the final three chords to form the closing cadence. 4. Transposing a 12-bar Blues chord progression and writing an accompaniment using it in piano style (block chords or vamping). 5. To study the Layout of Orchestral Scores of the Classical Period. Attendance The student will attend 3 class periods per week through the Semester. Evaluation Continuous internal Evaluation System entails a steady teaching and learning process through monthly tests, labs and the student is required to write the Internal exam and a Final exam.

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SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – Fifth Semester

MUPF 354 Applied Music Voice V (2 Credits)

Course Description This course is designed to develop advanced vocal technique and improve the vocal control and skill learned in the previous course. The art of expressive singing, blending the register, clear diction and singing in foreign languages. Student Learning Objectives 1. To analyse the meaning of a song and sing it more expressively and portray the meaning of the words through vocal tone and facial expression. 2. To develop the art of blending the registers without any audible break. 3. To sing with correct intonation through Vocalization Exercises and learning to pitch semitones correctly. Course Objectives 1. To develop breath support and increase the range of the voice.

2. To know how to use the registers of the voice for maximum effect.

3. To develop musicianship and stage poise.

4. To develop careful listening through Aural Training.

Text Books Voice Placing & Training Exercises by George Dodds Oxford University Press ABT Solfeggio Singing Tutor G.Schimer, INC, NEW YORK Sight Singing Exercises Trinity College, London

Aural Tests for Grade Examinations Trinity College, London

Content 1. To develop Sight Reading ability and pitch the notes correctly and sing in time with the accompaniment. 2. To develop correct intonation and remain on pitch in spite of difficult intervals. 3. To be able to sing observing varying dynamic in the music. 4. To learn songs in foreign languages such as German and Italian, and participate in a Student Recital at the end of the Semester. 5. To learn to sing different types of songs such as Oratorio and Opera arias, German Lieder and songs from Musicals and Music Theatre. These would include English, German and Italian songs such as If with your Hearts from Elijah by Mendelssohn. Arm, Arm ye brave by Handel. To Daisies by Quilter. Standchen and Du bist die Ruh by Schubert. Widmung by Schumann, Mattinata by Leoncavalio and Quella fiamma by Marcello. O1’ Man River by Kern and By Strauss by Gershwin. If I were a rich man from Fiddler on the Roof by Bock. Attendance The student will attend two class periods per week through the semester. EVALUATION

Continuous Internal Evaluation System entails a steady teaching and learning process through monthly tests, labs and the student is required to perform for the Internal exam and a Final exam. At the end of the semester the student is also required to perform in a recital.

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Spicer Adventist University Established Vide Maharashtra Act No. XIV of 2014

( A Christian Minority University)

SYLLABI

BFA Music – Fifth Semester

MUPF 359 External Performance (Piano)

Course Description

Preparation for an external performance, grade 8 or beyond, of applied music piano. The performance

is conducted at a local centre for either Trinity College London of music or the Associate Board or the

Royal School of Music, London. Credit of 2 hours is granted on completion of the requirement.

Student Learning Objective

The student who successfully completes the course will:

Acquire the ability to perform fluently, with a stable pulse and with an accurate technique

Have the ability to control the instrument effectively

Interpret music in a way that conveys a sense of stylistic understanding.

Text Books

piano grade 8 pieces and exercises, trinity college London Exam 2015 – 2017

Sound at sight piano book 3, grades 6 – 8 published by trinity college London, 89 albert

embankment 2001

Aural book 2, grades 6 – 8 published by trinity college London, 89 embankment, 2007

piano scales and arpeggios for trinity exams from 2015 – 2017

Content

Technical work:

Scales from memory – Four octaves, f or mf or p, crescendo / Diminuendo

Legato or staccato – The following scales are F#, Eb, B major and F#, Eb, B Harmonic and melodic minors

Chromatic scales in similar motion – F#, Eb, B

B Major scale in 3rd

C harmonic minor scale in 3rd

Arpeggios

From memory, Four octaves. f or mf or p, crescendo / Diminuendo

Legato or staccato – The following are F#, Eb, B Major and F#, Eb, B Minors

Diminished 7th

s Starting on F#, Eb, B

Dominant 7th

s in the keys of F#, Eb, B

Eb Major in contrary motion

F# Minor in contrary motion

Exercises :

For tone balance and voicing

For co-ordination

For finger and wrist strength and flexibility

Aural:

analyze and comment on the significant features of a piece e.g. style, rhythm, texture, dynamics,

phrasing, and articulation.

Analyze and describe three changes in a short piece after either the second or third playing of

the piece

Sight reading:

ability to perform an unseen extract, at a level approximately two grades lower than the level of

a student.

Piano grade 8

Pieces : three pieces are to be played at least one from each group, to form a balanced programme.

The pieces can be from the syllabus, and, or, alternative pieces.

ATTENDANCE

The student will attend two class periods per week through the semester.

EVALUATION

Continuous Internal Evaluation System entails a steady teaching and learning

Process through monthly tests, labs, etc.

The student is required to perform for the Internal exam and a Final exam. At the end of the semester

the student is also required to perform in a recital.

Spicer Adventist University

Established Vide Maharashtra Act No. XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music - Fifth Semester

MUED 352 MUSIC IN THE ELEMENTARY SCHOOL

Description

This course is designed to help develop concepts, methods, materials and strategies to teach

music as part of the education in the elementary school. It is outlined to prepare music teachers

in training to: use the elements in music, plan activities appropriate for the various age groups,

and guide in using a wide variety of music literature.

Student learning objectives:

The Student who successfully completes this course will:

• Know the Value of music in the lives of children.

• Understand that the characteristics of children at various age groups are important in

order to plan activities in the music education program.

• Identify the kind of experiences and learning that should be provided for children in the

elementary school

• Be able to actively promote the proper role of music in the curriculum and in the lives of

the children.

Text Books:

Music in the Education of Children. California. Swanson B.R., Wadsworth Publishing Company

Inc.,USA.

Music for Today's Boys and Girls (2nd edition). Aleta Runkle, Eriksen L Mary., ,Allyn and Bacon,

Inc, Boston, USA.

The American Singer (combined grades)Beattie W. John, W. Josephine, Wilson V. Grace,Hinga

Howard. American Book Company. USA.

In our Country, Book five. Marshall J.,Tripton G.,Landeck B., Bray M. Silver Burdett Company.

USA.

The Music Hour Book I,II. Illustrated by Shirley Kire. Silver Burdett Company. USA

Music Now and Long Ago. Book Three. Illustrated by Feodor Rojankovsky. Silver Burdett

Company. USA.

COURSE CONTENT

Children and Music

• Value of music

• Growth characteristics of children

• The many Facets of Education in Music

• Who is responsible for musical development of children

The study of Musical Concepts

• Rhythm

• Melody

• Texture and Harmony

• Tone color in voices and instruments

• Dynamics

• Form in Music

• Style in Music

Rhythm instruments in the study of Music

• Recommended instruments

• The exploration of sound and the enrichment of song

• A study of the Elements of Rhythm

The use of Melody and Harmony Instruments

• Melody Instruments

• Playing Harmony instruments

Children and their songs

• What characteristics to look for in a song

• Children and their voices

• Selecting twenty songs for various occasions

• Learning to make lesson plans

Analyze songs for various occasions.

• Thanksgiving songs

• Christmas songs

• Nature songs

• Other religious songs

• Songs in different languages

Management of the singing situation

• Preparation and needed skill for a successful singing program

• Preparing lesson plans

• Teaching songs

• Group activity in songs

Experiences in listening

• The foundation for listening

• Guided listening

• Evaluating growth in the listening ability

Implement of the music education program

• Music program meaningfully related to the school

• Evaluation of music in terms of knowledge and skill in students

Attendance

The student will attend two class periods per week through the semester.

EVALUATION

Continuous Internal Evaluation System entails a steady teaching and learning process

through monthly tests, labs and the student is required to write the Internal exam and a

Final exam.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – Fifth Semester

MUHL 357 Vocal Literature ( 3 Credits) Course Description A study of Vocal Pedagogy with emphasis on a survey of graded Voice Literature for teaching purposes as well as a survey of major works for the voice through the main periods of Music History, Baroque, Classical, Romantic and 20th Century. Objectives 1. To acquaint the voice student with vocal repertoire and objectives in music buying. 2. Help the student to choose intelligently the best and most suitable vocal music for teaching purposes. 3. To understand the technique involved in singing the chosen material as regards voice range, voice production, diction, intonation, etc. 4. To acquaint the student with various types and styles of vocal music such as Opera, Oratorio, Lieder, Art Songs, Folk Songs, and Music Theatre. Text Books 1. A History of Western Music by Donald J. Grout 2. Basics of Vocal Pedagogy by Clifton Ware 3. The Art of Singing and Voice Technique by Victor Fuchs John Calder (Publishers) Ltd., 17 Sackvills Street, London W1 1963. Content Voice Mechanism Techniques involved in producing the sound How a singer hears himself The battle against misused muscles The need for a proper mouth position

Building the Voice Vowels and consonants Resonance in singing and speaking The Registers of the voice Breath Control Good Taste in Singing Blending the Registers Choosing the correct vocal material for developing a particular technique Different Types of songs Oratorio, Recitative, florid aria, Dramatic aria Opera, Italian, French, German, English, Russian Composers J.S.Bach, Handel, Gluck, Rossini, Gounod, Berlioz, Verdi, Wagner. Leider Composers Schubert, Schumann, Brahms, Hugo Wolf, Other types of vocal literature Art Songs, Folksongs in various languages Twentieth Century vocal music Wide leaps in the melody Voice often has to sound more like an instrument Difficult intervals Stravinsky, Honegger, Britten, Walton, Schoenberg etc. Versatility in singing Vocal literature of each period should be studied and compared. Vocal techniques required, tempo, tone colour, agility, Sustained singing, dynamics, light lyrical songs which tell a story. Requirements The student will attend Three lectures per week. A project must be submitted at the end of the course dealing with the contributions to Vocal Music of atleast ten great composes. Attendance The student will attend 3 class periods per week through the Semester.

Evaluation Continuous internal Evaluation System entails a steady teaching and learning process through monthly tests, labs and the student is required to write the Internal exam and a Final exam.

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SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – Sixth Semester

MUCT 365 Music Theory IV ( 3 Credits) Course Description This is an advanced study of music theory including intricate transpositions, harmonic analysis, harmonisation, harmonising chorales in the style of J.S. Bach, modulation, chromatic chords and Serialism. Student Learning Objectives 1. To get a clear idea of harmony and sequences. 2. To write chords using 4-part harmony. 3. To compose 8-bar melodies using major, minor, pentatonic major and minor, blues and whole-tone scales as well as the Aeolian, Dorian and Mixolydian modes. 4. To understand Serialism and write Tone Rows as well as 12 tone melodies. Course Objectives 1. To make students familiar with all kinds of modes and scales. 2. To make students aware of modulation through pivot notes and pivot chords. 3. To recognize diminished 7th, dominant 7th and secondary 7th chords. 4. To recognise and write Augmented 6th chords such as the Italian 6th, French 6th and German 6th. Text Books 1. Trinity Guildhall Theory of Music Workbook Grade 7 2. A Handbook of Musical Knowledge Part 2 by James Murray Brown Trinity College of Music Mandeville Place, London, W.1

3. The AB Guide to Music Theory by Eric Taylor The Associated Board of the Royal Schools of Music. Content 1. To write Chromatic chords such as the Neapolitan 6th, Italian 6th, French 6th and German 6th. 2. Recognizing and naming all types of cadences such as Perfect, Plagal, Imperfect and Interrupted. 3. Harmonising a chorale in the style of J.S.Bach. 4. To study the Layout of Orchestral Scores of the Classical Period. To write Orchestral Scores in C. Requirements The student will attend 3 lecture periods per week. Attendance The student will attend 3 class periods per week through the Semester. Excess absences will result in Fail Grade. Evaluation Continuous internal Evaluation System entails a steady teaching and learning process through monthly tests, labs and the student is required to write the Internal exam and a Final exam.

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SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – Sixth Semester

MUPF 364 Applied Music Voice VI (2 Credits)

Course Description This course is designed to develop advanced vocal technique and improve the vocal control and skill learned in the previous course. The art of expressive singing, blending the register, clear diction and singing in foreign languages. Student Learning Objectives 1. To analyse the meaning of a song and sing it more expressively and portray the meaning of the words through vocal tone and facial expression. 2. To develop the art of blending the registers without any audible break. 3. To sing with correct intonation through Vocalization Exercises and learning to pitch semitones correctly. Course Objectives 1. To develop breath support and increase the range of the voice.

2. To know how to use the registers of the voice for maximum effect.

3. To develop musicianship and stage poise.

4. To develop careful listening through Aural Training.

Text Books Voice Placing & Training Exercises by George Dodds Oxford University Press ABT Solfeggio Singing Tutor G.Schimer, INC, NEW YORK Sight Singing Exercises Trinity College, London

Aural Tests for Grade Examinations Trinity College, London

Content 1. To develop Sight Reading ability and pitch the notes correctly and sing in time with the accompaniment. 2. To develop correct intonation and remain on pitch in spite of difficult intervals. 3. To be able to sing observing varying dynamic in the music. 4. To learn songs in foreign languages such as German and Italian, and participate in a Student Recital at the end of the Semester. 5. To learn to sing different types of songs such as Oratorio and Opera arias, German Lieder and songs from Musicals and Music Theatre. These would include English, German and Italian songs such as If with your Hearts from Elijah by Mendelssohn. Arm, Arm ye brave by Handel. To Daisies by Quilter. Standchen and Du bist die Ruh by Schubert. Widmung by Schumann, Mattinata by Leoncavalio and Quella fiamma by Marcello. O1’ Man River by Kern and By Strauss by Gershwin. If I were a rich man from Fiddler on the Roof by Bock. Attendance The student will attend two class periods per week through the semester. Excess absences will result in Fail Grade.

EVALUATION Continuous Internal Evaluation System entails a steady teaching and learning process through monthly tests, labs and the student is required to perform for the Internal exam and a Final exam. At the end of the semester the student is also required to perform in a recital.

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SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University) SYLLABI

BFA Music – Sixth Semester

MUCT 361 Counterpoint ( 2 Credits) Course Description Counterpoint can be described as the interweaving of various melodies each having its own melodic interest. When played together they form chords or harmony. To understand Counterpoint it must be studied horizontally as well as vertically. This cause is based on the techniques of Counterpoint used during the Eighteenth Century. Objectives 1. To acquaint the student with the natural tendencies of various scale degrees. 2. To know when to use step-wise progression and when to use leaps when writing a melody. 3. To learn to use the melodic minor scale correctly in melody writing. 4. To study examples from the masters and learn to add a counterpoint above a given melody and then invert it. Text Books Elementary Counterpoint by Percy Goetschius G.Schirmer, Inc. New York Trinity College of Music Theory Workbooks Grade VII and VIII Content 1. The Study of Melodic Line

A. Leaps and step-wise progressions B. The minor mode and exceptions C. Natural tendencies of individual scale degrees.

II. Types of Counterpoint A. First Species - note against note

B. Second Species - two notes against one C. Third Species - Three and four notes against one D. Fourth Species - syncopation, ties, shifted rhythm III. Motive Development, Imitation, Sequence Requirements The student will attend 2 lecture periods per week. Attendance The student will attend 2 class periods per week through the Semester. Excess absences will result in Fail Grade. Evaluation Continuous internal Evaluation System entails a study teaching and learning process through monthly tests, labs, and the student is required to write the Internal exam and a Final exam.

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SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – Sixth Semester

MUPF 369 C Senior Recital (Voice) ( 2 Credits) Course Description This course consists of a presentation of songs belonging to advanced Vocal Literature of the various periods of Music History. The songs selected are in English, Italian, German and French and are taken from Oratorio, Opera, German Lieder and Music Theater, etc. Objectives 1. This students gain confidence to sing and public and acquire stage presence. 2. It encourages that students to express the meaning of the words through facial expression and tone of voice. 3. It develops musicianship and maturity in singing. 4. It prepares students for a possible musical career in singing. Requirements The students will attend 2 Class periods for week and the student is required to perform the Internal exam. The Recital at the end of the Semester will also give the Final Grade.

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SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University) SYLLABI

BFA Music – Sixth Semester MUED 367 Vocal Pedagogy ( 3 Credits)

Course Description A study of Vocal Pedagogy with emphasis on helping the student to gain a clear idea of the vocal mechanism and the vocal technique required to sing different types of songs. Objectives 1. The study of vocal mechanics in which there are three main areas : Respiration, Resonance, and Registration, and the common problems within these areas. 2. Acquaint the student with vocal repertoires and objectives in music buying. 3. To give the student practical knowledge in vocal instruction and help him build attitudes towards teaching by practical experience throughout the semester. 4. To understand the technique involved in singing the chosen material as regards range, voice production, diction, intonation, etc. Text Books 1. Basics of Vocal Pedagogy by Clifton Ware University of Minnesota 2. The Art of Singing and voice Technique by Victor Fuchs John Calder Publishers Ltd. 17 Sackville Street London W1 3. The Grammar of Singing by Ivor Warren A. Hammond & Co. New Bond Street London. Content I. Respiration A. Inhalation 1. Diaphragm moves down 2. Abdominal muscles relax down and outward 3. Inter costal muscles pull ribs outward

B. Exhalation 1. Abdominal muscles move upward against diaphragm 2. Diaphragm forced upwards 3. Intercostal muscles pull ribs Inward C. Support 1. Abdominal muscles thrust upward against diaphragm 2. “Hold” created by diaphragmatic resistance to abdominal thrust 3. Proper support also results in correct vibrato. II. Resonance A. Laryngopharynx 1. Area immediately above the vocal cords. 2. Shaped by lower base of tongue and walls of lower throat.

B. Nasopharynx 1. Area at very top of the throat behind the soft palate, base of nose 2. Shaped by high (folded forward) tongue and open soft palate. C. 1. Correct resonance leaves tongue, lips, teeth free for correct

diction, vowels, consonants, etc.

II. Registers A. Upper 1. Light, high, pure female voice action 2. Male, light head tone 3. Vocal cords shortened and close together. B. Lower 1. Heavy (“chest”) sound of female voice action 2. Bottom full voice of “healthy” male voice 3. Vocal cords lengthened and father apart

The student will learns different types of song such as Oratorio arias, Resitative Opera arias in Italian, German and French German Lieder by Schubert, Schumann, Brahms. Twentieth Century vocal music Theatre songs etc. Requirements

The students will attend 3 lecture periods per week as well as appear for a mid-term examination and final examination at the end of the semester. A project must be submitted at the end of the course dealing with various aspects of Vocal Pedagogy. Attendance The Student will attend 3 class periods per weeks through the semester. Excess absences will result in Fail Grade Evaluation Continuous internal evaluation system study teaching and learning process through monthly tests labs and the student is required to write the Internal exam and a Final exam.

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