A: Course Goals
The fullest understanding of musical thought cannot be achieved by utilizing only one perspective, but the increasingly complex nature of music since 1900 has made the language of music correspondingly complex.  Music composed in the Western Art Music tradition has followed a pattern of evolution wherein changes in compositional style have reflected not only a change in historical perspective (reacting to the music of the past), but also the rapid change of pace within social structures.  While contextual matters will be considered, this remains a course primarily concerned with defining, discussing, and utilizing a language that helps us to understand trends, concepts, and practices in musical composition.  You will be asked to apply an host of approaches to music analysis and determine which are most appropriate for the wide array of music to be studied.

B: Course Content
A substantial time period will be covered in this course, and solidifying knowledge from prior music theory courses is vital in the first weeks.  You may wish to view this course as having two halves, one that is focused upon the music of the Romantic era and one that deals with more recent developments in compositional trends.  The line between the two, however, will by necessity remain blurred.  As a group we will try to define trends that perpetuate musical thoughts from the "Common Practice" period, and trends that challenge that continuity.  Part-writing will be part of the initial half of the semester, but will give way to more analytical endeavors as the semester continues.  Similarly, focus on minutiae, such as progression and voice leading, will yield to broader discussions of form and gesture.

C: Course Expectations
As with any music theory course, the knowledge acquired in this class is, by its nature, cumulative.  No concepts introduced can be isolated from the broader dialog we will enjoin.  Assignments nearer the end of the semester will only seem daunting if concepts are not mastered as they are introduced.  The later assignments will include analysis of larger works, where the earlier concepts are best discussed in the context of smaller musical ideas. 
The ear training aspect of this course will become more heavily focused upon hearing motion over time than in simple chord-to-chord gestures.  Sight singing exercises will require group effort to master, and you are encouraged to find a partner or two with whom to work.  I am implementing a somewhat experimental tool to assist you in your ear training and sight singing efforts to help us all free up class time, and this will require your input and feedback in order to succeed.
While this class requires attendance at only one performance during the semester, engaging the material in the class will required you to be an active listener far more often than this.  You are encouraged to attend as many concerts as possible that relate to our discussions, and also to share such opportunities with the group. 
As noted, the later assignments in this class are somewhat larger in scale, and will require that you budget your time accordingly.

Assignments will take the following forms:
1. Required readings.  The textbook for this class will be supplemented with readings that will be available on reserve in the library, provided as a handout, or posted on the Internet.
2. Workbook assignments.  The complementary workbook for this class will prove most useful in the early part of the semester, but you will find more exercises from outside the text to be the norm as we progress.  Many of the assignments outside of the workbook will be creative assignments, asking you to apply concepts practically.  You will need a folder in which to submit assignments on a weekly basis, beginning the first week of class.  While assignments have a specific due date, they will only be collected weekly, on Fridays at the end of class.  There are no extensions or exceptions.  For each day late, your maximum grade will be lowered by the equivalent of one letter grade.  Leniency has been built in by allowing weekly submissions.  These assignments will, typically, be returned to you the following Monday.
3. Discussion preparation.  Active participation in class discussions is vital for everyone's understanding, and failure to engage the readings detracts from the group's progress.
4. Concert essay.  You will need to attend one concert during the semester that features a significant work (ask if you are unsure) written after 1900.  You are encouraged to attend a performance of music written during your lifetime.  A medium length essay (3-4 pages) that engages the musical content of the performance (NOT extraneous details, such as concert dress and the like) will be due just after Thanksgiving break.  Plan ahead!
5. Listening assignments.  Many of our discussions will relate to specific works or composers, and a selection of pieces that demonstrate the concepts we will discuss will be on reserve in media resources.  When possible, scores will also be made available.
6. Quizzes. These will be brief and unannounced, typically less than 10 minutes at the start of a class session.  They will cover material from a previous lecture, and are intended as diagnostic tools to determine your progress between the two larger exams.  A missed quiz cannot be made up, but you will not be penalized for missing a quiz if your absence is excused (e.g., an official Earlham event or a documented medical absence).
7. Sight singing and ear training. Your grade in this area will be based on three criteria; two formal tests and a less formal periodic evaluation that will take place by appointment outside of class.
8. Analysis project.  This is your main project for this course.  You will need to confirm selection of a portion of a larger scale work no later than mid-term break, and the project, in its final form, will be due the last day of classes before exams.  Details of this project will be discussed in class.
9. Midterm and Final Exams.  The midterm exam will be a take home test to be given the Monday before mid-semester break and will be due the Wednesday before break.  The final exam will take place at the time scheduled for this course and will be comprehensive.
You are encouraged to work with partners or in groups for this class, but are reminded that all work submitted must be your own.
ABSOLUTELY NO make up tests will be offered for the midterm, final, or scheduled sight singing tests.  If there is a conflict, it will be discussed in adavnce, and accommodation may be made to take such tests before the slated time.

D: Course Materials
Harmony: Baroque to Contemporary: part two, the corresponding workbook (also part two) by R. Evan Copely, and the same author's Sight Singing Practice; part one coursepack (which you should already have) are required and available in the Earlham Bookstore.  In the event of a shortage of copies, please make ME aware immediately so we can make arrangements.  All other materials will either be provided in class, made available on reserve in Lilly Library, or will be placed on the Internet.

E: Evaluation
Your grade will be determined on a straight percentage basis:

93%-100% = A	90%-92% = A-	87%-89% = B+	83%-86% = B
80%-82% = B-	77%-79% = C+	73%-76% = C	70%-72% = C-
67%-69% = D+	60%-66% = D	59% or less = NP

These percentages will be out of 1000 possible points, based on the following:
a. Workbook / assignments: 150 points (approx. 10 points each)
b. Discussion / participation: 50 points
c. Quizzes: 50 points
d. Attendance: 100 points
e. Concert essay: 100 points
f. Ear training / sight singing tests: 150 points (75 points each)
g. Ear training / sight singing evaluations: 100 points
h. Midterm: 100 points
i. Final analysis project: 100 points
j. Final exam: 100 points
Total points: 1000