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Student Learning Outcomes

Discipline: Arts: Music Unit
Course Name Course Number
Acoustics for Audio Production MUSA 110
  • Students will be able to calculate a variety of acoustic phenomena such as wavelength, frequency, amplitude, reverberant time, and transmission loss.
  • Students will be able to demonstrate how sound is captured and the ability to control both wanted and unwanted sounds acoustically.
  • Students will be able to demonstrate an understanding of psychoacoustic responses in humans and be able to account for these responses in audio productions.
  • Students will be able to analyze spaces and apply techniques for managing the acoustic properties of those spaces.
  • Students will be able to use acoustic principles to make creative and technical decisions related to audio production.
Individual Instruction MUS 160
  • Students who complete MUS 16 will be able to demonstrate proficiency at playing technical exercises as assigned by the private teacher.
  • Demonstrate regular practice habits.
  • Demonstrate interpretative skills.
  • Use appropriate playing or singing techniques.
  • Students who complete MUS 16 will be able to preform from one to three pieces of music or songs learned during the semester, as requested by the faculty jury.
  • Perform representative repertoire using good stage presence.
  • Memorize music for performance
Advanced Guitar MUS 24
  • Demonstrate skill in performing solo or in ensembles
  • Demonstrate skill in playing technical exercises such as scales, arpeggios, slurs, and other playing techniques.
  • Demonstrate skill in sight reading new music in several positions on the guitar.
  • Utilize appropriate interpretation in performing compositions from a variety of historical style periods.
  • Analyze the background of the pieces performed.
  • Demonstrate skill in performing a variety of musical compositions.
  • Students who have completed MUS 24 will demonstrate their ability to play two assigned pieces of music from the textbook used in the course.
  • Students who complete MUS 24 will demonstrate their ability to play assigned technical exercises using appropriate technique.
Advanced Jazz Improvisation MUS 25B
  • Perform a coherent improvised solo in an extended song form, based on non-traditional harmonies, including Lydian dominant and altered chords.
  • Develop melodic ideas over extended phrase and song lengths.
  • Integrate jazz theory through exercises and performances.
  • Improvise stylistically correct solos over a rhythm change chord progression
  • Improvise melodic minor, diminished and Lydian dominant scales in all twelve keys.
  • Students will be able to identify scales as related to advanced chord symbols, including the most common (melodic minor, diminished and whole-tone scale).
  • Students will be able to improvise over a standard ii-V7-I progression in multiple keys.
  • Identify altered dominant, half diminished, and full diminished scales related to advanced chord symbols
Advanced Piano MUS 18
  • Students who complete MUS 18 will demonstrate ability to play assigned technical exercises using appropriate technique.
  • Students who complete MUS18 will be able to play two assigned pieces of music from the textbook used in the course.
Advanced Voice MUS 21
  • Students who complete MUS 21 will be able to demonstrate ability to perform three (3) songs of varying styles from memory as assigned from the class curriculum.
  • Perform songs by memory.
  • Demonstrate principles of good vocal technique.
  • Demonstrate skill in singing Italian, German, and French.
  • Develop a repertoire.
  • Sing using correct diction and pronunciation.
  • Interpret songs from operas and musicals.
  • Demonstrate good vocal practice habits.
  • Students who complete MUS 21 will be able to demonstrate appropriate phrasing, dynamics, diction, and expression within song presentations.
American Folk Music MUS 14B
  • Describe and identify, using appropriate terminology, some of the many folk music styles of the United States.
  • Students will be able to recognize the genre and subgenres of the various American folk musical styles discussed in class.
  • Aurally identify the musical characteristics of these various folk music styles.
  • Examine these folk music styles in the broader context of American political, social, and cultural history.
  • Describe the role of religion in the development of American song culture
  • Review and analyze the social context of American folk music.
Audio Capstone MUSA 250
  • Students will be able to conceptualize and deliver complex audio productions for a specified purpose.
  • Students will be able to apply advanced creative and technical techniques to multi-track audio productions.
  • Students will be able to apply leadership and communication skills to lead a group of artists and technicians.
  • Students will be able to describe the concepts, history, and current trends of producing.
  • Students will be able to oversee and manage a complex audio project.
  • Students will be able to critically analyze existing productions from creative and technical perspectives.
Audio for Multimedia MUSA 210
  • Students will be able to collaborate with artists and technicians from a variety media fields to produce multimedia recordings.
  • Students will be able to design and edit musical and nonmusical sounds for a variety of visual media.
  • Students will be able to edit and synchronize audio and visual media using computer workstations.
  • Students will be able to critically analyze soundtracks, scores, and sound for multimedia.
  • Students will be able to identify key developments and contributions to the field of sound for multimedia.
  • Students will be able to describe the history of sound for multimedia.
Audio Recording MUSA 150
  • Students will be able to produce high fidelity audio recordings for a variety of applications.
  • Students will be able to operate the hardware, software, and equipment in a modern audio recording system.
  • Students will be able to determine proper microphone selection and placement for a given audio source.
  • Students will be able to understand and demonstrate proper signal flow and connections between recording components.
  • Students will be able to describe the principles of a recording system including signal flow, microphones, signal processing, digital audio, and monitoring.
Business of Audio Production MUSA 130
  • Students will be able to identify key players, organizations, and opportunities in the industry.
  • Students will be able to describe emerging trends in the audio industry.
  • Students will be able to describe the function and role of industry personnel and organizations.
  • Students will be able to describe the principles of copyright, publishing, licensing, and royalties as they relate to audio production.
Chamber Music MUS 27
  • Play wind repertory in various styles.
  • Students will gain experience recognizing common musical stylistic elements, including pitch identification, dynamics, and varied articulation, through music preparation.
  • Develop growth in musical and technical skills as instrumentalists
  • Students will gain experience in recognizing common classical rhythmic patterns through music preparation.
Chambers Singers MUS 45
  • Memorize music and present public performances as a member of an ensemble.
  • Differentiate tone colors needed for effective interpretation of the music.
  • Harmonize with each voice in groups.
  • Blend with each voice in groups.
  • Develop vocalizing skills.
  • Sight read musical pieces.
  • The Mt SAC Chamber Singers will travel to Cincinnati, Ohio to perform at the ACDA National Conference in the Spring of 2023. The students will have the opportunity to perform their own concert as well as listen to other choirs from around the United States and various countries. The students will be asked to come up with differences and similarities between the different performing ensembles and to evaluate each groups performance.
  • Students will be able to identify all major key signatures and names of notes in the treble and bass clefs.
  • Students will be able to identify the correct solfege syllable for example notes in any major key.
Choral Workshop MUS 29
  • Define musical terms.
  • Memorize selected works to be performed by the choir.
  • Blend with other voices in section.
  • Develop and practice skills in basic elements of vocalizing, i.e. proper breath support and exhalation.
  • Students will be able to identify the correct solfege syllable for example notes in any major key.
  • Students will be able to identify the names of the notes on both treble and bass clefs, and identify all of the major key signatures.
  • Harmonize with other voices in section.
  • Exercise skill in watching and following the conductor.
  • Differentiate tone colors to express correct meaning of words in text.
  • Prepare selections for in class or public performance.
Collegiate Chorale MUS 30
  • Students will gain experience recognizing common musical elements (pitch identification, dynamics, and articulation) through music preparation.
  • Demonstrate skills in basic elements of vocalizing, including blend, balance and solfeggio.
  • Demonstrate skills in effectively blending with other voices in section.
  • Demonstrate skill in harmonizing with other voices in the ensemble.
  • Differentiate tone colors to express correct meaning of words in text.
  • Exercise skill in watching and following the conductor.
  • Memorize selected works to be performed by the choir.
  • Prepare and perform a selected solo.
  • Define key musical terms.
  • Student will be able to name the notes as indicated on the music staff in both the treble and bass clefs.
  • Student will be able to hold his/her own part in multi-part harmony, as selected from the ensemble's concert repertoire, when asked to perform in scheduled parts tests. A minimum of 80% accuracy of pitch and rhythm is expected when tested.
Concert Choir MUS 31
  • Students will be able to identify all major key signatures and names of notes in the treble and bass clefs.
  • Students will be able to identify the correct solfege syllable for example notes in any major key.
  • Demonstrate skill in effective group singing and following the conductor at all times.
  • Contrast tone colors to express correct meaning of text.
  • Apply proper breath support to singing
  • Utilize vocalizing skills to harmonize with other sections of the choir
  • Utilize vocalizing skills to blend effectively with each voice in the section.
  • Practice and apply elements of vocalizing.
Conducting MUS 22
  • Students will be able to conduct multiple patterns in varied styles.
  • Students will be able to conduct simple selections utilizing mixed meters.
  • Show use of effective beat patterns.
  • Read music from a full score.
  • Conduct singers and/or instrumentalists in a rehearsal.
  • Demonstrate effective rehearsal techniques.
  • Use music terminology commonly found in musical scores.
  • Apply effective interpretation skills.
  • Demonstrate effective leadership qualities and physical carriage.
DJ Performance MUS 180
  • Improvise in realtime using Musical Instrument Digital Interface and Disc Jockey controllers
Electronic Music MUSA 120
  • Students will be able to complete a creative audio project from conceptualization to distribution.
  • Students will be able to describe the principles of digital audio workstations.
  • Students will be able to create prescribed sounds utilizing various synthesis and sampling techniques.
  • Students will be able to create compositions or live performances using a digital audio workstation.
  • Students will be able to apply effects processing appropriately for compositional effect.
Elementary Guitar MUS 23A
  • Proper posture, hand positions, and strumming technique
  • Students who complete MUS 23A will be able to demonstrate their ability to tune the guitar with or without the help of a tuner.
  • Students who complete MUS 23A will demonstrate their ability to play two assigned pieces of music from their textbook used in the course using appropriate technique.
  • Sight reading on all six strings
  • Notes on the sixth string
  • Notes on the fifth string, key signatures
  • Sight reading on the first four strings, work on duets
  • New strumming patterns
  • Composition of sight reading
  • Notes on the fourth string
  • Ties, rests, eighth and dotted notes
  • Notes on the third string, ensemble practice
  • Scales, chords, strumming patterns, songs in groups
  • Note reading chords G, G7, F, and C
  • Music fundamentals, practice notes on the first and second strings
  • Notes, rhythms, and clefs
  • Ensemble and chords E, A, and D
Elementary Voice MUS 20A
  • Students who complete MUS 20A be able to demonstrate their ability to perform one (1) song from memory as assigned from the class curriculum.
  • Perform songs from memory.
  • Use breathing (breath control), posture, resonance, flexibility, and enunciation.
  • Student can describe the elements of breath support that are required for healthy singing.
  • Define musical terms and follow them in the music.
  • Use effective practice habits.
  • Describe the background of songs.
Ensemble MUS 38
  • The ensemble course, MUS 38, is comprised of variously sized ensembles on any given semesters. However, students should be able to start, finish, and perform musical excerpts and selections on their own, without the assistance of a conductor.
  • Students participating in MUS 38 will develop the skills necessary to perform in an ensemble, follow a conductor, and perform on stage.
Fundamentals of Audio Technology MUSA 100
  • Students will be able to describe the properties and components of audio systems.
  • Students will be able to demonstrate a conceptual and practical understanding of digital audio workstations including audio and MIDI sequencing.
  • Students will be able to explain and demonstrate the fundamentals of audio including waveforms, frequency, amplitude, and harmonics.
  • Students will be able to describe the history of and current trends in audio technology.
History and Appreciation of Rock and Popular Music - Honors MUS 15H
  • Compare and contrast historical, cultural, and socio-political contexts of different musical genres.
  • Critically analyze live concerts or a live video recording of a performance
  • Evaluate the sociological trends as reflected in musical styles and song lyrics.
  • Synthesize the different musical genres that came together to create rock music, including blues and country, and discuss the continuing influences of those styles on current music.
  • Identify various people important in the creation of rock music and the musical instruments they play(ed).
  • Define the musical characteristics such as form and instrumentation of various different rock styles.
  • Identify important writers and producers of rock music.
History of Jazz MUS 12
  • Evaluate and assess the artistic and musical skills of various live performers.
  • Explain musical characteristics and identify musical instruments common to various styles of jazz.
  • Discuss the origins of jazz and the cultural and sociological significance of the music.
  • Explain general musical concepts including pitch, rhythm, melody, harmony, form and syncopation.
  • Compare and contrast soloists associated within the same historical style period.
  • Differentiate between musical styles and performers
  • Students who complete MUS 12 will be able to identify the solo or featured musical instrument when one minute of each of two recordings including featured instruments are played in class during the final exam.
  • Students who complete MUS 12 will be able to identify the jazz style of a piece of music when one minute from each piece is played in class during the final exam.
Intermediate Guitar MUS 23B
  • Students who complete MUS 23B will demonstrate their ability to play two assigned pieces of music from the textbook used in the course using appropriate technique.
  • Demonstrate skillful subordinate hand technique in playing polyphonic music.
  • Demonstrate skillful dominant hand techniques in playing polyphonic music using both rest and free strokes.
  • Play guitar duets.
  • Perform pieces from memory.
  • Interpret pieces performed based on stylistic period.
  • Sight read musical pieces.
  • Students who complete MUS 23B will be able to identify any note on the treble clef, including those on ledger lines, within the guitar pitch range in two enharmonically equivalent ways.
Intermediate Piano MUS 17B
  • Students who complete MUS17B will demonstrate their ability to play two assigned pieces of music from the textbook used in the course.
  • Students who complete MUS 17B will demonstrate their ability to play natural, harmonic, and melodic minor scales in at least one octave, right hand alone, in the keys of a minor, d minor, and e minor.
Intermediate Voice MUS 20B
  • Sight read musical compositions.
  • Demonstrate breathing (breath control), posture, resonance, flexibility, and enunciation.
  • Students who complete MUS 20B Will be able to demonstrate their ability to perform two (2) songs of differing styles from memory as assigned from the class curriculum.
  • Students who complete MUS 20B will be able to demonstrate appropriate phrasing, dynamics, diction, and expression within their song presentation.
  • Interpret songs from different style periods.
  • Perform songs in a foreign language from memory.
  • Correctly pronounce foreign text while singing.
  • Perform selections at varying tempi, including adagio, moderato, and allegro.
  • Correctly identify musical terms utilized on songs.
Introduction to Western Classical Music MUS 100
  • Identify musical compositions or performances.
  • Students will be able to accurately relate the musical elements of a work to its structure and/or compositional techniques, including but not limited to programmatic content and form.
  • Students will be able to aurally identify the instruments of the symphony orchestra.
  • Students will understand the musical trends of the major style periods in music history (Medieval, Renaissance, Baroque, Classical/Enlightenment, Romantic, Modernism, and Postmodernism), and relate these issues to the critical analysis of a musical work.
  • Students will understand the cultural and social trends of the major style periods in music history (Medieval, Renaissance, Baroque, Classical/Enlightenment, Romantic, Modernism, and Postmodernism), and relate these issues to the critical analysis of a musical work.
  • Recognize and define musical elements relating to rhythm, melody, dynamics, tone color, and harmony and identify concepts in musical examples.
  • Recognize major composers of each style period, including the Classical and Baroque eras, and identify aspects of their lives that affected their music.
  • Critically analyze live or recorded musical examples.
Introduction to Western Classical Music - Honors MUS 100H
  • compare and contrast the reception of a musician (or a group of musicians) in different ethnic and nationalistic cultures within a historical period
  • to accurately relate the musical elements of a programmatic work to its narrative
  • Students who complete MUS 13H will be able to identify the style period (medieval, Renaissance, baroque, classical, romantic, 20th century, or 21st century) during which each of three pieces of music was composed when one minute from each piece is played in class during the final exam.
  • identify trends (i.e. reception, repertoire) within a period
  • Students who have completed MUS 13H will be able to identify the solo or featured musical instrument when one minute of each of two recordings including the instruments are played in class during the final exam.
Jazz Encemble MUS 47
  • Students will gain experience in recognizing common jazz and commercial rhythmic patterns through music preparation.
  • To measure the benefits of travel with performing ensembles. The Mt SAC Jazz Ensemble will travel to compete at the Reno Jazz Festival. Competition is important in measuring student success as well as gaining recognition for the college as a whole. Students also gain exposure to other community college programs as well a 4 year university programs. This exposure shows the students the level that must be attained to perform with a high level university program. Students will also gain an educational benefit through the various master classes offered throughout the festival.
  • Students will gain experience recognizing common musical elements, including pitch identification, dynamics, and varied articulation, through music preparation.
  • Identify stylistic characteristics related to historical accuracy of arrangements
  • Apply sight-reading skills.
  • Develop growth in musical and technical skills as instrumentalists.
  • Play jazz repertory in various styles.
Jazz Improvisation MUS 25A
  • Improvise using major, dominant and minor scales in all twelve keys.
  • Apply jazz theory into performance and written exercises.
  • Improvise stylistically correct solos over a blues chord progression.
  • Classify major, dominant, and minor scales related to chord symbols.
  • Perform coherent improvised solos on a simple jazz song.
  • Demonstrate aural development by imitating short melodic phrases.
  • Develop melodic ideas
Jazz Improvisation and Performance Choir MUS 50
  • Students will perform an assigned transcribed scat solo with appropriate scat syllables using correct rhythms and pitches. They will perform these solos with at least 80% accuracy.
  • The Mt SAC Jazz Improv and Performance Choir will travel to compete at the Next Generation Jazz Festival in Monterey. Competition is important in measuring student success as well as gaining recognition for the college as a whole. This SLO will be measured by the scores and comments acquired during competition. It is expected that the students should score a minimum of 80 out of 100 from each of the 4 judges. Students will also gain exposure to other community college programs as well a 4 year university programs. Students will also gain an educational benefit through the various master classes offered throughout the festival.
  • Students will be able to perform a bass line, melody line, and a scat solo to an assigned jazz chart.
  • Discuss and define the qualities of good vocal jazz solo singing.
  • Determine keys and modes for various vocal jazz charts.
  • Write out transcriptions of vocal and instrumental improvisation solos.
  • Demonstrate appropriate vocal-jazz articulations (pure vowels, clipped consonants, etc.) while performing.
  • Prepare small group song interpretations of vocal jazz charts
  • Perform scat solos and critique them in rehearsal.
Laboratory Band MUS 39
  • Apply sight-reading skills
  • Develop growth in musical and technical skills as instrumentalists.
  • Play jazz repertory in various styles.
  • Students will gain experience recognizing common musical elements (pitch identification, dynamics, and articulation) through music preparation.
  • Identify stylistic characteristics related to historical accuracy of arrangements.
  • Students will gain experience in recognizing common jazz and commercial music rhythmic patterns through music preparation.
Live Sound Engineering MUSA 160
  • Students will be able to describe the principles of a live sound system including signal flow, microphones, signal processing, and monitoring.
  • Students will be able to collaborate with other engineers and non-engineers to put on a live sound event.
  • Students will be able to engineer live performances in a variety of genres.
  • Students will be able to understand the interaction of audio electronics and acoustics in various environments
  • Students will be able to diagnose and troubleshoot common problems encountered in a live sound reinforcement environment.
Men's Vocal Ensemble MUS 48
  • Demonstrate professional musicianship skills
  • Perform for the college and community.
  • Blend voices and achieve a well balanced sound.
  • Sing music of different styles effectively.
  • Demonstrate skill in sight reading music.
  • Students will be able to identify all chromatic intervals within an octave or chromatic scale.
  • Students will be able to identify the correct solfege syllable for example notes in any major key.
MUS 106 Western Music History II: 1750 to Present MUS 106
  • to accurately describe developments in music history by relating them to cultural, social, scientific, and/or economic circumstances of the period
  • MUS 11B students will be able to identify the solo or featured musical instrument when one minute of each of two recordings including those instruments are played in class.
  • MUS 11B students will be able to identify the style period (classical, romantic, and 20th/21st centuries) during which each of three pieces of music was composed when one minute from each piece is played in class.
  • describe the use of text painting in a song by relating specific musical elements to textual ones.
  • Define technical musical terms and make use of those terms in written reports.
  • Analyze basic elements of musical sound such as rhythms, melody, tonality, and harmony as those elements apply to Western music in the 19th and 20th centuries as well as non-western music that influenced that music.
  • Distinguish different instrumental timbres.
  • Analyze and evaluate the structure and form of the music being studied.
  • Synthesize the contributions of important composers and assess ways in which their context affected their music.
Music Fundamentals MUS 110
  • Recognize and construct all major and minor scales and key signatures.
  • Calculate the size and quality of intervals and construct intervals of an indicated size using musical notation.
  • Students will develop the ability to correctly interpret musical notation, or what is called "basic music literacy."
  • Music 7 students will be able to identify any key on the piano keyboard using all enharmonic possibilities, including, where possible, single and double accidentals.
  • Designate and identify pitches and octave registers on the grand staff and piano keyboard.
  • Interpret rhythm notation.
  • Analyze triadic harmonies for their root, quality and inversion, and construct triads using musical notation.
Music Fundamentals for Musicians MUS 110A
  • Recognize and distinguish the four types of contrapuntal motion.
  • Students will demonstrate, through dictation, an aural understanding of major-mode melodies making use of rhythmic divisions, stepwise motion and occasional leaps through adjacent tones of the tonic and dominant triads.
  • MUS 5A students will be able to transcribe a diatonic melody played four times at the piano. This melody may use stepwise motion only, except for skips through the tonic triad and skips between 're' and 'ti'.
  • Analyze diatonic music for harmony using Roman numerals and bass position figures when the non-chord tones have been omitted or identified for the student
  • Memorize and recall all diatonic triad and seventh chord qualities in major and minor.
  • Identify and construct triads and seventh chords
  • Evaluate two-voice first species tonal counterpoint on the basis of its adherence to style rules and aesthetic guidelines
  • MUS 5A students will be able to sing on sight a short diatonic melody mixing stepwise motion and occasional skips through the tonic harmony.
  • Classify cadences by type
  • Distinguish between consonant and dissonant intervals in music notation.
  • Recognize, calculate and construct intervals between pitches.
  • Calculate interval inversions.
  • Evaluate minor melodies for tonal problems and employ accidentals to correct these problems.
  • Memorize, recall and interpret the circle of fifths
  • Recognize and construct major scales, minor scales and their respective key signatures.
  • Students will know, by the number and type of accidentals, all 15 major keys and 15 minor keys.
  • Calculate the beat value, beat division, beat type and meter for any regular time signature.
  • Calculate the duration of notes and rests.
  • Identify pitches and pitch registers when notated on the staff using G, F or C clefs, or when designated on the piano keyboard.
  • MUS 2 students will be able to name the chord quality of all diatonic triads and seventh chords in both the major and minor modes.
Music Theory I MUS 120
  • Realize, in four-part keyboard and SATB style, diatonic figured basses employing the figures 5/3, 6/3, 6/4, 7 and their common variants.
  • Locate and identify contrapuntal errors, voicing errors and line errors in part writing.
  • Locate deviations from normative chord syntax in major and minor chord progressions.
  • MUS 3A students will be able to realize a diatonic figured bass and analyze its figures for harmony (using Roman numerals). This figured bass may include figures for diatonic triads in any inversion and figures for the dominant seventh chord in any inversion.
  • MUS 3A students will be able to analyze a diatonic chorale phrase for harmony and non-chord tones.
  • Locate and classify passing tones, neighbor tones and suspensions in diatonic music employing a chorale texture.
  • Embellish four-part writing with passing tones, neighbor tones and single suspensions.
  • Analyze, using Roman numerals and bass position figures, diatonic passages from Bach-style chorales employing passing tones, neighbor tones and suspensions.
  • Analyze a diatonic figured bass for harmony using Roman numerals and bass position figures.
  • Compose music in four-part keyboard and SATB style from Roman numerals, outer voices with Roman numerals, basses with Roman numerals, sopranos with Roman numerals and unfigured outer voices.
  • Harmonize in four-part keyboard and SATB style a diatonic melody using diatonic triads in any acceptable inversion and the dominant seventh in root position.
Music Theory II MUS 130
  • Identify by ear themes and variations chosen at random from an assigned listening list.
  • Embellish SAB or SATB reductions in a classical style.
  • Analyze a chromatic figured bass for harmony using Roman numerals and bass position symbols.
  • Analyze, using Roman numerals and bass position figures, keyboard music employing secondary function chords, common chord modulations, phrase modulations, sequential modulations and non-chord tones
  • Recognize, identify and diagram period, binary and ternary forms.
  • Students will be able to analyze a short passage of Classical or Romantic era piano repertoire for harmony and non-chord tones. This passage will incorporate secondary chromaticism and a common chord modulation to the dominant or mediant.
  • Students will be able to realize a chromatic figured bass and analyze its figures for harmony (using Roman numerals). This figured bass may include triadic, seventh chord and single suspension figures in any inversion; it may use diatonic and secondary function chords.
  • Students will be able to spell secondary function chords.
  • Realize in three or four parts a figured bass that employs chromatic chords with a secondary function, with or without sevenths and in any bass position; and 2-3, 4-3, 7-6 and 9-8 suspensions, single or double.
  • Harmonize in three or four parts a chorale tune using chromatic chords with a secondary function in modulating and non-modulating progressions.
  • Compose music in three and four parts from Roman numerals, outer voices with Roman numerals, basses with Roman numerals, sopranos with Roman numerals and unfigured outer voices using chords with a secondary function and modulation.
  • Compose parallel modulating, parallel non-modulating, contrasting modulating and contrasting non-modulating periods in unembellished SAB or SATB format.
  • Compose a rounded binary in unembellished SAB or SATB format.
Music Theory III MUS 140
  • Analyze for harmony, using Roman numerals and bass position figures, any chromatic figured bass.
  • MUS 3C students will be able to analyze a short passage of Classical or Romantic era piano repertoire for harmony and non-chord tones. This passage may incorporate secondary chromaticism, common chord modulation, enharmonic modulation, mode mixture and chromatic "voice leading" chords such as the Neapolitan, augmented sixth and common tone diminished chord.
  • Construct church modes and modes of limited transposition in music notation.
  • Construct mode mixture chords, the Neapolitan, augmented sixth chords and altered dominants in music notation from Roman numerals and bass position figures.
  • Compose phrases in unembellished SAB or SATB format that modulate to foreign keys using chromatic chords and advanced techniques of modulation.
  • Compose music in three or four parts from Roman numerals, outer voices with Roman numerals, basses with Roman numerals, sopranos with Roman numerals and unfigured outer voices using advanced chromatic techniques, including mode mixture, the Neapolitan, augmented sixth chords, the common tone diminished seventh chord, altered dominants, extended dominants and advanced techniques of modulation.
  • Harmonize in three or four parts a chorale tune using advanced chromatic techniques, including mode mixture, the Neapolitan, augmented sixth chords, the common tone diminished seventh chord, altered dominants, extended dominants and advanced techniques of modulation.
  • Realize in three or four parts a figured bass that employs mode mixture, the Neapolitan, augmented sixth chords, common tone diminished chords and advanced techniques of modulation.
  • MUS 3C students will, upon hearing 10 one-minute excerpts of pre-assigned sonata form repertoire, be able to identify the composer, composition and formal section or sections (slow introduction, exposition, development, recapitulation or coda) spanned by each excerpt.
  • Describe the location and function of each section and subsection of Darcy-Hepokoski Type 3 sonata form.
  • Locate and identify on a printed musical score the sections and subsections of sonata form.
  • Identify by ear sonata form sections and subsections for pieces from an assigned listening list.
  • Analyze for harmony, using Roman numerals and bass position figures, any music or musical excerpt from the common practice period, including solo music, keyboard music and ensemble music.
Musicianship I MUS 125
  • MUS 5B students will be able to sing on sight a short diatonic melody mixing stepwise motion and frequent skips through the tonic, subdominant and dominant harmonies.
  • Perform at sight rhythm pieces and rhythm patterns in simple meters that use a quarter note beat and include subdivisions.
  • MUS 5B students will be able to transcribe the soprano voice, bass voice and harmony (using Roman numerals and figures) of a six-chord four-part progression played four times at the piano. This progression may use only diatonic triads in root position.
  • Dictate, in correct music notation and Roman numerals, the chords, soprano and bass for phrase-length four-part progressions that make use of diatonic triads in any inversion and V7 in root position.
  • Dictate, in correct music notation, melodies and melodic patterns that outline any diatonic triads and V7.
  • Dictate, in correct music notation, rhythm pieces and patterns that employ a compound beat and values no smaller than the subdivision.
  • Dictate, in correct music notation, rhythm pieces and patterns that employ a simple beat and values no smaller than the subdivision.
  • Aurally distinguish between the intervals of the m7, TT and M7 when played melodically.
  • Sing at sight diatonic melodies, melodic patterns and duets outlining any diatonic triads and V7 using moveable-do solfege.
  • Sing memorized melodies, melodic patterns and duets outlining any diatonic triads and V7 using moveable-do solfege.
  • Perform at sight rhythm pieces and patterns in compound meters that use a dotted quarter note beat and include subdivisions.
Musicianship II MUS 135
  • Aurally recognize the bass position of major-minor seventh chords.
  • Dictate, in correct music notation, rhythm pieces and patterns that employ a compound beat and create syncopation.
  • Dictate, in correct music notation, rhythm pieces and patterns that employ a compound beat and create syncopation.
  • Dictate, in correct music notation, melodies and melodic patterns that make use of non-essential chromaticism, secondary function chromaticism and diatonic descending fifths sequences
  • Perform at sight rhythm pieces and patterns in compound meters that use a dotted half note or dotted eighth note beat.
  • Perform at sight rhythm pieces and patterns in simple meters that create syncopation at the beat and divisional level.
  • Perform at sight rhythm pieces and patterns in compound meters that create syncopation.
  • Sing memorized melodies, melodic patterns and duets outlining diatonic descending fifths sequences using moveable-do solfege.
  • Sing memorized melodies, melodic patterns and duets with non-essential chromaticism, secondary function chromaticism and modulations to closely-related keys using moveable-do solfege.
  • Sing at sight melodies, melodic patterns and duets outlining diatonic descending fifths sequences using moveable-do solfege.
  • Sing at sight melodies, melodic patterns and duets with non-essential chromaticism, secondary function chromaticism and modulations to the dominant or, in minor keys, the relative major.
  • Aurally recognize the quality and bass position of major, minor and diminished triads.
  • Students will be able to sing melodies at sight that incorporate skips through diatonic triads and raised chromatic tones used in a passing or neighboring capacity.
  • Students will be able to transcribe the soprano voice, bass voice and harmony (using Roman numerals and figures) of a six-chord four-part progression played four times at the piano. This progression may use diatonic triads and sevenths in any inversion. It may also use secondary dominants, with or without sevenths, in any inversion.
  • Perform at sight rhythm pieces and patterns in simple meters that use a half note or an eighth note beat.
  • Dictate, in correct music notation and Roman numerals, the chords, soprano and bass for phrase-length four-part progressions that make use of secondary function chords.
Musicianship III MUS 145
  • MUS 6B students will be able to sing on sight a short melody that mixes stepwise motion and occasional skips to outline a tonicized half cadence.
  • MUS 6B students will be able to transcribe the soprano voice, bass voice and harmony (using Roman numerals and figures) of a six-chord four-part progression played four times at the piano. This progression may use any of the harmonic devices covered in MUS 5B and 6A with the addition of the Neapolitan sixth and the root position augmented sixth chord.
  • Perform at sight rhythm pieces and patterns in simple meters that create syncopation at the subdivisional level.
  • Perform at sight rhythm pieces and patterns with irregular meters, changing time signatures and tuplets.
  • Sing memorized melodies, melodic patterns and duets outlining chord progressions that incorporate mode mixture, the Neapolitan, augmented sixth chords and modulations to foreign keys using moveable-do solfege.
  • Sing at sight melodies, melodic patterns and duets outlining chord progressions that incorporate mode mixture, the Neapolitan and augmented sixth chords using moveable-do solfege.
  • Sing at sight melodies, melodic patterns and duets that modulate to closely-related keys.
  • Sing the chromatic scale, the whole tone scale, the octatonic scale and all church modes from a given starting pitch.
  • Aurally distinguish between major triads, minor triads, diminished triads, augmented triads, major seventh chords, minor seventh chords, major-minor seventh chords, half-diminished seventh chords and fully-diminished seventh chords.
  • Dictate, in correct music notation and Roman numerals, the chords, soprano and bass for phrase-length four-part progressions that make use of mode mixture, the Neapolitan, augmented sixth chords, common tone diminished seventh chords and modulations to closely-related keys.
  • Aurally recognize all simple and compound intervals.
  • Dictate, in correct music notation, rhythm pieces and patterns that employ a simple beat and create syncopation at the subdivisional level.
  • Dictate, in correct music notation, rhythm pieces and patterns with tuplets.
  • Dictate, in correct music notation, melodies and melodic patterns that incorporate mode mixture, the Neapolitan, augmented sixth chords and modulations to closely-related keys.
Piano I MUS 170
  • Students who complete MUS17A will be able to demonstrate ability to play C, G, D, A, and E major scales with hands together.
  • Students who successfully complete MUS17A will be able to demonstrate ability to play two assigned pieces of music from the textbook used in the course.
Piano II MUS 171
  • Read grand staff notation, Roman numeral notation and lead sheet symbols
  • Students will be able to realize a figured bass-line at the piano.
  • Perform within an ensemble and demonstrate playing techniques (fingerings, pedaling, phrasing).
  • Perform at sight beginning to early intermediate solo piano repertoire.
  • Transpose at sight melodies and harmonic patterns between the major keys of C, F and G and the minor keys of A and D.
  • Harmonize at sight diatonic melodies using do-fa-sol bass lines, block primary triads and the dominant seventh.
  • Play primary triads and the dominant seventh chord in the keys of C major, F major, G major, A minor and D minor.
  • Play scales up to two octaves, hands separately and together, as well as scale patterns for the keys of B, E, A, D, G, and C major.
Piano III MUS 172
  • Read grand staff notation, Roman numeral notation, lead-sheet symbols and bass figures.
  • Students will be able to play any and all major and harmonic minor scales, ascending and descending, two octaves.
  • Perform within an ensemble and demonstrate playing techniques (fingerings, pedaling, phrasing).
  • Perform at sight two simultaneous parts of vocal and C score instrumental music from open score format
  • Perform at sight intermediate solo piano repertoire.
  • Transpose at sight melodies and their accompanying harmonies up or down a minor and major second.
  • Harmonize with one and two hands at sight diatonic melodies using diatonic triads and the dominant seventh.
  • Play natural, harmonic and melodic scales up to two octaves, with hands separately and together, as well as scale patterns for the minor keys of A, E, B, D, G, C and F.
  • Play scales up to two octaves, hands separately and together, as well as scale patterns for the major keys of B, E, A, D, G, C, F and B-flat.
Rock Music History and Appreciation MUS 15
  • Evaluate the sociological trends as reflected in musical styles and song lyrics.
  • Synthesize the different musical genres that came together to create rock music, including blues and country, and discuss the continuing influences of those styles on current music.
  • Identify various people important in the creation of rock music and the musical instruments they play(ed).
  • Define the musical characteristics such as form and instrumentation of various different rock styles.
  • Identify important writers and producers of rock music.
Songwriting MUSA 230
  • Students will be able to compose original songs and lyrics in specified genres.
  • Students will be able to collaborate with others to produce a recording of a song.
  • Students will be able to create lead sheets for original compositions.
  • Students will be able to perform original songs as a soloist or with an ensemble.
  • Students will be able to analyze songs for genre, form, structure, groove, and lyrical elements.
  • Students will be able to describe the history and development of songwriting.
Sound Design for Live Performance MUSA 220
  • Students will be able to collaborate effectively with artists, performers, technicians, and organizers to produce audio for live events.
  • Students will be able to create new and unique sounds for a variety of live applications.
  • Students will be able to design sounds for non-musical live performances.
  • Students will be able to critically analyze live sound performances from creative and technical perspectives.
  • Students will be able to perform audio productions in front of an audience.
  • Students will be able to use current technology to design and playback sound in live performance settings.
Special Projects in Music MUS 99
  • Identify and accurately perform stylistic characteristics related to historical style periods for all repertoire
  • Apply sight-reading skills
  • Develop growth in musical and technical skills as a musician
  • Play repertory in various styles.
  • Students will prepare professional audition and application materials, appropriate for undergraduate, music major level transfer.
  • Students will be able to perform a designated work (or group of works, for vocalists), chosen in cooperation with the instructor, to be taken from the standard repertoire for their voice or instrument, at a level appropriate for a successful junior level undergraduate transfer audition.
  • Student will work cooperatively with the instructor to set and attain specific musical and technical goals through practice, performance, and individual instruction.
Studio Engineering MUSA 200
  • Students will be able to capture, edit, and mix high fidelity multi-track audio productions.
  • Students will be able to apply a wide range of signal processing to audio for desired effect.
  • Students will be able to serve in a variety of roles in a recording setting, including runner, assistant, lead, and mix engineer.
  • Students will be able to use critical listening to make technical and creative decisions while recording and mixing.
  • Students will be able to manage the workflow and division of labor in studio recording and mixing sessions.
  • Students will be able to engineer all technical components in studio recording and mixing sessions.
  • Students will be able to design and set up multi-track recording sessions in a studio.
Vocal Jazz Ensemble MUS 44
  • Perform concerts for the college and the local community.
  • Students will be able to identify all chromatic intervals within an octave or chromatic scale.
  • Students will be able to recognize and differentiate between various song forms, including 12-bar blues, AABA, and 'other.'
  • Perform in different vocal jazz styles.
  • Demonstrate effective techniques for using a microphone in live performance
  • Memorize music and perform in public as a group and as a soloist.
  • Demonstrate an attitude of professionalism and responsible work ethic in rehearsals.
Western Music History I: Antiquity to 1750 MUS 105
  • Synthesize the contributions of important composers, their works, and formal structures.
  • Analyze and evaluate the development of structure and form in the music of the time periods being studied.
  • Distinguish different instrumental timbres.
  • MUS 11A students will, upon hearing a one-minute excerpt of pre-assigned music repertoire along with the excerpted score between the Medieval and late Classical periods, be able to identify the compositional techniques and stylistic characteristics unique to the period.
  • Analyze basic elements of musical sound such as rhythms, melody, tonality, harmony, and counterpoint as those elements apply to a variety of examples both western and non- western
  • Define technical musical terms and make use of those terms in written reports.
  • test
  • MUS 11A students will, upon hearing a one-minute excerpt of pre-assigned music repertoire along with the excerpted score between the Medieval and late Classical periods, be able to describe the stylistic characteristics unique to the genre and period.
Wind Ensemble MUS 49
  • Develop growth in musical and technical skills as instrumentalists
  • Students will gain experience in recognizing common classical rhythmic patterns through music preparation.
  • Students will gain experience recognizing and identifying common musical stylistic elements including pitch identification, dynamics, and other compulsory musical knowledge.
  • Play wind repertory in various styles.
Wind Symphony MUS 36
  • Students will gain experience in recognizing common classical rhythmic patterns through music preparation.
  • Students will gain experience recognizing common musical elements, including pitch identification, dynamics, and varied articulation, through music preparation.
Women in Music MUS 101
  • Combine subjective and objective responses in order to articulate a critical opinion about selected musicalworks.
  • Identify female composers and musicians, and place their lives and work in an historical and cultural context.
  • Identify the interactions between gender and the social systems which have historically influenced the creation of musical works.
  • Identify and discuss musical elements, using accurate terminology to describe melody, rhythm, harmony, tonecolor, form, and dynamics.
  • Identify stylistic trends, genres, and historical time periods in music.
  • Apply critical listening skills to the analysis of musical performances, in both recorded and live formats.
Women's Vocal Ensemble MUS 34
  • Demonstrate professional musicianship skills.
  • Perform for the college and the community.
  • Blend voices to achieve a well balanced sound.
  • Sing music of different styles effectively.
  • Demonstrate skill in sight reading music.
  • Students will be able to identify the correct solfege syllable for example notes in any major key.
  • Students will be able to identify all major key signatures and names of notes in the treble and bass clefs.
Work Experience in Audio Arts MUSA 299
  • Students will be able to produce audio to the standards and direction of site supervisor.
  • Students will be able to self-assess knowledge and skills gained though the work experience.
  • Students will be able to identify skills needed to successfully operate as an individual or within a team to produce audio.
  • Students will be able to explain the entry-level and advancement opportunities available in the chosen area of audio production.
  • Students will be able to examine and analyze roles in the organization.
World Music MUS 14A
  • Students who complete MUS14A will be able to identify the ethnological classification (chordophone, aerophone, idiophone, or membranophone) of each of two musical musical instruments when recordings of each are played in class during the final exam.
  • Students who complete MUS 14A will be able to identify the ethnic culture that produced each of three pieces of music when one minute from each piece is played in class during the final exam.