MUSIC 151 Music Journal Music Journal Requirements · Your Goal for this Journal: You should think of this journal in the same way you would think about and work on a term paper.... Let me rephrase...

Music Journal Assignment


MUSIC 151 Music Journal Music Journal Requirements · Your Goal for this Journal: You should think of this journal in the same way you would think about and work on a term paper.... Let me rephrase that: You should work on it in the same way you would work on your BEST term paper. · Purpose: This is not a written journal/diary. This is a music composition journal using music notation, not written words and sentences. · Journal Content/Requirements: We will complete the journal in two parts. Part 1 will include content from the ten chapters of the textbook (i.e., the ten "Build Your Own Music" exercises in order). Part 2 will include a theme and variation piece, a music jingle or a segment of video game music, and all of your listening maps. · Deadlines: Work on your journal consistently as we go through the course. I know that some of you may be in the habit of writing most—if not all—of a term paper the night before it is due. Don't do that with your journal. The entries are designed to reinforce the concepts we are covering each unit of the course. · Don't work ahead, but do keep up! In general, it's best not to work ahead, but do keep up! The whole point of the journal is to actually compose using the music theory material we learn for each unit. If you try to do a journal assignment before we reach that unit you will either a) make mistakes because we haven't covered the material for that unit yet, or b) make mistakes because you do the journal assignment without some of the special directions I may provide in this course site for each unit. · Help is here. I invite you to stop in at my office or email me any of your journal entries at any time. I will be happy to look over your work on your jingle/video game music or your theme and variation piece, and I will look over your listening maps at any point during the semester. · Do your own work! You may help each other out and discuss specific journal assignments openly, as long as the final work in each of your journals is uniquely YOUR OWN. I also welcome you to refer any questions about your journal work directly to me. Any duplicated material shared between student journals will not be counted. · Length: Parameters for most of the journal entries are provided in the Build Your Own Music exercises at the end of each chapter of the textbook, along with supplementary material on this course site. The parameters given are the MINIMUM amount of work you must do for each entry. If you are inspired to compose more, please feel free to do so. Only one caution: I'm looking for QUALITY, not quantity. A journal entry that is solid and has no mistakes will earn more points than an entry that is twice as long but has multiple rhythm and notation mistakes. · Format: Journals must be on staff paper (i.e., plain paper with staff lines), handwritten, by you, in pencil. Listening maps done on notebook paper, graph paper, or any other paper with lines on it won't be accepted. And please put your journal in a folder or a term-paper style of binder. Do not use a ring binder! I'm going to be looking at over 70 of these this semester, and flat piles are much easier to manage! · Include your name. You must put your name on everything. I haven't lost anything yet, but there could always be a first time. · Use pencil (and eraser)! You will make notation mistakes, and nothing is harder to read than chord notes with a bunch of scribbled-out pen markings around them. Ideally, your final journal entries should be perfect, which is hard to do if you are crossing out mistakes made in pen. · Tidy: Your journal should be neat and well written with everything clearly labeled. If I have to search around for something, I don't count it. I also don't want to have to wade through rough drafts or crossed-out material. Your journal should include only your final, polished copies of your work. · Organization: Part 1 of your journal should include the ten "Build Your Own Music" exercises in order. Part 2 of your journal will include the jingle or video game music, followed by your theme and variation piece, and then your listening maps. · Do not include extra material: Please do not include other non-related assignments or work in your journal. If it's material you already turned in, I don't need to see it again, and if it's something you didn't turn in when it was due, it won't be counted at that point. · Number and/or label everything: If the journal assignment is numbered in your textbook, it needs to be numbered in your work. If you are asked to label something, label it! · Ask questions! If you have any questions about a specific entry, please ask me! It is almost always easier to correct problems before you start to write than after the notation is already down on the paper. · Due date: The due date for your journal will be in an announcement in the course site, but the date is always during the last week of the course. I know that due date sounds far away right now, but it will come up faster than you think. Don't put off your journal work. I've seen students try to complete this project the night before it's due, and it's not pretty. Complete your journal entries as consistently as you can, and you'll be fine. You must turn in your journal work here at my office at 21 N. Park St. (i.e., on campus). Students who are off campus for the semester may request permission to turn in journal material electronically, but you must make those arrangements with me ahead of time. Late journals will not be accepted. However, you are more than welcome to turn in your journals earlier than the due date. Important Disclaimers I reserve the right to refuse to any grade journal entry with coffee or other food items spilled on it, or any that looks like it was run over by a truck before it was handed in. I reserve the right to refuse to grade any journal entries that are incomplete. If the entry is supposed to be eight measures long and you submit fewer than eight measures, I will not grade that entry. I reserve the right to refuse to grade any journal entries that have consistently incorrect measures. It is one thing to make a rhythm mistake, even more than once. It is an entirely different matter to write just anything in each measure hoping that somehow you'll get some points for it, and, as a result, none of the measures in your journal entry have the correct number of beats in them. I reserve the right to refuse to grade any journal entry that I find difficult to read. Neatness and clarity counts! Each journal entry must be clearly labeled and separated from your other journal entries. WEEK 1 At this point, you can begin putting elements into your own music journal construction project. Ideally, you will keep adding things and working in your journal throughout the book. Think of it as your own personal workspace, a place where you can experiment with all the various items and concepts that we discuss. For your first composition assignment, practice writing all the symbols we covered in this chapter on the staff. 1. Create a grand staff with a treble and bass clef. 2. Don’t worry about rhythm for now, or trying to put notes into specific measures. We’ll cover that topic in Chapter 2. For now, practice writing all the different notes. Practice writing notes with beams and flags. Also practice writing rests. Write notes with the stems pointing both up and down, on both the treble and bass clef. Also try some notes on ledger lines. 3. After you have placed a large number of notes on the staff, begin to add some of the other symbols used to modify or further describe those notes. These items could include sharps, flats, or naturals; ties, slurs or accents; staccato, or dynamics. 4. You should create at least the full length of two staff lines for this exercise. WEEK 2 Compose the rhythmic measures as requested below. Although this is a composition exercise, the emphasis is on rhythm, so concentrate on making your rhythms correct and keep everything on the same pitch. Each exercise will ask you to use a different rhythmic idea. 1. Two measures of 6/8. Each measure must be different. 2. Two measures of 4/4. Each measure should contain one dotted note. Use a different dotted note value for each measure. 3. Two measures of 3/4. Use one tie. 4. Two measures of any simple meter, your choice. 5. Two measures of any compound meter, your choice. 6. Two measures of 4/4. Include one eighth note triplet. 7. Two measures of 2/4. Include one quarter note triplet. 8. Two measures of 3/8. 9. Two measures of 4/4. Syncopate each measure using accents. 10. Two measures of 4/4. Syncopate each measure using rests/silence. WEEK 3 In section 3-4 you looked at a Prelude by Beethoven that moves through all twelve major keys. For this exercise, try writing a short melody that moves through four different major keys. Here are some suggestions for getting started: 1. Start with C major. You should plan on a minimum of two measures per key in order to have time to establish each new tonic. 2. Plan the four keys you are going to use, and put them in an order that will help you move as smoothly as possible from one key to the next. If you look closely, you'll notice that Beethoven moves from one key to the next by adding one accidental each time. For example, he starts the piece in C major, and the first key he moves to is G major. G major has only one note that is different from C major, the F#. It is much easier to make a transition from one key to the next if you change only one or two notes each time, rather than move from C major to C# major, a key that has almost nothing in common with C major. If this approach worked for Beethoven, it will probably work for you! 3. As you move from one key to the next, keep in mind the tonic for each key, and plan a way to move your melody to each tonic as smoothly as you can. By the time you plan out your different keys and the tonics you need to include for each, much of your melody may already
May 10, 2020
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