Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual

Preview (16 of 94 Pages)

100%

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 1 preview image

Loading page ...

Solution ManualForBasic Materials inMusic TheoryA Programed CourseThirteenth EditionPrepared byGreg A Steinke,Independent Composer/MusicianBased on materialsoriginally created byPaul O. Harder,Late, of Michigan State University

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 2 preview image

Loading page ...

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 3 preview image

Loading page ...

ContentsIntroductionvi1.0The Basic Materials of Music: Time and Sound1Main Points and Objectives1Alternative Approaches and Supplementary Activities1Classroom Aids2Answers to Supplementary Assignments and Quiz Masters72.0The Notation of Pitch8Main Points and Objectives8Alternative Approaches and Supplementary Activities8Classroom Aids8Answers to Supplementary Assignments14Answers to Quiz Masters163.0Time Classification17Main Points and Objectives17Alternative Approaches and Supplementary Activities17Classroom Aids17Answers to Supplementary Assignments and Quiz Master224.0Note and Rest Values23Main Points and Objectives23Alternative Approaches and Supplementary Activities23Classroom Aids24Answers to Supplementary Assignments30Answers to Quiz Master31iii

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 4 preview image

Loading page ...

5.0Time Signatures32Main Points and Objectives32Alternative Approaches and Supplementary Activities32Classroom Aids32Answers to Supplementary Assignments37Answers to Quiz Master386.0Intervals39Main Points and Objectives39Alternative Approaches and Supplementary Activities39Classroom Aids40Answers to Supplementary Assignments46Answers to Quiz Master477.0The Basic Scales48Main Points and Objectives48Alternative Approaches and Supplementary Activities48Classroom Aids48Answers to Supplementary Assignments52Answers to Quiz Master538.0The Major Scale54Main Points and Objectives54Alternative Approaches and Supplementary Activities54Classroom Aids54Answers to Supplementary Assignments579.0The Minor Scales59Main Points and Objectives60Alternative Approaches and Supplementary Activities60Classroom Aids60Answers to Supplementary Assignments66Answers to Quiz Masters67ivContents

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 5 preview image

Loading page ...

10.0Key Signatures68Main Points and Objectives68Alternative Approaches and Supplementary Activities69Classroom Aids69Answers to Supplementary Assignments75Answers to Quiz Master7611.0Triads77Main Points and Objectives77Alternative Approaches and Supplementary Activities77Classroom Aids77Answers to Supplementary Assignments81Answers to Quiz Master81Appendix: Additional Classroom Aids83Blank Masters85Blank Quiz Answer Sheet No. 187Blank Quiz Answer Sheet No. 288Musical examples completed inNoteWriter™,NoteAbility Pro™, andFinale 2009™Pages completed inReady, Set, Go!™Contentsv

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 6 preview image

Loading page ...

This manual has been prepared to assist instructors in the use ofBasic Materials in Music Theory: AProgramed Course,Thirteenth Edition. The chapters contained in this volume are correlated with thoseof the text, and each contains four sections: (1)Main Points and Objectives;(2)Alternative Approachesand Supplementary Activities;(3)Classroom Aids;and (4)Answers to Supplementary Assignments andQuiz Masters.The method of programed instruction employed in the text has proved to be effective in a widevariety of educational situations. Because programed instruction provides constant feedback, it is largelyself-tutorial. Thus, the text is especially effective in large classes, where attention to individual needs isnecessarily limited. The text is also effective when used by individuals working largely on their own. Innormal class situations, instructors are relieved from much routine teaching and time-consuming papergrading. So, instructors are free to design alternate learning experiences, such as creative work, eartraining, or the study of music literature and form. The efficiency of programed instruction provides thetime for such experiences; the suggestions and material contained in this manual help supply the means.With such help, instructors may enrich their course in various ways. Fuller comprehension and morerewarding educational experiences should be the result.The text incorporates two methods for students to reinforce their learning: (1) each chapter contains aseries of mastery frames, by means of which students may assess their comprehension of the key pointsthat have been presented; and (2) supplementary assignments that provide additional reinforcement. Theassignments also provide a means for the instructor to monitor student progress towards mastering thesubject matter. The material contained in this manual provides the answers to the supplementaryassignments and quiz masters. To simplify the evaluation of student responses, the answers are generallypresented in the same format as the assignments. In some cases, responses need not be exactly as given.Alternative solutions are often possible, for example, where enharmonic spellings are involved.Common sense should be applied in such cases.Although the chapters ofBasic Materials in Music Theoryhave been arranged to provide an orderlysequence of material, instructors should feel free to alter the order if they wish. Some instructors, forexample, prefer to base the study of intervals on the major scale, so taking Chapter 8.0,The MajorScale,before Chapter 6.0,Intervals,may be preferred. Each chapter is relatively self-contained, but ifthe order of chapters is changed, some explanation in class may be necessary.The emphasis inBasic Materials in Music Theoryis on written theory. Aural experiences are vital,however, so students should be encouraged to use the “Ear-Training Activities” that appear at the end ofeach chapter of the text and to also continue, or certainly start, any ear-training exercises they can inmelodic and rhythmic dictation, sight singing and general music listening. This edition offers recordedexamples of how a student might practice and work with the Ear-Training Activities’ suggestions.Students should be strongly encouraged to utilize these examples with the text. Students should also beencouraged to invent exercises on their own and to explore all kinds of music literature through theirparticular performance medium. Such activities can be tied to explorations of the creative process. Inany case, the goal is to help students to become more sensitive to all aspects of sound, as well as theirown reactions to various sound stimuli. Such self-awareness can provide an avenue to more maturemusicianship.Introductionvi

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 7 preview image

Loading page ...

The material in this manual is presented in four sections for each chapter. The manner in which theinformation contained in these sections may be used is detailed below:1.Main Points and ObjectivesThis section summarizes in outline form the principal items of information that areneeded for mastery of the subject matter. These generally are listed in the order in whichthey occur in the text. Instructors should find this information helpful in preparingsupplementary lectures, demonstrations, and drills to reinforce in class the individualwork done by the student. This section also identifies the skills that constitute theobjectives toward which the learning experiences are aimed.2.Alternative Approaches and Supplementary ActivitiesSuggestions are given to help instructors supplement the text with additional material andrelated activities. Advice is also given regarding various ways to use the text, includingthe reordering of chapters.3.Classroom AidsA set of PDF masters is provided for each chapter. The pages of this manual may also beused to make masters for use in class. The PDF masters can be placed into a computerpresentation program such as Power Point™, Keynote™, or a PDF reader.Instructors who have not used computer projector are encouraged to try this technique. Itsadvantages include the following:a. Use of the projector usually does not require that the room be darkened.b. Masters may be prepared in advance and used with the projector as needed. Thisavoids the time-consuming job of writing material on a chalk or white board.d. A series of overlays may be prepared to trace a sequence of steps to solve aproblem or to demonstrate a particular process.Instructors are encouraged to prepare other examples to supplement the masters that areprovided. To facilitate this, theAppendixcontains blank masters that may be duplicatedfor the preparation of additional prepared exercises, or made into a master withoutadditional writing. Masters can also be prepared on a computer (as indeed this wholemanual was prepared) utilizing one of the many programs now available for this purpose.Further, masters could be prepared for other short exercises or examples from the manymusical materials available. If this is done, proper copyright notice should be placed onthemaster,orthesourceshouldbeacknowledged.(PleaseseetheReferenceBibliography in theBasic Materials in Music Theorytext for further information.)4.Answers to Supplementary Assignments and Quiz MastersThe information in this section is provided to facilitate the correction of SupplementaryAssignments and the Quiz Masters.viIntroductioni

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 8 preview image

Loading page ...

1Chapter 1.0The Basic Materials of Music:Time and SoundMAIN POINTS AND OBJECTIVESIt is desirable that serious study of music should begin with the establishment of a perspectivethat includes the following points:1. There are two sides to music, the emotional and the rational.2. Music is a temporal art that involves patterns of sound.3. The two basic materials of music are time and sound.To understand music, one must comprehend the manner in which both time and sound areorganized. The purpose of this chapter is to present the four properties of sound: pitch, intensity,timbre, and duration. This is done in terms of simple acoustical phenomena.Main points covered:1. Sound source: vibrating body2. Sound waves3. Pitch4. Frequency5. Octave phenomenon6. Amplitude7. Intensity8. Timbre9. Natural harmonic series10. Partials11. Fundamentals12. Overtones13. DurationALTERNATIVE APPROACHES AND SUPPLEMENTARY ACTIVITIESEach of the properties of sound should be demonstrated in class to provide students with actualaural experiences. The piano is perhaps the most useful tool and can be employed to demonstratethe natural harmonic series. Harmonics, through about the 6th harmonic, can be demonstratedsingly by depressing silently the key that plays each successive harmonic (partials 2, 3, 4, etc.),then playing rather forcefully the fundamental. Sympathetic vibrations will cause the harmonicto sound, although with decreasing volume as higher harmonics are demonstrated. Brass orstringed instruments are also effective in demonstrating the natural harmonic series.Information about the acoustics of music can stimulate student interest, and cultivate keenerawareness of how sound is generated and perceived. Some instructors may wish to expand thematerial presented in Chapter 1.0. The books cited below are recommended as being useful forthis purpose.Backus, John.Acoustical Foundations of Music, 2nd. ed. 1977. New York: W.W. Norton.Benade, A.H.Fundamentals of Musical Acoustics.2nd rev. ed. 1990. Mineola, N.Y.: Dover Publications,Inc._____.Horns, Strings & Harmony.1992. Mineola, N.Y.: Dover Publications, Inc.Bienvenue, Gordon F. & Prout, James H.Acoustics for You.1990. Malabar, Fla.: R.E. Krieger Pub. Co.Campbell, D.W. & Greated, Clive A.The Musicians Guide to Acoustics.1987. New York: SchirmerBooks.Hall, Donald.Musical Acoustics: An Introduction.1980. Belmont, Calif.: Wadsworth Publishing Co.Moravcsik, Michael J.Musical Sound: An Introduction to the Physics of Music.1987. New York: ParagonHouse.Pierce, John R.The Science of Musical Sound.1983. New York: W.H. Freeman.Slawson, Wayne.Sound Color.1985. Berkeley, Calif.: University of California Press.Wagner, Michael J.Introductory Musical Acoustics.3rd ed. 1994. Raleigh, N.C.:Contemporary Publishing Company.

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 9 preview image

Loading page ...

2Additional supplementary activities include the following:1. Please refer to page 12 in the text for a listing of Supplementary Activities. Theseactivities, in turn, can be enhanced by the activities suggested in this listing.2. An electronic studio is ideal for the audible demonstration of various acousticalphenomena,includingnotonlythebasicpropertiesofsound,butalsobeats,combination tones, wave forms, etc.A helpful web site: http://ww.phys.unsw.edu.au/jw/basics.html3. Films, video tapes, or DVDs shown in class provide an added dimension to thelearningexperience;suchactivitiesgenerallystimulateincreasedinterestinthesubject. The films below are recommended; other films, video tapes, or DVDs mayalso be available through other sources not currently known to the author.Sound Waves and Their Sources(second edition), 10 minutes, black and white, on rental.Explains that all sound originates in vibrating objects and illustrates the three generaltypes of vibrating sound sources: columns of air, surfaces, and strings and rods.Describes the major characteristics of sound waves: pitch, loudness, and timbre.Demonstrates the principle auditory differences between sounds. (Note: This film isnow out of print and may only be sporadically available from a film rental library.)Sounds and How They Travel,11 minutes, color, on rental. Illustrates the mechanicsinvolved in the transmission, reflection, and absorption of sound in air. Uses animationto visualize the compression and expansion of air molecules in the formation of soundwaves, the special vibrating movement of air molecules in transmitting sound waves,and the reflection of sound in the formation of echoes.Sounds Around Us(Discovering Matter and Energy), 10 minutes, color, on rental. Showsthat sound is produced by something vibrating and pictures various ways in whichvibrations are caused. Explains what causes sound to differ in pitch, intensity andtimbre.The last two films may be rented from the source below:University of Illinois Film Center1325 South Oak StreetChampaign, Illinois 618204. The “Ear-Training Activities” placed at the end of each chapter of the text are intendedfor use by students working alone. They may, however, be used in class as asupplement to other aural training. In any case, students should be encouraged toexperiment with their own instrument or voice as well as to experience and becomeincreasingly sensitive to sound phenomena. If time allows, interactively demonstratethe “Ear-Training Activities” in class.CLASSROOM AIDSMasters 1.1A–1.2B are for supplementary classroom presentations, drills, and a quiz related tothe material contained in Chapter 1.0. Masters for this and all following chapters, may beremoved in order to produce masters for use with a projector. For easy identification, eachmaster is coded to indicate the chapter and sequence. The code (1.1A, 1.1B,etc.), for example, isinterpreted as Chapter 1.0, first master set, consisting of several pages.NOTE: Starting with this chapter and beyond, it would be possible to also make projection masters of theSupplementary Assignments to use as reviews, in-class drill, or as quiz material.

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 10 preview image

Loading page ...

MASTER 1.1AMatch terms on the right with those on left.G. Timbre___ 7.Sound sourceF. Octave___ 6.First partialE. Fundamental___ 5.PitchD. Frequency___ 4.Doubled frequency rateC. Amplitude___ 3.Vibrational disturbancesB. Sound waves___ 2.HarmonicsA. Vibrating body___ 1.Energy of sound waves3

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 11 preview image

Loading page ...

4MASTER 1.1BWrite natural harmonic series on E♭Match terms on the right with those on left.A. Vibrating body___ 1.Energy of sound wavesB. Sound waves___ 2.HarmonicsC. Amplitude___ 3.Vibrational disturbancesD. Frequency___ 4.Doubled frequency rate

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 12 preview image

Loading page ...

5MASTER 1.2AQUIZ1.PITCH is primarily a matter of (1) time; (2) sound.2.INTENSITY can be measured by its (1) overtone series; (2) timbre; (3) amplitude.3.TIMBRE is concerned with various mixtures of (1) frequencies; (2) pitches; (3) harmonicsor partials; (4) rhythms.4.SOUND WAVES are transmitted by ______ _____.5.The "length" of tones refers to the basic material of music called ____________.

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 13 preview image

Loading page ...

6MASTER 1.2B6.The frequency of a tone two octaves lower than another is (1) one-half; (2) one-fourth; (3) halfagain; (4) double; (5) four times the frequency of the latter.7.The lowest partial is called the (1) first overtone; (2) harmonic; (3) fundamental.8.A 2:1 frequency ratio refers to a(n) (1) third; (2) fourth; (3) sixth; (4) octave.9.The NATURAL HARMONIC SERIES is a(n) (1) group of harmonies; (2) complex of pitches;(3) harmonic progression.10.Write a natural harmonic series on "G" on the bottom of your answer sheet on the grand staff.

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 14 preview image

Loading page ...

7ANSWERS TO SUPPLEMENTARY ASSIGNMENTSASSIGNMENT 1–11. acoustics2. sound waves3. vibrating4. a. strings; b. columns of air; c. wooden bars; d. metal plates5. Pitch6. Frequency7. The frequency of a tone is 100 cycles per second.8.Frequency1, 7608804402201109. Intensity10. Intensity (volume) diminishes as the distance increases.11. partials12. The quality of sound.13.14.1. F7. D2. E8. A3. K9. G4. B10. H5. I11. C6. J15. duration16. a.17. octaveANSWERS TO QUIZ MASTERSMASTERS 1.2AB1. 26. 22. 37. 33. 38. 44. vibrating bodies9. 25. duration10. (harmonic series on G;cf.no. 13 inSupplementaryAssignment1–1)"##################################################"!!%%%%%%%%♭87654321%%%%%%%♭%

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 15 preview image

Loading page ...

8Chapter 2.0The Notation of PitchMAIN POINTS AND OBJECTIVESThe objective of this chapter is to be able to identify, write, and interpret correctly the varioussigns that indicate pitch.Main points covered:1. Staff2. Treble, bass, and C-clefs3. Names of notes on the various lines and spaces4. Ledger lines5. Grand staff6.Ottavasign7. Half and whole steps8. Accidentals9. Bar lines10. Enharmonic notes11. Chromatic scale12. Octave designationsALTERNATIVE APPROACHES AND SUPPLEMENTARY ACTIVITIESFor most beginning students, it may be desirable to stress the treble and bass clefs, with the altoand tenor clefs introduced for information only. Knowledge of the C-clefs, however, is needed aspreparation for orchestral score reading, composition, or the study of music history and literatureinvolving the original notation of Renaissance or Baroque music.The terminology of octave designations may be stressed to a greater or lesser extent as theinstructor sees fit. The need for precise identification of pitches is perhaps greatest in the fieldsof composition, orchestration and acoustics.Stress should be placed upon the fact that, in spite of appearances, not all adjacent notes on thestaff produce the same interval. There is a half step between the notes E–F and B–C. All otheradjacent notes produce whole steps.Aural experience at this point is very helpful. Students should play the basic notes at akeyboard to visualize and hear the difference between half and whole steps (a black keyseparates two white keys that produce a whole step; there is no black key between two whitekeys that produce a half step.) The chromatic scale should be played and sung. Also review withstudents how to work with the ear-training activies by practicing some or all of them in class.Please also see Supplementary Activities listed on page 52 in the text.CLASSROOM AIDSMasters 2.1A–2.2B are for supplementary classroom presentations, drills, and a quiz related tothe material contained in Chapter 2.0.

Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual - Page 16 preview image

Study Now!

Document Details

Related Documents

Bossa Nova vs Jazz A Comparative Analysis of Two P

Week 1 Reading Four Pillars of Music Theory Copy

Exploring the Baroque Musical and Visual Styles: An Analysis of Composition and Art

Solution Manual For The Musician's Guide to Fundamentals, 3rd Edition

Antonio Vivaldi - ART340

Listening to Western Music 8th Edition Test Bank

Popular Music in the U.S.A, Updated Edition, 6th Edition Class Notes

Company

Explore

Study Tools