Course Description - Virginia Commonwealth University

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M U S I CT H E O R Y

Course Description

M A Y 2 0 0 2

2002 Exam Date: Thursday, May 16, morning session

2000-01 Development Committee and Chief Faculty Consultants

Eric Isaacson, Indiana University, Bloomington, ChairJane Piper Clendinning, Florida State University, Tallahassee

Melissa Cox, St. Gregory College Preparatory School, Tucson, Arizona

David Lockart, North Hunterdon/Voorhees Regional High School, Annandale, New Jersey

Harvey Stokes, Hampton University, Virginia

Chief Faculty Consultant: Joel Phillips, Westminster Choir College, Rider University,

Princeton, New Jersey

Chief Faculty Consultant Designate: Jo Anne Caputo, Cleveland Institute of Music, Ohio

ETS Consultants: Brent Sandene, Janet Waanders

New for 2002• A second

exercise in four-voice writingadded to Section II, Part A

• Subscore gradesreported for the aural and non-aural portions ofthe exam

www.collegeboard.com/ap

I.N. 990664

This Course Description is intended for use by AP® teachers for course and exam preparation in the classroom; permission for any other use must be soughtfrom the Program. Teachers may reproduce it, in whole or in part, in limitedquantities, for face-to-face teaching purposes but may not mass distribute thematerials, electronically or otherwise. This Course Description and any copiesmade of it may not be resold, and the copyright notices must be retained as theyappear here. This permission does not apply to any third-party copyrights contained herein.

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Dear Colleagues:

Last year more than three quarters of a million high school students bene-fited from the opportunity of studying in AP courses and then taking thechallenging AP Exams. These students experienced the power of learningas it comes alive in the classroom, as well as the practical benefits of earn-ing college credit and placement while still in high school. Behind each ofthese students was a talented, hardworking teacher. Teachers are the secretto the success of AP. They are the heart and soul of the Program.

The College Board is committed to supporting the work of AP teachersin as many ways as possible. AP workshops and Summer Institutes heldaround the globe provide stimulating professional development for 60,000teachers each year. The College Board Fellows stipends provide funds tosupport many teachers’ attendance at these institutes, and in 2001, stipendswere offered for the first time to teams of Pre-AP™ teachers as well.

Perhaps most exciting, the College Board continues to expand an inter-active Web site designed specifically to support AP teachers. At thisInternet site, teachers have access to a growing array of classroomresources, from textbook reviews to lesson plans, from opinion polls to cutting-edge exam information. I invite all AP teachers, particularly thosewho are new to the Program, to take advantage of these resources.

This AP Course Description provides an outline of content and descrip-tion of course goals, while still allowing teachers the flexibility to developtheir own lesson plans and syllabi, and to bring their individual creativity tothe AP classroom. Additional resources, including sample syllabi, can befound in the AP Teacher’s Guide that is available for each AP subject.

As we look to the future, the College Board’s goal is to provide accessto AP courses in every high school. Reaching this goal will require a lot ofhard work. We encourage you to help us build bridges to college andopportunity by finding ways to prepare students in your school to benefitfrom participation in AP.

Sincerely,

Gaston CapertonPresidentThe College Board

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Contents

Welcome to the AP Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1AP Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1AP Exams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Equity and Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

AP Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Introduction of Subscore Grades . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4The Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Course Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Course Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

The Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Multiple-Choice Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Sample Multiple-Choice Questions . . . . . . . . . . . . . . . . . . . . . . . 11Questions Based on Aural Stimulus . . . . . . . . . . . . . . . . . . . . 11Questions Not Based on Aural Stimulus . . . . . . . . . . . . . . . . . 18

Answers to Multiple-Choice Questions . . . . . . . . . . . . . . . . . . . . 24Written Free-Response Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Sample Free-Response Questions . . . . . . . . . . . . . . . . . . . . . . . . 25Sight-Singing Portion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Sample Sight-Singing Questions . . . . . . . . . . . . . . . . . . . . . . . . . 32

AP Program Essentials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35The AP Reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

AP Grades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Grade Distributions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

AP and College Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Why Colleges Give Credit for AP Grades . . . . . . . . . . . . . . . . . . . . 36Guidelines on Granting Credit for AP Grades . . . . . . . . . . . . . . . . . 36Finding Colleges That Accept AP Grades . . . . . . . . . . . . . . . . . . . . 37

AP Scholar Awards and the AP International Diploma . . . . . . . . . . . . 37AP Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Test Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Teacher Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Pre-AP™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39AP Publications and Other Resources . . . . . . . . . . . . . . . . . . . . . . . . . 40

Ordering Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Multimedia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

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www.collegeboard.com/ap 1

Welcome to the AP Program

The Advanced Placement Program is sponsored by the College Board, anon-profit membership association. AP offers 35 college-level courses andexams in 19 subject areas for highly motivated students in secondaryschools. Its reputation for excellence results from the close cooperationamong secondary schools, colleges, and the College Board. More than2,900 universities and colleges worldwide grant credit, advanced place-ment, or both to students who have performed satisfactorily on the exams,and 1,400 institutions grant sophomore standing to students who meettheir requirements. Approximately 13,000 high schools throughout theworld participate in the AP Program; in May 2000, they administered morethan 1.3 million AP Exams.

You will find more information about the AP Program at the back of thisCourse Description, and at www.collegeboard.com/ap. This Web site ismaintained for the AP Program by collegeboard.com, a destination Website for students and parents.

AP Courses

AP courses are available in the subject areas listed on the next page.(Unless noted, an AP course is equivalent to a full-year college course.)Each course is developed by a committee composed of college faculty andAP teachers. Members of these Development Committees are appointed bythe College Board and serve for overlapping terms of up to four years.

AP Exams

For each AP course, an AP Exam is administered at participating schoolsand multischool centers worldwide. Schools register to participate bycompleting the AP Participation Form and agreeing to its conditions. Formore details, see A Guide to the Advanced Placement Program; informa-tion about ordering and downloading this publication can be found at theback of this booklet.

Except for Studio Art — which consists of a portfolio assessment — allexams contain a free-response section (either essay or problem-solving)and another section consisting of multiple-choice questions. The modernlanguage exams also contain a speaking component, and the Music Theoryexam includes a sight-singing task.

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2 www.collegeboard.com/ap

Equity and Access

The College Board and the Advanced Placement Program encourageteachers, AP Coordinators, and school administrators to make equity andaccess guiding principles for their AP programs. The College Board is com-mitted to the principle that all students deserve an opportunity to partici-pate in rigorous and academically challenging courses and programs. TheBoard encourages the elimination of barriers that restrict access to APcourses for students from ethnic and racial groups that have been tradi-tionally underrepresented in the AP Program.

For more information about equity and access in principle and practice,contact the National Office in New York.

AP Subject Areas AP Courses and Exams

Art Art History; Studio Art: DrawingPortfolio; Studio Art: 2-D Portfolio;Studio Art: 3-D Portfolio

Biology BiologyCalculus AB; BCChemistry ChemistryComputer Science A*; ABEconomics Macroeconomics*; Microeconomics*English Language and Composition; Literature

and Composition; International EnglishLanguage (APIEL™)

Environmental Science Environmental Science*French Language; LiteratureGerman LanguageGeography Human Geography*Government and Politics Comparative*; United States*History European; United States; WorldLatin Literature; VergilMusic Music TheoryPhysics B; C: Electricity and Magnetism*;

C: Mechanics*Psychology Psychology*Spanish Language; LiteratureStatistics Statistics*

** This subject is the equivalent of a half-year college course.

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Com- Up to 6 Semester Placement into Placement into posite Hours: General Second Semester Second Year

AP- Humanities/Arts (with Credit for (with Credit for GRADE Credits First Semester) First Year)

5 Extremely Well Extremely Well Well QualifiedQualified Qualified

4 Well Qualified Well Qualified Qualified

3 Qualified Qualified Possibly Qualified

2 Possibly Qualified Possibly Qualified No Recommendation

1 No Recommendation No Recommendation No Recommendation

AP Music Theory

Introduction

Shaded text indicates important new information about this subject.The AP Music Development Committee has sought the advice of both

high school and college faculties to define the scope of work that wouldbe equivalent to that of first-year college courses in music theory. Becausethe theory curriculum varies considerably from college to college, theDevelopment Committee has chosen to provide general course guidelinesrather than a precise course description. The Teacher’s Guide—Music

Theory contains several sample syllabi of actual AP and college theorycourses. Additional resources for teachers include workshops offered bythe College Board Regional Offices and advice from members of theDevelopment Committee. Committee members, listed on the back cover,welcome hearing from AP teachers who wish to consult with them.*Although the guidelines contained in this Course Description may notmatch any particular college program, they do reflect the coverage of con-tent and level of skills typical of most first-year college courses. Each APteacher is encouraged to keep the guidelines in mind while designing acourse that best fits his or her specific situation and training.

The examination is intended for secondary school students who havecompleted music studies comparable to a first-year college course in musictheory. In some cases, the AP course may reflect the content and skills cov-ered in one-semester college courses with an accelerated curriculum.

The College Board recommends that credits and advanced standing forthe AP Music Theory Examination be awarded as follows:

*Contact ETS consultants Janet Waanders ([email protected]) or Brent Sandene([email protected]) to be put in touch with a committee member.

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Each college and university determines its own policies for the use of APMusic Theory Exam grades. Students should contact institutions to whichthey are applying for information on how AP Music Theory grades will beused. Credit for the AP Music Theory Exam may fulfill either generalhumanities or arts requirements, or it may help to fulfill the requirements forthe music major. Students intending to major in music should inquire aboutboth the institution’s general policy and the music department’s policy.

Introduction of Subscore Grades

Beginning with the 2002 examination, subscore grades will be reportedalong with the overall AP Examination grade. There will be two subscoregrades, one based on the exam questions with aural stimulus and onebased on the exam questions without aural stimulus. The DevelopmentCommittee has recommended the addition of subscore grades becausethey will provide more particular information about students’ strengthsand weaknesses to the students, to the AP teachers, and to the colleges,universities, and schools of music that determine policy about the award-ing of credits and advanced standing. For example, a student may learnthat she needs to concentrate on written skills such as score analysis andcomposition; a teacher who sees a pattern of higher nonaural subscoregrades than aural subscore grades may increase emphasis on ear-trainingexercises in the course; a college that sees that a student’s written skillsare superior to his or her aural skills may move the student into, forinstance, the second semester of classroom theory but require the studentto take beginning ear-training and sight-singing classes. Clearly, theCommittee urges the integration of different kinds of skill development inthe training of students (see especially pages 7-8). At the same time, theCommittee recognizes the desire of students and teachers for more infor-mation about exam performance and it recognizes the reality that auraland nonaural skills are taught in separate courses in many colleges, universities, and schools of music.

The Committee recommends that, for courses that cover aural skillssuch as listening, dictation, and sight-singing, departments of music relyprimarily on the aural skills subscore grade in making decisions aboutplacement and credit. For courses that cover written skills such as scoreanalysis and part-writing, departments should rely primarily on the writtenskills (nonaural skills) subscore grade in making decisions. And forcourses that cover both aural and written skills, the Committee recom-mends reliance primarily on the overall grade. As with the overall grade,subscore grades will be reported on a scale of 1-5.

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Four kinds of questions are ordinarily included in the examination:multiple-choice questions based on recorded music played within the exami-nation; multiple-choice questions without aural stimulus; written free-response questions both with and without aural stimulus; and sight-singing.The written free-response and sight-singing sections are scored by AP MusicTheory teachers and college music faculty. A description of both the courseand of the Music Theory examination follows. Sample questions follow thedescription of each portion of the examination. You will find the answer keyfor all multiple-choice questions directly after those questions.

The Course

A major component of any college music curriculum is a course introduc-ing the first-year student to musicianship, theory, musical materials, andprocedures. Such a course may bear a variety of titles (Basic Musicianship,Elementary Theory, Harmony and Dictation, Structure of Music, etc.). It may emphasize one aspect of music, such as harmony; more often,however, it integrates aspects of melody, harmony, texture, rhythm, form,musical analysis, elementary composition, and, to some extent, history andstyle. Musicianship skills such as dictation and other listening skills, sight-singing, and keyboard harmony are considered an important part of thetheory course, although they may be taught as separate classes.

The student’s ability to read and write musical notation is fundamentalto such a course. It is also assumed that the student has acquired at leastbasic performance skills in voice or on an instrument.

Course Objectives

The ultimate goal of an AP Music Theory course is to develop a student’sability to recognize, understand, and describe the basic materials andprocesses of music that are heard or presented in a score. The achieve-ment of this goal may be best promoted by integrated approaches to thestudent’s development of:

aural skills listening exercisessight-singing skills performance exerciseswritten skills through written exercisescompositional skills creative exercisesanalytical skills analytical exercises

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Course Content

The course should seek first to instill mastery of the rudiments and terminology of music, including:

• notation

• intervals

• scales and keys

• chords

• metric organization

• rhythmic patterns

It is advisable to address these basic concepts through listening to a widevariety of music, including not only music based in the European classicaltonal system but also contemporary, jazz, and popular music, and themusic of other cultures. Although beginning college courses focus primar-ily on the system of major-minor tonality, they often incorporate at least abrief introduction to the church modes, pentatonic and other scales, andtwentieth-century techniques and terminology; moreover, there is increas-ing emphasis throughout college curricula on equipping students to dealwith music of their own time and of various world cultures.

Attention should be given to the acquisition of correct notational skills.Speed and fluency with basic materials should be emphasized.

Building on this foundation, the course should progress to include moresophisticated and creative tasks, such as:

• composition of a bass line for a given melody, implying appropriateharmony

• realization of a figured bass

• realization of a Roman numeral progression

• analysis of repertoire, including study of motivic treatment, examina-tion of rhythmic and melodic interaction between individual voices ofa composition, and harmonic analysis of functional tonal passages

A brief introduction to twentieth-century scales, chordal structures, andcompositional procedures should be incorporated, either through analysisor original composition.

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Like most first-year college courses, the AP course should emphasizeprocedures based in common-practice tonality:

• functional triadic harmony in traditional four-voice texture (with vocabulary including nonharmonic tones and secondary dominants)

• tonal relationships

• modulation to closely related keys

The course should also emphasize:

• standard rhythms and meters

• phrase structure

• small forms (e.g., rounded binary, simple ternary, theme andvariation, strophic)

Chromatic harmony, techniques of modulation, more distant key relation-ships, and larger musical forms may be touched upon but should generallyreceive less emphasis.

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The Examination

The AP Examination in Music Theory tests the candidate’s understandingof music structure and compositional procedures through recorded andnotated examples. Strong emphasis is given to listening skills, particularlythose involving recognition and comprehension of melodic and rhythmicpatterns, harmonic functions, small forms, and compositional techniques.Most of the musical examples are taken from standard repertoire, althoughsome examples of contemporary, jazz, or vernacular music, or musicbeyond the Western tradition are included for testing basic concepts. The

In an AP course in music theory, students should be required to read,notate, compose, perform, and listen to music. The figure above showssome of the ways in which exercises of various types foster and integratethese abilities.

The development of aural skills is a primary objective of the AP MusicTheory course. Throughout the course, students should listen to musicalworks attentively and analytically, developing their “musical memory” andtheir ability to articulate responses to formal, stylistic, and aesthetic quali-ties of the works. Performance—using singing, keyboard, and students’primary performance media—should also be a part of the learningprocess. Although sight-singing is the only performance skill that isdirectly tested by the examination, training in all these areas will developthe aural skills that are tested.* Once again, fluency and quickness withbasic materials are essential.

Students should work both inside and outside the classroom. Regularhomework assignments are an indispensable component of instruction.Whenever possible, teachers should provide access to practice space andequipment for out-of-class assignments. Music libraries, especially thosewith substantial holdings in recorded music, can be an invaluable enhance-ment to the course. Where concert performances are accessible, teachersare encouraged to use them as extensions of the classroom and to allotclass time accordingly: pre-concert activities such as sight-singing, dictation, and analysis of excerpts chosen from the concert program, or post-concert reports guided by well-designed study questions, help stu-dents connect the content of the theory class with the world of live music.Many meaningful exercises can likewise be derived from the students’ ownsolo and ensemble repertoire. In addition to technical knowledge and skills,students should gain exposure to and familiarity with a wide variety of musi-cal literature, and the ability to apply their knowledge and skills to it.

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examination assumes fluency in reading musical notation and a stronggrounding in music fundamentals, terminology, and analysis. A list of com-monly used terms that may appear in the examination can be found in thecurrent edition of the Teacher’s Guide. The examination may include anyor all of the following:

I. Musical TerminologyA. Terms for intervals, chords, scales, and modesB. Terms pertaining to rhythm and meter, melodic construction and

variation, harmonic functions, cadences and phrase structure,texture, small forms, and musical performance

II. Notational SkillsA. Rhythmic and metric notationB. Clefs and pitch notationC. Key signatures, scales, and modesD. Intervals and chordsE. Transposition of melodic lines

III. Basic Compositional SkillsA. Four-voice realization of figured-bass symbols and

Roman numeralsB. Composition of a bass line (with chord symbols) for a given melody

IV. Score Analysis (with or without aural stimulus)A. Small-scale and large-scale harmonic procedures, including:

1. identification of cadence types2. Roman-numeral and figured-bass analysis, including nonhar-

monic tones, seventh chords, and secondary-dominant chords3. identification of key centers and key relationships; recognition

of modulation to closely related keysB. Melodic organization and developmental procedures

1. scale types; modes2. melodic patterning3. motivic development and relationships (e.g., inversion,

retrograde, sequence, imitation)C. Rhythmic/metric organization

1. meter type (e.g., duple, triple, and quadruple) and beat type(e.g., simple, compound)

2. rhythmic devices and procedures (e.g., augmentation,diminution, hemiola)

D. Texture1. types (e.g., monophony, homophony, polyphony)2. devices (e.g., textural inversion, imitation)

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E. Formal devices and/or procedures1. phrase structure2. phrases in combination (e.g., period, double period, phrase

group)3. small forms

V. Aural SkillsA. Sight-singingB. Melodic dictationC. Harmonic dictationD. Identification of isolated pitch and rhythmic patternsE. Detection of errors in pitch and rhythm in one- and two-voice

examplesF. Identification of processes and materials in the context of

music literature representing a broad spectrum of genres,media, and styles1. melodic organization (e.g., scale-degree function of

specified tones, scale types, mode, melodic patterning,sequences, motivic development)

2. harmonic organization (e.g., chord function, inversion,and quality)

3. tonal organization (e.g., cadence types, key relationships)4. meter and rhythmic patterns5. instrumentation (i.e., identification of timbre)6. texture (e.g., number and position of voices, amount of indepen-

dence, presence of imitation, density)7. formal procedures (e.g., phrase structure; distinctions among

literal repetition, varied repetition, and contrast; small forms)

Multiple-Choice Section

The multiple-choice section of the examination consists of about 75 ques-tions and counts for 45 percent of the total grade.

• Questions based on aural stimulus test a student’s listening skill andknowledge about theory largely in the context of examples fromactual literature. Most of these questions will cover topics describedabove in V. D, E, and F, although emphasis is likely to be on the vari-ous elements mentioned in V. F. Some aural stimulus questions maytest the candidate’s skill in score analysis.

• Questions not based on aural stimulus emphasize those materialslisted in IV. A-E above; they may include knowledge and skills of I, II,and III as well.

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Sample Multiple-Choice Questions

Questions Based on Aural Stimulus*

Throughout the examination, the indicates when music will be played.

Questions 1– 4 ask you to identify pitch patterns. After a question isannounced, you will have ten seconds to read the relevant choices. It isimportant that you read the choices carefully before the example is played.Each example will be played twice, with a brief pause between playings.Now listen to the music for Questions 1– 4 and identify the pitch patternsthat are played.

1. Which of the following pitches are sounded?(A) (B) (C) (D)

Pitch pattern played twice.






Pitch pattern played twice. œœ

œœ

œœ

œœ

œ œ

*To obtain a single free copy of the cassette tape containing the aural stimulus for the following sample questions, call AP Order Services at 609 771-7243 and request item number 990819.

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Questions 5–8 are based on an excerpt that will be played four times. Thescore is printed correctly below, but in the version you will hear there areerrors in either pitch or rhythm in several measures. The questions ask youto identify those errors. Before listening to the music for the first time,please read Questions 5–8 and look at the score.

5. In measure 3, there is an error in the(A) rhythm in the treble staff(B) rhythm in the bass staff(C) pitch in the treble staff(D) pitch in the bass staff

6. In measure 5, there is an error in pitch on beat(A) 1(B) 2(C) 3(D) 4

7. In measure 6, there is an error in(A) rhythm in the treble staff(B) rhythm in the bass staff(C) pitch in the treble staff(D) pitch in the bass staff

8. In measure 7, which beat contains a pitch error?(A) 1 (B) 2(C) 3(D) 4

Now listen to the music for the first time and answer Questions 5–8.

(The excerpt is from Bach’s Overture in F, BWV820.)

œ œ

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The excerpt will now be played a second time.

The excerpt will now be played a third time.

The excerpt will now be played a fourth and final time.

Questions 9–12. In a few moments you will hear a vocal piece that will beplayed three times. The text, a poem consisting of four stanzas, is printedbelow to help orient you to what you are hearing. Before listening to themusic for the first time, please read Questions 9–12.

Es ist schon spät, es ist schon kalt,Was reit’st du einsam durch den Wald?Der Wald ist lang, du bist allein,Du schöne Braut, ich führ’ dich heim!

Groß ist der Männer Trug und List,Vor Schmerz mein Herz gebrochen ist,Wohl irrt das Waldhorn her und hin,O flieh’, du weißt nicht, wer ich bin.

So reich geschmückt ist Ross und Weib,So wunderschön der junge Leib;Jetzt kenn’ ich dich, Gott steh’ mir bei,Du bist die Hexe Loreley!

Du kennst mich wohl, von hohem SteinSchaut still mein Schloss tief in den Rhein;Es ist schon spät, es ist schon kalt,Kommst nimmer mehr aus diesem Wald.

9. The cadence that ends the first stanza is a(A) perfect authentic cadence(B) plagal cadence(C) half cadence(D) deceptive cadence

10. The cadence that ends the third stanza with the word “Loreley” is a(A) perfect authentic cadence(B) plagal cadence(C) half cadence(D) deceptive cadence

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11. Descending chromatic motion is prominent in(A) the piano prelude(B) stanza 1(C) stanza 2(D) stanza 3

12. The final note in the piano postlude is scale degree(A) 1(B) 3(C) 5(D) 6

Now listen to the music for the first time and answer Questions 9–12.

(The excerpt is from a song by Robert Schumann.)

The music will now be played a second time.

The music will now be played a third and final time.

Questions 13–16 are based on an excerpt from a piano quartet. Theexcerpt, which includes a brief introduction and one statement of a theme,will be played three times. Before listening to the introduction and state-ment of the theme for the first time, please read Questions 13–16.

13. The first chord of the excerpt is(A) an augmented triad(B) a major seventh chord(C) a minor seventh chord(D) a diminished seventh chord

14. After the short introduction, the first two harmonies of the theme aretonic and(A) dominant(B) mediant(C) subdominant(D) submediant

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15. The theme consists of a melodic sequence at three different pitchlevels. Which of the following best describes the succession of pitchlevels?(A) The sequence ascends by seconds.(B) The sequence ascends by thirds.(C) The sequence descends by seconds.(D) The sequence descends by thirds.

16. The melody features several leaps of(A) a sixth(B) a seventh(C) an octave(D) a ninth

Now listen to the introduction and statement of the theme for the firsttime and answer Questions 13–16.

(The excerpt is from Robert Schumann’s Piano Quartet Op. 47.)

The introduction and statement of the theme will now be played again.

The introduction and statement of the theme will now be played a thirdand final time.

Questions 17–20 are based on an excerpt from a string quartet that will beplayed three times. Before listening to the excerpt for the first time, pleaseread Questions 17–20.*

17. The theme begins on scale degree(A) 1(B) 2(C) 3(D) 5

18. The opening harmonic progression is(A) I - V4

2 - I6 - V(B) I - I6 - vii°7 - I(C) I - vi - ii6

5 - V(D) I - ii4

2 - V65 - I

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*Throughout the examination, lowercase Roman numerals indicate minor chords and upper-case Roman numerals indicate major chords.

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19. The texture of the excerpt is best described as(A) melody doubled at the octave(B) melody with chordal accompaniment(C) melody with chordal accompaniment and countermelody(D) imitative counterpoint

20. Which term most accurately describes the metric organization?(A) Compound duple(B) Compound triple(C) Simple duple(D) Simple quadruple

Now listen to the excerpt for the first time and answer Questions 17–20.

(The excerpt is from Haydn’s String Quartet Op. 20, No. 5.)

The excerpt will now be played again.

The excerpt will now be played a third and final time.

Questions 21–26 are based on an excerpt from an orchestral work. Theexcerpt will be played three times. Before listening to the music for thefirst time, please read Questions 21–26.

21. The prominent solo instrument at the beginning of the excerpt is(A) a clarinet(B) a bassoon(C) an oboe(D) a French horn

22. The meter is best described as(A) simple duple(B) simple triple(C) compound duple(D) compound triple

23. The rhythm at the beginning is best described as(A) dotted patterns in the accompaniment, even notes in the solo(B) dotted patterns in the solo, even notes in the accompaniment(C) dotted patterns imitated throughout the ensemble(D) even notes used throughout the ensemble

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24. The excerpt consists of three large phrases. The relationship of thesephrases to each other is best described as(A) a a' a''(B) a a' b(C) a b b'(D) a b c

25. The latter part of the first phrase incorporates which of the following?(A) Repetition of melodic fragments and embellishment of the tonic

chord(B) Repetition of melodic fragments and embellishment of the

dominant chord(C) Alternation of dominant and subdominant chords(D) Alternation of tonic and subdominant chords

26. Which of the following describes the modality of the three phrases?(A) All phrases are major.(B) All phrases are minor.(C) The first two phrases are minor; the third is major.(D) The first two phrases are major; the third is minor.


(The excerpt is from Schubert’s Symphony No. 9.)


The excerpt will now be played a third and final time.

Questions 27– 30 are based on a four-phrase excerpt from a jazz song. Theentire excerpt will be played four times. Before listening to the excerpt forthe first time, please read Questions 27– 30.

27. The cadences at the end of the first phrase and the third phrase are(A) half cadences(B) deceptive cadences(C) authentic cadences(D) plagal cadences

28. The interval most frequently heard in the last phrase is a minor(A) seventh(B) sixth(C) third(D) second

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29. The tonal organization of the excerpt is best described asstarting in the(A) tonic and modulating to the dominant(B) tonic and ending in the tonic(C) dominant and ending in the tonic(D) tonic and modulating to the relative minor

30. Which of the following best describes the form of the entire excerpt?(A) a b a a1

(B) a a1 a b(C) a b c a(D) a a b a1


(The excerpt is from Duke Ellington’s song “Heaven.”)*


The excerpt will now be played a third time.

The excerpt will now be played a fourth and final time.

Questions Not Based on Aural Stimulus

31. Which of the following is illustrated by the melody above?(A) Lydian mode on F(B) Mixolydian mode on F(C) Whole-tone scale(D) Chromatic scale

32. Which of the following is NOT a major-seventh interval?(A) (B) (C) (D)

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* “Heaven,” from Second Sacred Concert by Duke Ellington. Copyright © 1968. Renewed byMusic Sales Corporation/Tempo Music, Inc. All rights administered by Music SalesCorporation (ASCAP). International Copyright Secured. All rights reserved. Used bypermission.

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33. The chord above is an example of(A) a major triad(B) a minor triad(C) an augmented triad(D) a diminished triad

34. The chord progression above is best analyzed as(A) ii �6

5 V I in G� major(B) iv V i in G� minor(C) iv V VI in B� major(D) ii�6

5 V VI in B� minor

35. The passage above is made up of several complete measures.Which of the following time signatures best fits the passage?

(A) 38

(B) 48

(C) 58

(D) 68

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36. The key signature above is for(A) C# minor(B) D major(C) E major(D) F# minor

37. Which of the following intervals could NOT occur in a whole-tonescale?

(A)

(B)

(C)

(D)

38. The chord above may appropriately be designated(A) i in the key of A� minor (B) IV in the key of D � major(C) V in the key of E � major(D) VI in the key of C minor


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Questions 39– 41 are based on the chord progression printed below.

39. All of the following part-writing errors are found in measure 1 of theexample EXCEPT

(A) parallel octaves(B) a doubled leading tone(C) voice crossing(D) an omitted third

40. The part-writing error found in measure 2 is(A) parallel fifths(B) an unresolved seventh(C) a doubled leading tone(D) incorrect spacing

41. Which of the following reorderings of measure 3 would most improvethe cadential preparation, taking into account the voice leading intoand out of measure 3?(A) I6 - V - ii6

5 - I(B) ii6

5 - I - I6 - V(C) V - ii6

5 - I6 - I(D) I - I6 - ii6

5 - V

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Questions 42 – 45 are based on the musical excerpt printed above.

42. The excerpt features(A) passing tones(B) cross relations(C) hemiolas(D) arpeggios

43. A V65 chord appears in bar

(A) 2(B) 3(C) 4(D) 5

44. A vi6 chord appears in bar(A) 2(B) 3(C) 4(D) 5

45. Which of the following is the proper resolution for the harmony in bar 6?(A) A G major chord in root position(B) A C major chord in root position(C) A G major chord in first inversion(D) A C major chord in first inversion

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Questions 46– 51 are based on the example below.

46. The first measure includes an example of which of the following 64 chord usages?(A) Cadential 6

4

(B) Pedal 64

(C) Passing 64

(D) Arpeggiated 64

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47. The soprano G in measure 4 is(A) an appoggiatura(B) a passing tone(C) a neighboring tone(D) an anticipation

48. Which of the following best explains the harmonic arrival in measure 8?(A) A modulation to the minor dominant(B) A modulation to the major dominant(C) A half cadence in the opening tonic key(D) A half cadence in the dominant key

49. The material in measures 9-10 relates to the material in measures 1-2 in which of the following ways?(A) Rhythmic augmentation(B) Retrograde(C) Transposition to the parallel major(D) Textural inversion

50. The tonal area of measures 11-16 is the(A) subdominant(B) subtonic(C) submediant(D) relative minor

51. In terms of quality and inversion, the chord on the downbeat of measure 3 is like the chord on the downbeat of measure(A) 5(B) 11(C) 19(D) 20

Answers to Multiple-Choice Questions


1–B

2–C

3–A

4–B

5–B

6–C

7–A

8–B

9–D

10–C

11–C

12–B

13–D

14–D

15–C

16–B

17–D

18–D

19–B

20–A

21–C

22–A

23–B

24–B

25–B

26–C

27–A

28–D

29–B

30–D

31–B

32–A

33–C

34–D

35–C

36–D

37–C

38–D

39–C

40–B

41–D

42–D

43–B

44–D

45–C

46–B

47–B

48–C

49–D

50–A

51–C

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� �

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34 ��

Written Free-Response Section

Beginning in 2002, the free-response section will include an additionalquestion: four-voice realization from Roman numerals. The exercises call-ing for part-writing from a figured bass and the composition of a bass linewill be retained but shortened. The written free-response section of theexam, which will continue to be worth 45% of the total grade, will include:

• melodic dictation (V. B)

• harmonic dictation (V. C)

• part-writing from a figured bass (III. A)

• part-writing from Roman numerals (III. A)

• composition of a bass line (III. B)

Sample Free-Response Questions

Questions 1 and 2. For each of these questions, you are to notate on thestaves below the correct pitch and rhythm of a short melody that you willhear. In each case, the pulse will be established before the first playing ofthe melody.

Question 1. The melody will be played three times. There will be a pause of30 seconds after the first playing and a one-minute pause after each subse-quent playing. Notice that the first note of the melody has been provided.There are no rests in the melody you will hear. It will be played on an oboe.

Now listen to the melody for the first time and begin to notate it.

Andantino

(Melody 1 on the demonstration tape is a privately recorded melody. Duringan actual examination, the melody would be played two more times.)

Correct response to Question 1.Andantino

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Question 2. The melody will be played four times. There will be a pause of30 seconds after the first playing and a one-minute pause after each subse-quent playing. Notice that the first note of the melody has been provided.There are no rests in the melody you will hear. It will be played on a cello.

Now listen to the melody for the first time and begin to notate it.

Moderato

(Melody 2 on the demonstration tape is a privately recorded melody.During an actual examination, the melody would be played three moretimes.)

Correct response to Question 2.Moderato

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�

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34��

34��

�

Questions 3 and 4. For each of these questions, you will hear a harmonicprogression in four parts. In each case the progression will be played fourtimes. There will be a pause of 30 seconds after the first playing and a one-minute pause after each subsequent playing. For each question, please dothe following.

(A) Notate the soprano and bass voices. (Do NOT notate the alto and tenorvoices.)

(B) On the lines provided under each staff, write in the Roman and Arabicnumerals that indicate the chords and their inversions.

Question 3. Before listening to the first playing, please look at the staffbelow. Notice that there are nine chords in the progression; the sopranoand bass notes and the Roman numeral of the first chord are given.

Now listen to the progression for the first time and begin working.

(Progression for Question 3 on the demonstration tape is a privatelyrecorded harmonic progression. During an actual examination, the progression would be played three more times.)

Correct response to Question 3.

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Question 4. Before listening to the progression for the first time, pleaselook at the staff below. Notice that there are ten chords in the progression;the soprano and bass notes and the Roman numeral of the first chord aregiven.

Remember to notate only the soprano and bass voices and to provide thenumerals indicating the chords and their inversions. Now listen to the progression for the first time and begin working.

(Progression for Question 4 on the demonstration tape is a privatelyrecorded harmonic progression. During an actual examination, the pro-gression would be played three more times.)

Correct response to Question 4.

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Questions 5 and 6. (Suggested time—25 minutes)

Question 5. Realize the figured bass below in four voices, following tradi-tional eighteenth-century voice-leading procedures. Continue logicallyfrom the spacing of the first chord. In the space below each chord, supplythe Roman numerals that appropriately indicate harmonic function.

One possible excellent response to Question 5.


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Question 6. Write the following progression in four voices, following tradi-tional eighteenth-century voice-leading procedures. Continue logicallyfrom the spacing of the first chord.


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Question 7. (Suggested time—20 minutes). Complete the bass line for themelody below. Your bass line should make both melodic and harmonicsense in common practice style and should remain consistent with thegiven first phrase. Show your harmonization of the melody by placingRoman numerals with inversion symbols under your bass line. (Do NOT

notate an alto or tenor line.)

Observe the following in composing the bass line and in making chordchoices.

(A) Give melodic interest to the bass line by balancing conjunct anddisjunct motion, providing shape and direction, and covering an amplerange.

(B) Vary the motion of the bass line in relation to the soprano, employingsome contrary motion.

(c) Use an appropriate cadence at each phrase ending.

(D) Use at least two chords (or two positions of the same chord) permeasure.

(E) Appropriate use of inversions and seventh chords is permitted.

(F) Use eighth, quarter, and half notes. Note values ranging from eighth tohalf notes are permitted.

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Sight-Singing Portion

The sight-singing portion of the examination, which was added in 1996, com-prises two brief, primarily diatonic melodies (of about four to eight bars)that the student sings and records on a cassette tape. It is worth 10 percentof the total grade.

• Students take this portion of the examination one at a time.

• Students are given 75 seconds to examine and practice each melody,and 30 seconds to perform each melody. They may sing or whistle themelody beginning with the given starting pitch or another pitch in arange that is more comfortable.

The cassette tape containing the aural stimulus for the sample questionsalso contains actual student performances of the sight-singing melodies.You can obtain a single free copy by calling AP Order Services at 609 771-7243 and requesting item number 990819.

Sample Sight-Singing Questions

Questions 1 and 2.

Assignment: For each of the two given melodies, sing the pitches in accurate rhythm and with a steady tempo.

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Procedure: In each case, you will hear the starting pitch at the beginning ofthe practice period. You will have 75 seconds to warm up and practice.After hearing the starting pitch again, you will have 30 seconds to performthe melody. A taped announcement will alert you to the end of each prac-tice and performance period. Directions on the tape will assist you in oper-ating the tape recorder.

Your Performance:

a. You may sing note names (c-d-e), syllable names (do-re-mi), scale-degree numbers (1-2-3), or a neutral syllable (for example, la-la-la).You may whistle if you prefer.

b. Even though you will hear the starting pitch of the printed melody,you may transpose the melody to a register that is comfortable.

c. You should use some of the warm-up and practice time to performout loud. You may write on the music if you wish.

d. You may NOT use any device (e.g., a metronome, a musical instru-ment) to assist you in your practice or performance.

e. You will be evaluated on pitch accuracy (relative to tonic), rhythm,and continuity (maintaining a steady tempo). You may start over, ifyou need to, but there will be a deduction from your score. You willNOT be evaluated on the quality of your singing voice.

(The practice time for Question 1 is not included on the demonstrationtape.)

Question 1. This is the starting pitch of the printed melody. You have 30seconds to perform the melody.

Moderato

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(The practice time for Question 2 is not included on the demonstrationtape.)

Question 2. This is the starting pitch of the printed melody. You have 30seconds to perform the melody.

Moderato

(The remainder of the tape contains actual student performances of thesample melodies for sight-singing questions 1 and 2.)

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AP Program Essentials

The AP Reading

In June, the free-response sections of the exams, as well as the portfoliosin Studio Art, are scored by college and secondary school teachers at theAP Reading. Thousands of these faculty consultants participate, under thedirection of a Chief Faculty Consultant in each field. The experience offersboth significant professional development and the opportunity to networkwith like-minded educators; if you are an AP teacher or a member of a col-lege faculty and would like to serve as a faculty consultant, you can applyonline in the AP section of the College Board’s Web site. Alternatively,send an e-mail message to [email protected], or call Performance ScoringServices at 609 406-5383.

AP Grades

The faculty consultants’ judgments on the essay and problem-solving ques-tions are combined with the results of the computer-scored multiple-choicequestions, and the total raw scores are converted to AP’s 5-point scale:

AP GRADE QUALIFICATION

5 Extremely Well Qualified4 Well Qualified3 Qualified2 Possibly Qualified1 No Recommendation

Grade Distributions

Many teachers want to compare their students’ grades with the nationalpercentiles. Grade distribution charts are available in the subject pages ofthe AP Web site, as is information on how the cut-off points for each APgrade are calculated.

AP and College Credit

Advanced placement and/or credit is awarded by the college or university,not the College Board or the AP Program. The best source of specific andup-to-date information about an individual institution’s policy is its catalogor Web site.

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Why Colleges Give Credit for AP Grades

Colleges need to know that the AP grades they receive for their incomingstudents represent a level of achievement equivalent to that of studentswho take the same course in the colleges’ own classrooms. That equiva-lency is assured through several Advanced Placement Program processes:

• College faculty serve on the committees that develop the coursedescriptions and examinations in each AP subject.

• College faculty are responsible for standard setting and are involvedin the evaluation of student responses at the AP Reading.

• AP courses and exams are updated regularly, based on both theresults of curriculum surveys at up to 200 colleges and universitiesand the interactions of committee members with professional orga-nizations in their discipline.

• College comparability studies are undertaken in which the perfor-mance of college students on AP Exams is compared with that ofAP students to confirm that the AP grade scale of 1–5 is properlyaligned with current college standards.

In addition, the College Board has commissioned studies that use a “bottom-line” approach to validating AP Exam grades by comparing theachievement of AP versus non-AP students in higher-level college courses.For example, in the 1998 Morgan and Ramist “21-College” study, AP stu-dents who were exempted from introductory courses and who completeda higher-level course in college are compared, on the basis of their collegegrades, with students who completed the prerequisite first course in col-lege, then took the second, higher-level course in the subject area. Suchstudies answer the question of greatest concern to colleges — are their APstudents who are exempted from introductory courses as well prepared tocontinue in a subject area as students who took their first course in col-lege? To see the results of several college validity studies, go to the APpages of the College Board’s Web site. (The aforementioned Morgan andRamist study can be downloaded from the site in its entirety.)

Guidelines on Granting Credit for AP Grades

If you are an admission administrator and need guidance on setting a policy for your college, you will find the College and University Guide to

the Advanced Placement Program useful; see the back of this booklet forordering information. Alternatively, contact your local College BoardRegional Office, as noted on the inside back cover of this booklet.


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Finding Colleges That Accept AP Grades

In addition to contacting colleges directly for their AP policies, studentsand teachers can use College Search, an online resource maintained by theCollege Board through its Annual Survey of Colleges. College Search canbe accessed via the College Board’s Web site (www.collegeboard.com). Itis worth remembering, though, that policies are subject to change. Contactthe college directly to get the most up-to-date information.

AP Scholar Awards and the AP International Diploma

The AP Program offers a number of awards to recognize high school students who have demonstrated college-level achievement through APcourses and exams. In addition, the AP International Diploma (APID) cer-tifies the achievement of successful AP candidates who plan to apply to auniversity outside the United States.

For detailed information on AP Scholar Awards and the APID, includingqualification criteria, visit the AP Web site or contact the College Board’sNational Office. Students’ questions are also answered in the AP Bulletin

for Students and Parents; information about ordering and downloadingthe Bulletin can be found at the back of this booklet.

AP Calendar

To get an idea of the various events associated with running an AP pro-gram and administering the AP Exams, please refer to this year’s edition ofA Guide to the Advanced Placement Program; information about orderingand downloading the Guide can be found at the back of this booklet.

Test Security

The entire AP Exam must be kept secure until the scheduled administrationdate. Except during the actual exam administration, exam materials mustbe placed in locked storage. Forty-eight hours after the exam has beenadministered, the green and blue inserts from the free-response section(Section II) are available for teacher and student review.* However, the

multiple-choice section (Section I) must remain secure both before

and after the exam administration. No one other than candidates taking

*The alternate (make-up) form of the free-response section is NOT released.

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the exam can ever have access to or see the questions contained in this sec-tion — this includes AP Coordinators and AP teachers. The multiple-choicesection must never be shared or copied in any manner.

Various combinations of selected multiple-choice questions are reusedfrom year to year to provide an essential method of establishing high examreliability, controlled levels of difficulty, and comparability with earlierexams. These goals can only be attained when the multiple-choice ques-tions remain secure. This is why teachers cannot view the questions andstudents cannot share information about these questions with anyone fol-lowing the exam administration.

To ensure that all students have an equal chance to perform on theexam, AP Exams must be administered in a uniform manner. It isextremely important to follow the administration schedule and all

procedures outlined in detail in the most recent AP Coordinator’s

Manual. The manual also includes directions on how to deal with mis-conduct and other security problems. Any breach of security should bereported immediately through the test security hot line (call 800 353-8570,e-mail [email protected], or fax 609 406-9709).

Teacher Support

Look for these enhanced Web resources at www.collegeboard.com/ap

• Information about AP Exam development, administration, scoring andgrading, fees, and scheduling.

• Program news, such as exam format changes, opinion polls (teachersurveys, ad hoc polls), and profiles of successful teachers and AP programs.

• A searchable catalog of teaching resources, including: course topicoutlines, sample syllabi and lesson plans, strategies and tips, topicbriefs, links, and textbook reviews.

• A searchable catalog of professional development opportunities (e.g.,workshops, summer institutes, conferences). New and experiencedAP teachers are invited to attend workshops and institutes to learnthe fundamentals of teaching an AP course, as well as the latestexpectations for each course and exam. Sessions ranging from oneday to three weeks in length are held year-round. Dates, locations,topics, and fee information are also available through the CollegeBoard’s Regional Offices.

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• Online forums for exchanging ideas with AP teachers.

• Sample multiple-choice and free-response questions.

To supplement these online resources, there are a number of AP publica-tions, CD-ROMs, and videos that can assist AP teachers. Please see the following pages for an overview and for ordering information.

Pre-AP™

Preparing Students for Challenging Courses;Preparing Teachers for Student Success

Pre-AP has two objectives: (1) to promote access to AP for all students;(2) to provide professional development through content-specific strate-gies to build a rigorous curriculum. Teachers employ Pre-AP strategies andmaterials to introduce skills, concepts, and assessment methods that pre-pare students for success when they take AP and other challenging aca-demic courses. Schools use Pre-AP strategies to strengthen and align thecurriculum across grade levels, and to increase the academic challenge forall students.

Pre-AP professional development is available to teachers throughBuilding Success workshops and through AP Vertical Teams™ confer-ences and workshops.

• Building Success is a two-day workshop that assists English and his-tory teachers in designing curricula for grade 7 and above. Teacherslearn strategies to help students engage in active questioning, analysis,and constructing arguments. Workshop topics include assessment,interdisciplinary teaching and learning, and vertical planning.

• AP Vertical Teams are trained via one-day workshops, two-day con-ferences, and five-day summer institutes; they enable middle schooland high school teachers to prepare Pre-AP students for academicsuccess in AP courses and in college. Topics include organizing effec-tive teams, aligning curricula, and developing content-specific teach-ing strategies.

• Setting the Cornerstones: Building the Foundation of AP

Vertical Teams is a two-day workshop designed to provide informa-tion about the College Board and the AP Program, and to suggeststrategies for establishing coherence, commitment, collegiality, andcollaboration among the members of an AP Vertical Team.

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For more information about Building Success workshops and for sched-ules of AP Vertical Teams workshops and conferences, contact yourCollege Board Regional Office. Alternatively, contact Mondy Raibon, Pre-AP Initiatives, AP Program, The College Board, 45 Columbus Avenue,New York, NY 10023-6992; 212 713-8156; [email protected].

AP Publications and Other Resources

A number of AP publications, CD-ROMs, and videos are available to helpstudents, parents, AP Coordinators, and high school and college facultylearn more about the AP Program and its courses and exams. To identifyresources that may be of particular use to you, refer to the following key.

Students and Parents SP AP Coordinators and

Administrators A

Teachers T College Faculty C

Ordering Information

You have several options for ordering publications:

• Online. Visit the College Board store to see descriptions and picturesof AP publications and to place your order.

• By mail. Send a completed order form with your payment or creditcard information to: Advanced Placement Program, Dept. E-06, P.O. Box 6670, Princeton, NJ 08541-6670. If you need a copy of the order form, you can download one from the AP Library (www.collegeboard.com/ap/library).

• By fax. Credit card orders can be faxed to AP Order Services at 609 771-7385.

• By phone. Call AP Order Services at 609 771-7243, Monday throughFriday 8:00 a.m. to 9:00 p.m., and Saturday 9:00 a.m. to 4:45 p.m. ET.Have your American Express, MasterCard, or VISA information ready.This phone number is for credit card orders only.

Payment must accompany all orders not on an institutional purchase orderor credit card, and checks should be made payable to the College Board.The College Board pays fourth-class book rate postage (or its equivalent)on all prepaid orders; you should allow two to three weeks for delivery.Postage will be charged on all orders requiring billing and/or requesting afaster method of shipment.

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Publications may be returned within 15 days of receipt if postage is pre-paid and publications are in resalable condition and still in print. Unlessotherwise specified, orders will be filled with the currently available

edition; prices are subject to change without notice.

Print

Items marked with a computer mouse icon can be downloaded for freefrom the AP Library (www.collegeboard.com/ap/library).

AP Bulletin for Students and Parents: Free SP

This bulletin provides a general description of the AP Program, includingpolicies and procedures for preparing to take the exams, and registeringfor the AP courses. It describes each AP Exam, lists the advantages of tak-ing the exams, describes the grade reporting and award options availableto students, and includes the upcoming exam schedule.

College and University Guide to the AP Program: $10 C, A

This guide is intended to help college and university faculty and adminis-trators understand the benefits of having a coherent, equitable AP policy.Topics included are validity of AP grades; developing and maintainingscoring standards; ensuring equivalent achievement; state legislation sup-porting AP; and quantitative profiles of AP students by each AP subject.

Course Descriptions: $12 SP, T, A, C

Course Descriptions provide an outline of the AP course content, explainthe kinds of skills students are expected to demonstrate in the correspond-ing introductory college-level course, and describe the AP Exam. They alsoprovide sample multiple-choice questions with an answer key, as well assample free-response questions. A complete set of Course Descriptions isavailable for $100.

A Guide to the Advanced Placement Program: Free A

Written for both administrators and AP Coordinators, this guide is dividedinto two sections. The first section provides general information about AP,such as how to organize an AP program at your high school, the kind oftraining and support that is available for AP teachers, and a look at the AP Exams and grades. The second section contains more specific detailsabout testing procedures and policies and is intended for AP Coordinators.

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Interpreting and Using AP Grades: Free A, C, T

A booklet containing information on the development of scoring stan-dards, the AP Reading, grade-setting procedures, and suggestions on howto interpret AP grades.

Pre-AP: Achieving Equity, Emphasizing Excellence: Free A, T

An informational brochure describing the Pre-AP concept and outliningthe characteristics of a successful Pre-AP program.

Released Exams: $20

($30 for “double” subjects: Calculus, Computer Science,

Latin, Physics) T

About every four years, on a staggered schedule, the AP Program releasesa complete copy of each exam. In addition to providing the multiple-choicequestions and answers, the publication describes the process of scoringthe free-response questions and includes examples of students’ actualresponses, the scoring standards, and commentary that explains why theresponses received the scores they did.

Packets of 10: $30. For each subject with a released exam, you can pur-chase a packet of 10 copies of that year’s exam for use in your classroom(e.g., to simulate an AP Exam administration).

Secondary School Guide to the AP Program: $10 A, T

This guide is a comprehensive consideration of the AP Program. It coverstopics such as developing or expanding an AP program; gaining faculty,administration, and community support; AP Grade Reports, their use andinterpretation; AP Scholar Awards; receiving college credit for AP; APteacher training resources; descriptions of successful AP programs in nineschools around the country; and “Voices of Experience,” a collection ofideas and tips from AP teachers and administrators.

Student Guides

(available for Calculus, English, and U.S. History): $12 SP

These are course and exam preparation manuals designed for high schoolstudents who are thinking about or taking a specific AP course. Eachguide answers questions about the AP course and exam, suggests helpfulstudy resources and test-taking strategies, provides sample questions withanswers, and discusses how the free-response questions are scored.

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Teacher’s Guides: $12 T

For those about to teach an AP course for the first time, or for experi-enced AP teachers who would like to get some fresh ideas for the class-room, the Teacher’s Guide is an excellent resource. Each Teacher’s Guidecontains syllabi developed by high school teachers currently teaching the AP course and college faculty who teach the equivalent course at colleges and universities. Along with detailed course outlines and inno-vative teaching tips, you’ll also find extensive lists of recommended teaching resources.

AP Vertical Team Guides T, A

An AP Vertical Team (APVT) is made up of teachers from different gradelevels who work together to develop and implement a sequential curricu-lum in a given discipline. The team’s goal is to help students acquire theskills necessary for success in AP. To help teachers and administratorswho are interested in establishing an APVT at their school, the CollegeBoard has published three guides: AP Vertical Teams in Science,

Social Studies, Foreign Language, Studio Art, and Music Theory: An

Introduction ($12); A Guide for Advanced Placement English Vertical

Teams ($10); and Advanced Placement Program Mathematics Vertical

Teams Toolkit ($35). A discussion of the English Vertical Teams guide, andthe APVT concept, is also available on a 15-minute VHS videotape ($10).

Multimedia

EssayPrep® SP, T

EssayPrep is available through the AP subject pages of the College Board’sWeb site. Students can select an essay topic, type a response, and get anevaluation from an experienced reader. The service is offered for the free-response portions of the AP Biology, English Language and Composition,English Literature and Composition, and U.S. History Exams. The fee is$15 per response for each evaluation. SAT® II: Writing Subject Test topicsare also offered for a fee of $10. Multiple evaluations can be purchased ata 10–20% discount.

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APCD®: $49 (home version),

$450 (multi-network site license) SP, T

These CD-ROMs are available for Calculus AB, English Language, EnglishLiterature, European History, Spanish Language, and U.S. History. Theyeach include actual AP Exams, interactive tutorials, and other featuresincluding exam descriptions, answers to frequently asked questions, study-skill suggestions, and test-taking strategies. There is also a listing ofresources for further study and a planner to help students schedule andorganize their study time.

Videoconference Tapes: $15 SP, T, C

AP has conducted live, interactive videoconferences for various subjects,enabling AP teachers and students to talk directly with the DevelopmentCommittees that design and develop the AP courses and exams. Tapes of these events are available in VHS format and are approximately 90 minutes long.

AP: Pathway to Success

(video — available in English and Spanish): $15 SP, T, A, C

This 25-minute video takes a look at the AP Program through the eyes ofpeople who know AP: students, parents, teachers, and college admissionstaff. They answer such questions as: “Why do it?” “Who teaches APcourses?” and “Is AP for you?” College students discuss the advantagesthey gained through taking AP courses, such as academic self-confidence,improved writing skills, and college credit. AP teachers explain what thechallenge of teaching AP courses means to them and their school, andadmission staff explain how they view students who have stretched them-selves by taking AP Exams. There is also a discussion of the impact thatan AP program has on an entire school and its community, and a look atresources available to assist AP teachers, such as regional workshops,teacher conferences, and summer institutes.

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This Course Description is intended for use by AP® teachers for course and exam preparation in the classroom; permission for any other use must be soughtfrom the Program. Teachers may reproduce it, in whole or in part, in limitedquantities, for face-to-face teaching purposes but may not mass distribute thematerials, electronically or otherwise. This Course Description and any copiesmade of it may not be resold, and the copyright notices must be retained as theyappear here. This permission does not apply to any third-party copyrights contained herein.

The College Board is a national nonprofit membership association dedicated to preparing, inspiring, and connecting students to college and opportunity.Founded in 1900, the association is composed of more than 3,900 schools, colleges, universities, and other educational organizations. Each year, the College Board serves over three million students and their parents, 22,000 high schools, and 3,500 colleges, through major programs and services in college admission, guidance, assessment, financial aid, enrollment, and teaching and learning. Among its best-known programs are the SAT®, thePSAT/NMSQT™, the Advanced Placement Program® (AP®), and Pacesetter®. The College Board is committed to the principles of equity and excellence, and that commitment is embodied in all of its programs, services, activities, and concerns.

Copyright © 2001 by College Entrance Examination Board. All rights reserved.College Board, Advanced Placement Program, AP, APCD, EssayPrep, and the acorn logo are registered trademarks of the College Entrance ExaminationBoard. AP Vertical Teams, APIEL, and Pre-AP are trademarks owned by theCollege Entrance Examination Board. Other products and services may betrademarks of their respective owners.

Visit College Board on the Web: www.collegeboard.com/ap.

College Board Regional Offices

National Office45 Columbus Avenue, New York, NY 10023-6992212 713-8066E-mail: [email protected]

Middle StatesServing Delaware, District of Columbia, Maryland, New Jersey, New York, Pennsylvania, and Puerto Rico 3440 Market Street, Suite 410, Philadelphia, PA 19104-3338215 387-7600E-mail: [email protected]

MidwesternServing Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, West Virginia, and Wisconsin1560 Sherman Avenue, Suite 1001, Evanston, IL 60201-4805847 866-1700E-mail: [email protected]

New EnglandServing Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, and Vermont470 Totten Pond Road, Waltham, MA 02451-1982781 890-9150E-mail: [email protected]

SouthernServing Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, and Virginia100 Crescent Centre Parkway, Suite 340, Tucker, GA 30084-7039770 908-9737E-mail: [email protected]

SouthwesternServing Arkansas, New Mexico, Oklahoma, and Texas4330 South MoPac Expressway, Suite 200, Austin, TX 78735-6734512 891-8400E-mail: [email protected]

Dallas/Fort Worth Metroplex AP OfficeBox 19666, 600 South West Street, Room 108, Arlington, TX 76019817 272-7200E-mail: [email protected]

WesternServing Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, Oregon, Utah, Washington, and Wyoming2099 Gateway Place, Suite 480, San Jose, CA 95110-1017408 452-1400E-mail: [email protected]

International1233 20th Street, NW, Suite 600, Washington, DC 20036-2304202 822-5900E-mail: [email protected]

Canada1708 Dolphin Avenue, Suite 406, Kelowna, BC, Canada V1Y 9S4250 861-9050; 800 667-4548 in Canada onlyE-mail: [email protected]

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M U S I CT H E O R Y

Course Description

M A Y 2 0 0 2

2002 Exam Date: Thursday, May 16, morning session

2000-01 Development Committee and Chief Faculty Consultants

Eric Isaacson, Indiana University, Bloomington, ChairJane Piper Clendinning, Florida State University, Tallahassee

Melissa Cox, St. Gregory College Preparatory School, Tucson, Arizona

David Lockart, North Hunterdon/Voorhees Regional High School, Annandale, New Jersey

Harvey Stokes, Hampton University, Virginia

Chief Faculty Consultant: Joel Phillips, Westminster Choir College, Rider University,

Princeton, New Jersey

Chief Faculty Consultant Designate: Jo Anne Caputo, Cleveland Institute of Music, Ohio

ETS Consultants: Brent Sandene, Janet Waanders

New for 2002• A second

exercise in four-voice writingadded to Section II, Part A

• Subscore gradesreported for the aural and non-aural portions ofthe exam

www.collegeboard.com/ap

I.N. 990664

Course Description - Virginia Commonwealth University

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Transcript of Course Description - Virginia Commonwealth University