SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI BFA Music – First Semester

MUED 112 MUSIC APPRECIATION I (3Credits)

Course Description

This course is designed to equip students with the elements of music, musical organization,

musical instruments and ensembles and the early periods of traditional western classical music,

from the Medieval Ages to the Baroque period. The students will have a brief overview of the

major composers of these periods. Their music will be studied through lectures, actively

engaging in class discussion, listening to musical examples in class and attending live concert

and suggested performances.

Student Learning Objective

The student who successfully completes the course will:

• Demonstrate an understanding of the elements of music and how these elements relate

to the compositions.

• Apply the knowledge of musical styles to composer and composition presented in class

and the concerts students may attend, providing an outlet for expression, personal

awareness and aesthetic enlightenment.

Text Books

Hickok Robert. Exploring Music. Fourth Edition, WMC Brown Publishers, Dubuque Iowa,

U.S.A

References:

Forney Kristine and Joseph Machlis. The Enjoyment of Music. Eleventh Edition

Kamein Rojer. Music in Appreciation/Breif.

Mc Conathy Osborne, John W. Beatie, Russel V. Morgan. Music of Many Lands and People.

Silver Burdette Company.

Miller Hugh. History of Music. Barnes and Noble books, A division of Harper and Row, New

York

Wold Milo, Gary Martin, James Miller, Edmund Cykler. An Outline of History of Music.

Content

• Musical Sounds

• Pitch

• Duration

• Volume

• Timbre

• Musical Elements

• Melody

• Harmony

• Tonality

• Rhythm

• Musical Organization

• Musical texture

• Monophony

• Polyphony

• Homophony

• Musical Form

• Binary

• Ternary

• Alternating Forms

• Theme and Variations

• Musical Instruments and Ensembles

• Strings

• Woodwinds

• Brasses

• Percussion Instruments

• Keyboard Instruments

• Electronic Instruments

• Musical Style

• Medieval

• Renaissance

• Baroque

• Classical

• Romantic

• Twentieth Century

• Medieval Period

• Romanesque

• Gothic

• Influences of music

• Function of Music

• Style and Performance practice

• Music for voices and Instruments

• Composers

Requirement

The student will required to attend all lectures and a variety of learning activities like participating

in group discussions, writing assignments, preparing for quizzes, reading and presenting reports to

related topics from journals or books. The students are also required to appear for a mid-term exam

and a final exam.

Attendance

The student will attend three lectures per week for the semester.

Evaluation

Continuous Internal Evaluation system is followed. This entails a steady development in the learning

process through weekly/monthly tests, listening labs, projects, seminars and student is required to

write an Internal exam and a Final exam.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI BFA Music – First Semester

MUPF 113 APPLIED MUSIC PIANO I (2 Credits)

COURSE DESCRIPTION

This course is designed to teach beginning students a complete piano course that includes lesson,

theory, and technique. It provides basic concepts and fundaments for early performance.

OBJECTIVES

At the completion of this course the students will have learned :

To have good hand shape and finger dexterity.

To play white major scales two octaves hands together.

To play white major arpeggios, two octaves separate hands.

To play songs: balance of melody with one hand and accompaniment with the other.

To develop the correct technique to play legato, staccato, accent, two or three -note phrases, pedaling.

To play the music pieces expressively.

TEXT BOOK

Adult al-in-one course level I by Willard A. Palmer, Morton Manus and Amanda Vic k Lethco. Alfred

Publishing Co., Inc. USA

REFERENCES

The Leila fletcher Piano Course Book One by

Montogomery Music Inc. Buffalo. Inc.

The Leila Fletcher Piano Course Book Two by

Montogomery Music Inc., Buffalo, Inc.

John Thompson’s piano Course, grades One and Two

The Willis Music Co., Cincinnati. USA

CONTENT

Introduction to playing

Five finger patterns in C position for both hands.

Playing C-G on the Grand Staff

Scales in the order of fifths (white majors)

Exercises to work good hand shape and finger dexterity

Arpeggios in the order of fifths (white majors)

Introduction to Chords

Five finger patterns in G position for both hands

Five finger patterns for Middle C position. Thumbs on C

Expanding the Five finger position

Scales & Chords – The key of C, G, F Majors and A and D minors,

REQUIREMENTS

The student is required to attend all piano lessons. Each student is to have a scheduled practice

time daily. At the end of the Semester performance in the recital is compulsory. The student

will also perform for Mid-term and Final exam.

Attendance

The student will attend three lectures per week for the semester.

Evaluation

Continuous Internal Evaluation system is followed. This entails a steady development in the learning

process through weekly/monthly tests, and the student is required to write an Internal exam and a Final

exam.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI BFA Music – First Semester

MUPF 114 Applied Music Voice I ( 2 Credits)

COURSE DESCRIPTION This Course is designed to introduce the students to basic vocal techniques

such as correct posture, proper breathing, blending vowels, correct mouth

position for each vowel, and clear diction.

STUDENT LEARNING OBJECTIVES 1. To encourage the students to stand correctly when singing. 2. Breathe according to the length of phrases. 3. Pronounce the words properly by lengthening the vowels and shortening

the consonants etc. 4. To express the meaning of the words through facial expression and

general dynamics. 5. To produce good vocal tone and correct tonality through Vocalization

Exercises. TEXT BOOKS Voice Placing & Training Exercises by George Dodds Oxford University Press ABT Solfeggi Singing Tutor G. Sehirmer, INC, NEW YORK Sight Singing Exercises Trinity College, London Aural Tests for Grade Examinations Trinity College, London

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI BFA Music – First Semester

MUPF 117 MUSICIANSHIP I

Course Description

This course is designed to develop musical literacy. This involves critical and intelligent listening, thinking

and performing. Sight reading and ear training sessions is required to develop skills such as intervals and

scale identification. Regular practice of rhythmic, melodic, and harmonic exercise is necessary.

Objectives

At the end of the course, the student shall be able to:

1. Sight read and respond to ear tests with more confidence

2. Address all music with great sensitivity

3. Develop a recognition of the twin roles of the ear and eye

4. Read music confidently because of the firm background in singing and listening

5. Aware of the basic concepts of aural training

Text Book

Fish Arnold, NormanLlyod. Fundamentals of Sight Singing and Ear Training. Harper and Row Publishers.

New York, EV Anston, San Francisco, U.S.A

References:

Katz Adele, Ruth Halle Rowen. Hearing Gateway to Music. Sunny Birehard Publishing Company

Mcgaughet Janet Cloud. Practical Ear Training. Allyn and Bacon Inc. Boston, USA

Gene C. Wisler, Music Fundamentals for the Classroom Teachers. Allyn and Bacon, Inc. Boston, USA

Content

Rudiments of music

Notes on the staves (Treble and Bass)

Note and rest values

Time signatures

Accidentals

Semi-tones and tones

Key signatures

Scales

Intervals- Major, Perfect, Minor

Developing skills for oral and sight reading through practical exercises

Exercises: Pulse and Tempo

Basic Pitch relationship: Stepwise melodies in the major scale

Exercises: melodic studies combining stepwise movement and leaps of major and minor seconds and

Thirds.

Meter; Elementary conducting, Exercises: Finding the meter of a composition

Rhythmic Patterns in various Meters

Exercises: Two part rhythmic drills

Intervals of Perfect Fourths and Perfect Fifths in the Major Scale.

Major and Minor Triads

Melodies based on Primary Harmonies.

Requirements

The student will be required to attend all lectures and a variety of learning activities like participating in

group activities, preparing for quizzes.

Attendance

The student will attend three lectures per week for the semester..

Evaluation

Continuous Internal Evaluation system is followed. This entails a steady development in the learning

process through weekly/monthly tests, listening labs, and the student is required to write and perform

an Internal exam and a Final exam.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI BFA Music - FIRST SEMESTER

MUCT 115 FUNDAMENTALS OF MUSIC I (3 Credits)

Course Outline

Fundamentals of music is a three-credit course designed for students without a previous training in

music. This course will focus on basic concepts and facts of music. The students will study a wide range

of music theory principle including music notation, rhythm, harmony and aural skills, intervals, music

vocabulary, scales, chords and basic composition.

Objectives

At the end of the course, the student should be able to:

1. Identify letter names of note and note/rest values.

2. Analyze a rhythmic passage and add bar lines or write a time signature.

3. Identify intervals: 2nd

, 3rd

, 4th

, 5th

, octaves.

4. Write major and minor scales of two sharps and flats.

5. Write triads of tonic, dominant and subdominant.

6. Write arpeggios for these triads.

7. Compose tune to given rhythmic passage.

8. Analyze and answer questions on a given passage.

Text books

Yandell Naomi. Theory of Music Workbook I and II. Trinity College London, UK

References:

Castellini John. Rudiments of Music. W. W. Norton & Company, Inc. New York.

Benward Bruce and Barbara Garvey Seagrave. Practical Beginning Theory. WM.C.Brown Company

Publishers, Dubuque, Iowa.

Brown James Murray. A handbook of Music Knowledge Part I. Trinity College of Music Publishers,

London

Harnum Jonathan, Basic Music Theory. 4th

Edition

Content

1. Grade 1

a) Writing notes

b) Note and rest value

c) Time signatures and bar line

d) Tones and semitones

e) Accidentals

f) Scales, triads and arpeggios

g) Key signature, Circle of fifth

h) Grouping notes/rests

i) Answer a given rhythm

j) Writing ostinato

k) Musical terms and symbols

2. Grade 2

a) New notes for the treble and bass staffs

b) Notes and rests and their values

c) Ties

d) New time signatures

e) Syncopation

f) Relative major and minor

g) Intervals: major, minor and perfect

h) Tonic- triad and their first inversions

i) Labelling scales and arpeggios, broken chords

j) Sequences

k) Working out the key of a piece

l) Transposing tunes up and down.

m) More musical words and symbols.

Requirements

The student will required to attend all lectures and a variety of learning activities like participating in

group discussions, writing assignments and preparing for quizzes.

Attendance

The student will attend three lectures per week for the semester. Class attendance is compulsory.

Evaluation

Continuous Internal Evaluation system is followed. This entails a steady development in the learning

process through weekly/monthly tests, listening labs, projects, seminars and the student is required to

write internal exam and final exam.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI

BFA Music – First Semester

MUPF 116 Vocal Ensemble I (2 Credits)

Course Description

University Chorale is a mixed chorus that studies, rehearses and performs a wide variety of choral

literature: classical, gospel music for church services, Christmas , graduation weekend and other

occasions. With enthusiastic participation, effective rehearsals and a strong commitment to practice,

students will realize a multitude of educational and aesthetic rewards.

Objectives:

The students will have:

1. An enriching and expressive musical experience.

2. Developed the tools to keep music in their lives.

3. Acquire the skill at organizing themselves for performances.

4. Vocal skill in singing various Genres and styles of choral literature.

5. Acquire to learn to sing in their various vocal parts: SATB and learn to blend their voices.

6. Learn to interact as a team to acquire the skill in Diction, Enunciation and Articulation,

voice production and balance.

Requirements:

Regular Choir attendance at the bi-weekly practices as well as at the actual performances is mandatory.

Unexcused or non-prearranged absences from practices and performances may result in failing the

class.

Evaluation of the choir depends on: Attendance, Punctuality, Preparation, Musical expression and most

of all quality of performance. Performances take the place of the Major exam for the class.

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University) SYLLABI

BFA Music – Second Semester

MUPF 124 Applied Music Voice II (2 Credits)

COURSE DESCRIPTION This course is designed to develop vocal technique and improve on the vocal control and skill already learned in the previous course. The art of proper breathing, blending vowels, correct mouth position for each vowel and clear diction. Student Learning Objectives 1. To analyze the length of phrases of a song and breathe accordingly. 2. To pronounce the words correctly by lengthening the vowels and shortening the consonants. 3. To express the meaning of the words through facial expression and general dynamics. 4. To produce good vocal tone and correct intonation through Vocalization Exercises and learning to pitch semitones correctly. Course Objectives 1. To develop the voice and increase the range. 2. To be aware of the Registers of the voice. 3. To develop musicianship and stage poise. 4. To increase Sight Singing ability. 5. To develop careful listening through Aural Training. 6. To develop Legato Singing and Tonal Equalization of the voice. Text Books Voice Placing & Training Exercises by George Dodds

Oxford University Press ABT Solfeggi Singing Tutor G.Schimer, INC, NEW YORK Sight Singing Exercises Trinity College, London Aural Tests for Grade Examinations Trinity College, London Content 1. To develop Sight Singing and recognize the intervals by which a melody progresses and pitch the notes correctly. 2. To develop the basic elements of rhythm and pitch by connecting the sound and the symbol. 3. To develop correct Intonation and the ability to remain on pitch in spite of difficult intervals. 4. To learn songs in foreign languages such as German and Italian, and participate in a Student Recital at the end of the Semester. 5. To learn to sing different types of songs such as sacred song, German Lieder and songs from Musicales. These would include English, German and Italian songs such as Bless this House by Brahe Was Ist Sylvia by Schubert Sontag by Brahms Sebben Crudele Caldara I attempt from Love’s sickness by Purcell. Far from the Home I Love (Fiddler on the Roof) Somebody Loves Me by Gershwin Attendance

The student will attend two class periods per week through the semester. Excess absences will result in Fail Grade. EVALUATION Continuous Internal Evaluation System entails a steady teaching and learning process through monthly tests, labs and the student is required to perform for the Internal exam and a Final exam. At the end of the semester the student is also required to perform in a recital.

*********************************************

SPICER ADVENTIST UNIVERSITY Established Vide Maharashtra Act No.XIV of 2014

(A Christian Minority University)

SYLLABI BFA Music – Second Semester

MUPF 128: APPLIED MUSIC KEYBOARD I ( 2 Credits)

COURSE DESCRIPTION

This is a practical study of keyboard – playing, including set up, chord, tempo of the pieces or

songs and introduction to sight reading and aural test. It provides basic concepts and

fundaments of keyboard performance.

OBJECTIVES

1. To master the keyboard instrument – set up and the features.

2. To study specific techniques and basic features required for playing the keyboard.

3. To master a sense of pulse either by conducting, tapping or clapping

4. To understand a basic level music notation

5. To develop skill in sight reading

6. To master the primary chord progressions of different C, G and F major

7. To master the first steps of a recognized keyboard-playing development schedule.

TEXT BOOK

The Complete Keyboard Player Book 1, by Kenneth Baker.

Electronic Keyboard.Grade 1.Trinity Guildhall (2015 syllabus) Trinity London College. UK.

REFERENCES

The Leila Fletcher Piano Course Book 1 by Montogomery Music Inc. Buffalo.Inc.

Scale & Arpeggios book Grade 1- 5. Trinity Guildhall (2012 syllabus).Trinity College London. UK.

Sight Reading Book Grade 1-4.Trinity Guildhall.Trinity College London. UK

Aural Test – Initial – Grade 3.Trinity Guildhall (from 2009).Trinity College London. UK.

Theory of Music Work Book. Grade 1, Grade 2 ( new syllabus) Yandell, Naomi. Trinity Guildhall,

Trinity College London. UK.

CONTENT

1. General introduction to playing

A. The mastery of the basic features

B. The mastery of techniques and rhythmic playing

C. The mastery of major scales in two octaves (in the keys of C,G and F) and their relative minor

scales.

D. The mastery of major arpeggios in two octaves (in the keys of C,G,Fand their relative minor)

E. The mastery of Primary Chords in root position and their inversions. (C,G and F majors)

F. The mastery of major, and seventh chords .

G. The mastery of altering fingers (2nd

, 3rd)

H. Sound and rhythm identification

II. The Typical Lesson Format

A. Voice, Style and Tempo setting

B. Automatic accompaniment adds to the melody in different ways.

C. Activating the synchro-start or synchro-stop button and synchronizing of the left and right

hand playing.

D. Activating Intro or Ending button before and after playing the song.

E. Studies with special attention to particular techniques represented therein for separate

hand first and then putting together.

F. Ear test or Aural test

i) Sound identification and Interval recognition

ii) Rhythm and Time recognition ( Simple and Compound time)

REQUIREMENTS

The student is required to attend all Keyboard lessons. Each student is to have a scheduled

practice time daily. At the end of the Semester performance in the recital is compulsory. The

student is required to write an Internal exam and a Final exam.

ATTENDANCE

The student will attend two lectures per week for the semester.