Academic Program Assessment Report

COLLEGE: CVPA, BA in Music Education

ACADEMIC YEAR: 2014-2015

REPORT AUTHOR: Lyn Schraer-Joiner

PROGRAM STUDENT LEARNING OUTCOMES (CHECK OFF THE SLOs BEING ASSESSED): ☐ SLO1: demonstrate competencies in the areas of musicianship, performance, aural skills, analysis, repertory, history, pedagogy and methods for success in the Music K-12 setting. (KU-1, 4) (GE-K3, K4, S1, S2, S3, S4, S5, V1, V2, V3, V4, V5) X SLO2: describe the historical significance and structure of music literature representing various genres, styles, and cultures. (KU-1, 4) (GE-K3, K4, S1, S2, S3, S4, S5) ☐ SLO3: demonstrate aural skills in sight-singing and ear training. (KU-1, 4) (GE-K4, S4, S5) X SLO4: perform works representing various genres, styles, and cultures. (KU-1) (GE-K3, K4, S4, S5, V1, V2, V4, V5) ☐ SLO5: rehearse and perform, in both large and small ensembles, works representing various genres, styles, and cultures Offer quality experiences rehearsing and performing in both large and small ensembles. (KU-3)(GE- K4, S4, S5, V1, V3, V4, V5) ☐ SLO6: teach vocal and instrumental music, grades K-12, in the State of NJ.(KU-1, 2, 3, 4) (GE-K4, S1, S2, S3, S4, S5, V1, V2, V3, V4, V5) DIRECT MEASURE:

DESCRIBE THE STUDENT WORK SAMPLE AND THE DIRECT MEASURE (E.G. RUBRIC) USED.

SLO 2

Direct: Class room examinations and written essays

MUS 4105 (Music History II) Class room examinations and written essays scored with a departmental essay rubric to reflect content, language, and writing process. Entrance and exit surveys will also be administered before Music History I and after Music History II. These surveys will allow us to assess student attitudes toward life long learning in music history. The exams and essays, of which there are three, account for 90% of the students’ grade. They include short answer (60%); essay 40%). Moreover, 10% of the final grade is based upon student presentations in response to questions covering mandates readings in all topics.

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The departmental essay rubric contains 5 criteria and is evaluated on a 5 point Likert scale (5=Exceeds Expectation). The student presentation rubric contains 6 criteria and students are evaluated on a 5 point Likert Scale (5=Exceeds Expectation). Target A rubric criterion score of 3 or higher indicates that students have either met or exceeded expectations. Since this is an upper level course, the expectation was that 95% of students would achieve a score of 3 or higher on each criterion. MUS 3111 (Form and Analysis) Knowledge of the structure and harmonic and melodic content of masterpieces of music through various style periods are assessed as follows: students receive scores that they must study prior to the examination. Exam questions are based upon those pieces and students are evaluated on their understanding of the design elements the phrase structure the harmonic and tonal content of those works. The music analysis exams, of which there are three, account for of the students’ grade. Each exam covers one composition. The departmental music analysis rubric The departmental essay rubric contains 5 criteria and is evaluated on a 5 point Likert scale (5=Exceeds Expectation). Target A rubric criterion score of 3 or higher indicates that students have either met or exceeded expectations. Since this is an upper level course, the expectation was that 95% of students would achieve a score of 3 or higher on each criterion. SLO 4 Direct: Faculty assessment of private studio lessons and student recitals MUS 3600 (Private Studio Voice lessons); MUS 3610 (Private Studio Piano) Student recital (no course number). Studio faculty written weekly reports, which include lesson evaluation/performance rubrics, reflecting student progress and proficiency demonstrated in lessons, and juries, recitals The final jury accounts for 10% of students’ grade. Each lesson is worth 5% of their grade (this includes preparation, amount of practice time, and level of skill demonstrated progress demonstrated in subsequent lesson). The standard for each year of study is determined by the level of repertoire being studied. Student recitals (performance and attendance is worth 15% of the private studio grade.

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This SLO is assessed via studio faculty written weekly reports, which include lesson evaluation/performance rubrics, reflecting student progress and proficiency demonstrated in lessons, and recitals This SLO is assessed via student lessons’ and recitals are assessed via narrative evaluation forms (similar to that of the Teaching Performance Narrative Evaluation) whereby studio teachers and other music faculty document the degree of progress students demonstrated for the pieces prepared. Areas addressed on all performance narrative forms include technique, breath support, tonal development, and intonation, growth and progress. Final performance juries are assessed via the departmental Rubrics Scoring Sheet for Instrumental and Vocal Juries. The rubric consists of 10 criteria and student performance is assessed on a 10 point Likert Scale Target: Rubric criterion scores will differ based upon the student’s year of study and level of music difficulty. For First year music education students, an acceptable rubric criterion score is a 3; for second year music education majors, an acceptable rubric criterion score is a 4-5; for third year music education majors, an acceptable rubric criterion score is a 6-7; for fourth year music education majors, an acceptable rubric criterion score is a 8-9; for second year music education majors, an acceptable rubric criterion score is a 9-10. The expectation was that 85% of students would achieve the criterion for their year on each criterion. DATA COLLECTION AND RESULTS:

MUS 4105 (Music History II) Semester(s): Spring 2015 Number of students: 16 Number of sections: 1 Mean scores overall: 85.68 Category/Criterion Mean Midterm 88.625 Final 78.937 MUS 3111 (Form and Analysis) Semester(s): Spring 2015 Number of students: 17 Number of sections: 1 Mean scores overall: 83.764 Category/Criterion Mean Test 1 74.058 Test 2 77.411

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Test 3 82.176

MUS 3610 Private Studio piano lessons) Semester(s): Spring 2015 Number of students: 11 Number of sections: 1 Mean scores overall: 93.2 Category/Criterion Mean Research Reading Report 95 Listening Research Report 95 Oral Report #1 95 Oral #2 95 Weekly Lessons 93.5 Student Recitals 95 Juries 90.9

Distribution of Scores:

COPY AND PASTE DISTRIBUTION TABLE FROM EXCEL. OR, ATTACH THE EXCEL SPREADSHEET WHEN SUBMITTING THIS REPORT VIA EMAIL.

SLO 2

MUS 4105 (Music History II) Distribution of final grades for MUS 4105 (Music History II) was as follows:

Grade Frequency A 4 A- 4 B+ 3 B 0 B- 1 C+ 1 C 1 C- 0 D+ 0 D 1 D- 0 F 1

Total 16

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MUS 3111 (Form and Analysis) Distribution of final grades for MUS 3111 (Form and Analysis) was as follows:

Grade Frequency A 2 A- 3 B+ 3 B 1 B- 2 C+ 2 C 3 C- 0 D+ 0 D 0 D- 0 F 1

Total 17

SLO 4

MUS 3610 (Private Studio piano lessons) Distribution of final grades for MUS 3600 (Private Piano Studio Lessons) was as follows:

Grade Frequency A= 9 A-= 1 B+= 0 B= 1 B-= 0 C+= 0 C= 0 C-= 0 D+= 0 D= 0 D-= 0 F= 0

Total= 11

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Discussion of Findings: SLO 2 MUS 4105 (Music History II) In Music History II, we cover in-depth the study of the History of Western Art Music (begun in Music History I taught the previous semester), and cover the late-eighteenth century through to the present. As in Music History I, we explore the life and works of composers who have contributed most to the history of music, and the musical innovations, stylistic trends, significant genres, and relevant technical matters that apply. All is related to historical context. The course is taken by all music majors and gives us the best capstone we have in the highly technical and individual subjects taught in music. The course is taught using a modification of the Socratic method. Before each class, the students read the text assigned. They are guided in their study of the text by a set of questions, which I provide them. These questions follow the sequence of the text and help the students to determine what is of central importance. I then ask those questions of the students individually in class. They are expected to respond to the questions in their own words and without reading prepared answers. Their answers—when all works well—are elaborate ones and not simple statements of fact. I then explore their answers, probing to deeper levels of un-derstanding by asking more questions. Two written tests were given instead of the three normally given. I structured the course this way because Music History II is especially important. With its importance in mind, I shifted some of the material and one test into Music History I, giving Music History I more weight and four tests of the six total in the entire Music History sequence. My assessment born of my daily work with the students is that this approach was unwise. I am abandoning it for next year and returning to three tests in each semester. Students did better on tests than they did in response to the Socratic Method. The good response on tests demonstrated that they had the music reading and other skills that relate to their capstone experience. However, in class, the students were too often hesitant to speak, and when questioned by me, showed only a surface understanding of the material. For the tests, they memorized enough material to be able to answer both the short answer and essay questions. MUS 3111 (Form and Analysis) Form & Analysis is the culminating course in Music Theory, a subject that is carried over 6 semesters in total and required of all music majors. The course is divided into three segments covering 1) musical works with basic forms of binary and ternary design; 2) musical works that use the forms of the sonata cycle, emphasizing Sonata-Allegro Form, a complex multi-segment design; and 3) contrapuntal forms, emphasizing Fugue, the most complex and conceptual of the

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three design categories. Students are given a work or a movement per class to analyze in preparation for detailed questioning and comment concerning the work in class. The pieces studied get progressively more complex and idiosyncratic throughout each course module. The student scores for the formal, written tests at the end of each portion of the course demonstrated that the students continually absorbed the process of analysis and continually improved their skills and understanding of all involved. Review of the tests showed me that the basic work in music theory was well learned by the students, and that the new concepts of form and analysis sat comfortably on the knowledge base that the students had. The three tests—summative points at the end of each course segment—confirmed the level of each student’s class work, something that I was easily able to track. By its very nature, the high-level music theory covered in the Form & Analysis course is something that some students take to more naturally. As a result of what I learned from the tests, I was better able to cover the music studied in such a way as to allow students meaningful entry into the concepts of the piece at various levels of understanding and at normal, advanced, and expert levels of approach to the musical compositions. The summative tests showed that the students were able to make observations about the important parallels among the structures and stylistic elements of works, becoming able classify formal designs. This classification established the background of common practices against which to regard the particularities of the subject work, which particularities are its creative essence. The three tests given provide some documentation of the progressive and highly conceptual level of the course. MUS 3610 (Private Studio lessons) During the spring 2015 semester the piano students were required to learn piano repertory representing the Baroque, Classical, Romantic, and Contemporary styles. To better their knowledge of assigned works, they were required to engage in research about the composer, the era, and the piece it self. They were also required to do listening research of these pieces by listening to three different performers performing the work. These projects, assigned at the beginning of the semester, culminated into two oral reports and follow-up discussions. The first oral report took place during their private lesson and the second during Piano Repertory Class. Results revealed that 100% of students in the studio embraced these projects wholeheartedly. Each student excelled in their preparation of these reports as well as in their presentations of the materials. Overall, students demonstrated great knowledge of these pieces which transferred to their performances of these works (i.e. senior recitals, student recitals, juries, the coveted Piano Studio Enlow Hall Performance and the prestigious community performance at the Elizabeth Public Library Concert Series sponsored by the National Endowment for the Arts among others.

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The piano faculty formatively assessed the students over the course of the semester during weekly lessons which culminated in the final jury evaluation at the end of the semester. For these lessons, students were required to maintain a practice journal which they reviewed weekly with the piano faculty. Weekly lessons revealed that, while there were many areas of great success (as consistent growth exhibited by 81% of the students), there were still those areas in which the students (18%) needed to work. For example, one student needed to work on greater focus on finer details of playing such as avoiding tension in the arms and wrists as part of the overall playing technique. For this student, the piano professor spent several lessons working with the student on specific practice techniques that would help him to highlight the appropriate movement of these areas of the arm while playing. Another student had difficulty in preparing his lessons and following recommendations for guided practice. Thus, the piano faculty member and student spent several lessons working to develop a practice regimen that would help him to be more efficient, productive, and safe. The results of the professor’s formative assessments and subsequent modification to instruction to aid her students yielded strong student recitals and jury performances from all students. Curricular Actions/Closing the Loop: MUS 4105 (Music History II) In response to all this assessment, I am changing textbooks next semester, moving to a more succinctly organized history. I am also instituting pop quizzes that will require students to answer some of my randomly selected guiding questions in writing. This will assure that the students are reading the text retentively and with adequate understanding. Copies of the two written tests given in Music History II are included to demonstrate the level of the course and the extensive knowledge required in this overarching music subject. MUS 3111 (Form and Analysis) From my assessments I have determined that several pieces were above the heads of too many students. These included, most especially, works that deviated markedly in their tonal (key) structure from standard sonata-allegro paradigms; these come from the Romantic style-period. I shall drop two of these and include instead works that form the bridge to them from the late Classical period. I believe this change in the course materials will help the students in their pursuit of the subject. MUS 3610 (Private Studio lessons); Student recital (no course number). Because of the high success rate of the piano studio, the following modifications will be made to accommodate the students. Students who met and/or exceeded expectations will be introduced to more challenging repertory and varied performance experiences (i.e. chamber music ensembles and opportunities for accompanying students for various performance

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opportunities) in the fall of 2015 in order to advance their performance skills. While students in need of support will continue to work on their assigned repertory – with additional supportive feedback in class settings such as piano repertory, accompanying, and the private lesson. Piano lessons will continue to be recorded whereby the piano faculty and student(s) will continue to work on identifying those skills and techniques in need of reinforcement and further development. Supporting Evidence (data): The following documents are being submitted in support of this report: 1. Music History II (MUS 4105) midterm and final 2. Form and Analysis (MUS 3111) Tests 1, 2, 3 3. Jury and weekly lesson reports for MUS 3610 (01) Please check this box to indicate: X Supporting Evidence (Data) is attached. Implications for Resources needed/budget allocations: In addition to the budget typically allotted to the music department per year, the faculty would like to request the following as per our assessment results: 1. Both Music History II (MUS 4105) and Form and Analysis (MUS 3111) would benefit from improved technology in room MUS 141, 120, 143, and 119. The sound equipment was inconsistent in terms of sound quality and overall function. Also, students would be provided with additional listening opportunities, interactive resource materials for score analysis and access to live performances of the pieces they were studying if for example they had a SmartBoard available to them. To improve quality of instruction and musical experiences afforded to the students, the music department is requesting improved equipment for these rooms. Please note that the four rooms listed are those that impact not only these courses but those that serve as prerequisites. (An inquiry about pricing was submitted to OCIS. The department was informed that cost could be determined only after the approval of this request as well as a thorough evaluation of the facilities and existing equipment. Please see attached email.) 2. This year, students used their iPhones for the purposes of recording their lessons for MUS 3610 though the technology was limited in terms of sound quality and view; and position of device was also troublesome in terms of placement and positioning. Thus, we would like to request a departmental iPad with tripod which will alleviate these issues. Thus the music department is requesting $800 for the iPad Air 2(64 GB) and a tripod). 3. Music History II (MUS 4105) and Form and Analysis (MUS 3111) as well as related courses including our General Education Music Survey Course would benefit from additional musical listening

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opportunities. Thus, the music department is requesting $150.00 for the purposes of replacing older listening materials with newer recordings to enhance instruction.

3. Instruction and learning in MUS 4105 and MUS 3111 courses would also be greatly enhanced by the resources that our computer lab, the sole music computer lab for Kean University, can provide.

A majority of the online resources we use for Music History (MUS 4105) and Form and Analysis (MUS 3111) are available via this lab and include Grove Music Online, Oxford Music Online, and Naxos Music Online. These online resources provide access to recordings and scores and are directly and easily available to our music students via the lab located in our PA 119. Thus, we are requesting an upgrade of these resources so that the aforementioned online resources, those critical for the overall music education of our students are available and thus can facilitate online learning. As per the report submitted in Spring 2015 by Dr. Matthew Halper (quoted amount as $22, 041.66) “The lab houses 13 digital pianos and one acoustic piano with 13 corresponding computer music workstations (and one associated faculty station). The last upgrade to the computer hardware in this facility was AY2005-6 with the purchase of 14 iMac computers. These machines have been maintained and upgraded annually since their installation but have now reached the end of their upgrade life cycle. That is, in particular, they can no longer run the latest versions of the various installed software due to their operating system limitations. The last operating system the 2005-6 iMac model supports is Mac OS X 10.6 (”Snow Leopard”). Unfortunately, most software applications installed in the lab now require Mac OS X 10.7 or later. The latest version of the Mac OS X is 10.10 (“Yosemite”), therefore, the lab is at least 4 generations out-of-date in terms of operating system standards. Specific music software applications that are impacted include Finale, GarageBand and Logic Pro, all of which factor into music and some aspects of General Ed curriculum. The last operating system the 2005-6 iMac model supports is Mac OS X 10.6 (”Snow Leopard”). Unfortunately, most software applications installed in the lab now require Mac OS X 10.7 or later. The latest version of the Mac OS X is 10.10 (“Yosemite”), therefore, the lab is at least 4 generations out-of-date in terms of operating system standards. Specific music software applications that are impacted include Finale, GarageBand and Logic Pro, all of which factor into music and some aspects of General Ed curriculum. Direct specialized software…only place on campus Form and Analysis besides these online resources the lab houses specialized software that directly impacts their studies in Form and Analysis.”

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Student No. Test 1 Test 2 Test 3 Grade

827265 60 78 88 C826559 96 91 95 A831652 91 85 95 A-817297 93 80 95 A-806765 70 75 88 C+803504 89 90 95 A845509 82 80 92 B+741722 90 92 92 A-958173 85 95 87 B+850968 82 80 80 B-715114 0 0 0 F798460 60 70 75 C843811 82 85 80 B717860 62 75 80 C854603 63 70 80 C+848170 78 85 90 B+782047 76 85 85 B-

AVE 74.0588235 77.4117647 82.1764706

Grade numerical

7595929279958992898259758575798982

83.76470588

ID# Research Listening Oral #1 Oral #2 Lesson preFinal470228 95 95 95 95 95 95935819 95 95 95 95 95 95831652 95 95 95 95 88 92806765 95 95 95 95 95 95605960 95 95 95 95 95 95708565 95 95 95 95 92 92741722 95 95 95 95 82 85686043 95 95 95 95 95 95741600 95 95 95 95 95 95

AVE 95 95 95 95 92.4 93.2

Name: _________________________

Music History II p. 1 of 7 Dr. Anthony Scelba

Midterm

You will have one hour and fifteen minutes in which to complete this test. Please supply answers without recourse to notes or text. Below you will find 15 short-answer questions based on terms supplied with the guiding questions, questions based on classwork, and one essay question. Apportion your time so that you do not run short. It may be wise to begin with the essay question. Be sure to write your name clearly above. Short-Answer Questions (45 points) Identify the following persons and terms with a few sentences of definitive information. 1. Op. 59 quartets 2. Archduke Rudolf 3. Romanticism 4. Liederkreis

Music History II p. 2 of 7 Dr. Anthony Scelba

5. Johann von Goethe 6. character pieces 7. Neue Zeitschrift für Musik 8. Great C-Major Symphony 9. piano trio 10. Cecilian movement

Music History II p. 3 of 7 Dr. Anthony Scelba

11. bel canto 12. cabaletta 13. New German School 14. Arrigo Boito 15. developing variation

Music History II p. 4 of 7 Dr. Anthony Scelba

Short-answer questions based on classwork (15 points) 1. Comment on each of the overtures to Beethoven’s opera. [8 points]

Music History II p. 5 of 7 Dr. Anthony Scelba

2. Define the differences between strophic and through-composed songs. [5 points] 3. State Th. Boehm’s most significant contribution to musical art. [2 points]

Music History II p. 6 of 7 Dr. Anthony Scelba

Essay Question (40 points) (Write on both sides.) For full credit, you must present a well-written essay, inclusive of all pertinent detail, and omissive of all irrelevance. Compare and contrast the life and works of Richard Wagner and Giuseppe Verdi. Mention some major works of each in support of your arguments.

Music History II p. 7 of 7 Dr. Anthony Scelba

(Write on both sides.)

Name: _________________________

Music History II p. 1 of 7 Dr. Anthony Scelba

Final Examination

You will have one hour and fifteen minutes in which to complete this test. Please supply answers without recourse to notes or text. Below you will find 15 short-answer questions, 2 questions based on class discussions, and two essay questions. Apportion your time so that you do not run short. It may be wise to begin with the essay questions. Be sure to write your name clearly above. Short-Answer Questions (3 points each) Identify the following persons and terms with a few sentences of definitive information. 1. expressionism 2. Stephané Mallarme 3. Hugo von Hofmannsthal 4. Der Rosenkavalier

Music History II p. 2 of 7 Dr. Anthony Scelba

5. Leos Janácek 6. Jean Sibelius 7. twelve-tone method 8. Sprechstimme 9. Arnold Schoenberg 10. Marcel Proust

Music History II p. 3 of 7 Dr. Anthony Scelba

11. Gebrauchsmusik 12. Dmitri Shostakovich 13. Krzystof Penderecki 14. György Ligeti 15. Minimalism

Music History II p. 4 of 7 Dr. Anthony Scelba

Short-answer questions based on classwork (15 points) 1) Discuss Prokofiev’s Symphony No. 5, the circumstances of its creation and the nature of its musical substance. (7 points)

Music History II p. 5 of 7 Dr. Anthony Scelba

2) Explain how important piano concerti for the left hand came about in the 20th century and discuss the music of one of them. (8 points)

Music History II p. 6 of 7 Dr. Anthony Scelba

(Write on both sides.) Essay Questions (20 points each) For full credit, you must present a well-written essay, inclusive of all pertinent detail, and omissive of all irrelevance. 1) Identify and explain some of the compositional techniques that modernist composers in the early 20th century developed to replace established ideas of tonal progression and motivic development inherited from the 18th and 19th century Austro-Germanic tradition. 2) Describe the convergence of various stylistic influences that went into Stravinsky’s early ballets The Firebird, Petrushka, and the Rite of Spring.

Music History II p. 7 of 7 Dr. Anthony Scelba

(Write on both sides.)

Student No. Midterm Final Grade Grades numerical

951947 93 88 A- 92914934 98 91 A 95817297 90 83 B+ 89708849 70 17 F 59769353 98 75 B+ 89806765 79 60 C 75919570 92 96 A 95860724 96 84 A- 92921871 99 91 A 95851025 89 88 B+ 89850968 90 94 A- 92851745 99 92 A 95686043 84 75 C+ 79960722 60 61 D 61804808 94 93 A- 92925384 87 75 B- 82

AVE 88.625 78.9375 85.6875

Name: __________________________

Form & Analysis (Test No. 1) Dr. Anthony Scelba

Test No. 1 Definitions [18 points]

1. What is a “motive” and how is it distinguished from a mere musical figure? [2 points] 2. What is a musical “period”? [4 points] 3. What are all the defining features of full Binary form? [6 points]

Form & Analysis (Test No. 1) p. 2 Dr. Anthony Scelba

4. What are the 3 fundamental formal features that would justify calling a work “incipient ternary”? [6 points] 1. 2. 3.

Concerning Schubert Impromptu, op. 90, no. 2 [82 points] The answers to the following questions should be based only on Schubert’s original music. Ignore all editor’s expansions and elaborations, which are represented in small notes in some editions. 1. What is the formal design of the piece? [5 points] _________________________________________________________

Form & Analysis (Test No. 1) p. 3 Dr. Anthony Scelba

2. Map out the design using upper- and lower-case letters as appropriate. Mark letters prime (as in A1) if materials return altered. Include in your diagram any introductions, transitions, codas, etc., labeled as such, if any exist. Under each letter or designation enter the starting measure number. Write legibly. [22 points] 3. The first 8 mm of the piece contain two chords that are not in the key. What chords in mm. 3 and 4 are chromatic? (Give the letter names and identify the chord quality.) [6 points]

_________________________________________________________ 4. What argument can be given against calling the Bb half-notes in mm. 1-6 a pedal tone? [2 points]

_________________________________________________________ 5. What is the relationship of the first 3 phrases of the piece? [4 points]

_________________________________________________________ 6. In mm 25-32, what common harmonic device is used? [4 points]

_________________________________________________________ 7. In what key are these measures? [5 points]

_________________________________________________________

Form & Analysis (Test No. 1) p. 4 Dr. Anthony Scelba

8. What chord is featured in mm 44-51? (Give the letter name and identify completely including the quality.) [5 points]

_________________________________________________________ 9. What common harmonic device is used in mm 64-70? [4 points] _________________________________________________________ 10. How does this device (used in mm 64-70) differ from the one used in mm 25-32? [4 points] _________________________________________________________ 11. In what key is m 83? [5 points] _________________________________________________________ 12. Is this key arrived at by modulation or tonal shift? [4 points] _________________________________________________________ 13. What two words describe the relationship of the new key to the tonic key? (Be exact in your wording; a hyphenated word counts as 1 word.) [4 points]

_________________________________________________________ 14. What is the chord that sounds in m 103? (Express this as a Roman numeral to demonstrate the relationship to the key.) [4 points]

_________________________________________________________ 15. What altered chord sounds in m100? (Use the appropriate name.) [4 points]

_________________________________________________________

Form & Analysis Dr. Anthony Scelba

___________________________________ Print your name above

Test No. 2 Sonata Form

Concerning Haydn’ s String Quartet in F, Op. 77, No 2 (first movement)

1. This, the last of Haydn’s completed string quartets, contains a first movement in sonata form. What is striking about the relative lengths of the movement’s principal divisions? Explain why your observation is “striking” in light of the origins of sonata form. [12 points] ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________ ____________________________________________________________________

Form & Analysis (Test #2) P. 2 Dr. Anthony Scelba

2. Name and identify the starting measure of each of the principal sup-sections of the exposition (beginning with “Theme 1” and including any transitions). Do the same for the recapitulation. [17 points] Exposition: _________________________________ m. _____________ _________________________________ m. _____________ _________________________________ m. _____________ _________________________________ m. _____________ Development: m. ____________. Recapitulation: _________________________________ m. _____________ _________________________________ m. _____________ _________________________________ m. _____________ _________________________________ m. _____________

Form & Analysis (Test #2) P. 3 Dr. Anthony Scelba

3. The first phrase of Theme 1 in this movement is reprinted below. The contour of this phrase reveals its underlying skeletal structure. Is that skeleton a scale or an arpeggio? Encircle the correct term below. Using the reprinted passage, place a star (*) over each note of the skeleton. [6 points] Scale Arpeggio

4. In what key is the piece at m. 30? What relationship does the chord that sounds on the downbeat have to that key? [6 points]

Key: _____________________ Chord: ___________________ 5. Does the key change between mm. 30 and 33? What chord (expressed in relation to the current key) is sounding on the 4th beat of m. 33? What is the key from m. 33 (beat 4) to m. 36? [6 points] Y/N: ________ Chord: _______________ Key: ___________ 6. Where do you find the most imitative section of the movement, where all four voices engage successively in imitative statements? [4 points]

The most imitative section of the movement begins at m.

_________________________

Form & Analysis (Test #2) P. 4 Dr. Anthony Scelba

7. What chord sounds in m. 41 on beat 3? Express the chord in relation to the key sounding. [4 points]

_________________________ 8. How many chords sound in m. 64? Identify the chord(s) by letter and appropriate symbol. [5 points]

_________________________ 9. What type of modulation is used in mm. 94-96, pivot, enharmonic, or tonal shift? [5 points]

_________________________ 10. On the Xerox copy of the score given to you, provide a detailed harmonic analysis for mm 16-36. Note all four key centers found in this section and identify each of the chords using Roman numbers or—where appropriate—another symbol that expresses the chord’s relationship to the key. [20 points]

Form & Analysis (Test #2) P. 7 Dr. Anthony Scelba

11. What unusual type of semi-cadence is used by Haydn in the last 5 mm of the development section? [2 points] _________________________ 12. Name the compositional device used in both of two places: pick up to m. 77 through m. 78; and pick up to m. 107 through m. 108. [3 points] _________________________ 13. In what measures is the most remote key reached in the development? What key is it? [4 points] _________________________ 14. Does this movement have a coda? If not, why not? If so, how many measures long is it? And on what m. does it begin? [6 points] No, because________________________________________ _________________________________________________.

-OR- Yes. It is ________measures long, and begins on m_______.

Form & Analysis P. 1 of 4 Dr. Anthony Scelba

_________________________________________________ Print your name above

Test No. 3

Pre-Classical Forms: Fugue

Concerning Fugue No. XV in G from Bach’s WTC Bk. I

1) What characterizes the rhythm of the fugue subject that, on a bar for bar basis, reflects a main distinguishing compositional feature of this fugue? (It may be best to hold off before answering this question.) 2) What is the distinguishing compositional feature of this fugue that clearly occurs in its Counterexposition? 3) What is the order of entry for Subjects and Answers in the Exposition? Use the correct “voice part” designation. 4) What is the order of entry for Subjects and Answers in the Counterexposition? Use the correct “voice part” designation.

Form & Analysis P. 2 of 4 Dr. Anthony Scelba

5) Does this fugue have any countersubjects? If so, how many? 6) In what measure does the Development begin? Following, when measure numbers are asked for—in each case, the first measure of some event or fugue feature—list the measure numbers clearly, in order, and separated by commas, thus: 1, 22, 33, 44, etc. Use scrap paper to formulate your answer and enter the answer clearly on the test. If your answers are not clearly entered as described above, the answer will be marked ‘wrong.’ 7) Cite the first measure of each appearance of the original version of the subject (or answer) that turns up in its full 4-measure length. 8) Cite the first measure of every subject entry (in any form) that is truncated, attenuated, or shortened in any way, including those that might be described as “false entries.”

Form & Analysis P. 3 of 4 Dr. Anthony Scelba

9) Cite the first measure of every Succession (excluding the Counterexposition, of course). 10) Cite the first measure of every Succession that contains a stretto with full or shortened subject entries, including those that might be described as “false entries.”. 11) What single word would label (according to the custom in this class) that which begins in measure 9? 12) In what measure does each of the Episodes in this Fugue begin? 13) Does the fugue have a coda? If ‘yes,’ beginning in what measure? 14) Justify your answer.

Form & Analysis P. 4 of 4 Dr. Anthony Scelba

15) Look at measures 31-33. What would characterize the compositional technique Bach employs in this passage? This can be expressed in a single word. 16) From whence is this passage (mm 31-33) taken, and how does Bach alter this “second statement” from the first? 17) Look at measures 34-37. What two-word phrase would characterize the counterpoint between the r.h. and l.h.? 18) Measure 54 to the first half of measure 60 is an elaborate development of what two measures from the Exposition? 19) Look at the first four measures of the fugue. What is the harmonic rhythm of those measures? 20) Cite the first measure of every passage that contains a pedal point or an organ point.

6/29/2015 Kean University Mail ­ Re: Inquiry about Smart Board technology costs

https://mail.google.com/mail/u/0/?ui=2&ik=8d6055ffa1&view=pt&q=smart%20board&qs=true&search=query&msg=14e2bca6f7fd2833&siml=14e2bca6f7fd2833 1/2

Lynann Schraer­Joiner <lschraer@kean.edu>

Re: Inquiry about Smart Board technology costsChristopher Rustick <crustick@kean.edu> Thu, Jun 25, 2015 at 1:36 PMTo: Lynann Schraer­Joiner <lschraer@kean.edu>Cc: Hilda Makowsky <hmakowsk@kean.edu>, Thomas Connors <tconnors@kean.edu>, Anthony Santora <afs@kean.edu>

Hello Lyn,

I hope this email finds you well.  Before we can start obtaining pricing for any type of room changes, the project would need to be approved by campusplanning and senior management.  Afterward campus planning would assess the rooms and determine a budget.  

I understand two of the three rooms have existing projectors.  At the time campus planning assesses the room, several factors will be used todetermined if those existing projectors may be reused or not.  eg...Aspect ratios, input capabilities and modern technologies.

Regards,

Christopher RustickManaging Assistant DirectorOffice of Computer & Information ServicesKean University1000 Morris AvenueUnion, NJ 07083908­737­6000 (office)908­737­6030 (fax)

On Thu, Jun 25, 2015 at 1:03 PM, Lynann Schraer­Joiner <lschraer@kean.edu> wrote:June 25, 2015

Dear Mr. Rustick:

It was recommended that I email you to obtain an idea of what it would cost to purchase and install Smart Board technology in the music department(we have two rooms with existing projectors that we would hope to reuse to lesson cost and one room that would need a Smart Board and projector. 

Any information you could provide would be much appreciated. 

Lyn Schraer­JoinerMusic Education Coordinator

6/29/2015 Kean University Mail ­ Re: Inquiry about Smart Board technology costs

https://mail.google.com/mail/u/0/?ui=2&ik=8d6055ffa1&view=pt&q=smart%20board&qs=true&search=query&msg=14e2bca6f7fd2833&siml=14e2bca6f7fd2833 2/2