| Title change | Description change | 400/500 course |
| From: | ||
|---|---|---|
| Course Prefix & Number | Descriptive Title | Credits/Hours |
| MUS 471/572-472/572-473/573 | Great American Songbook & Songwriting I-II | 9 - |
| To: | ||
| Course Prefix & Number | Descriptive Title | Credits/Hours |
| MUS 471/571-472/572-473/573 | Songwriting I-II-III | 9 - |
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Abbreviation for Class Schedule(20 spaces) Songwriting I-II-III |
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Current Course Description: MUS 471/571 The Great American Songbook (3) Study of the compositional styles and histori- cal context of the Tin Pan Alley songwriters, including Cole Porter, Rodgers & Hart, George Gershwin, Jerome Kern, and Johnny Mercer. Style investigation will include analysis of melody, harmony, form and lyrics. MUS 472/572 Songwriting I (3) Study of songwriting technique through analy- sis and composition. A variety of styles from the past 150 years will be used as models for developing a personal songwriting voice. MUS 473/573 Songwriting II (3) Continuation of Songwriting I. Model songwriters include Antonio Carlos Jobim and at least one 21st-Century artist. |
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New Course Description: MUS 471/571, 472/572, 473/573 Songwriting I-II-III (3 each) Study of modern songwriting styles and techniques through analysis and composition. Students learn through imitation, with a goal of developing a personal voice. The course addresses principles of lyric content and form, melodic shape and integrity, harmonic language. Models include songwriters such as Richard Rodgers, Jerome Kern, and Cole Porter; Harlan Howard, Hank Williams, and Willie Nelson; Bob Dylan, Elton John, and Tracy Chapman; and Tom Jobim, Cartola, and Paulinho Da Viola. |
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Justification for changing the course (e.g. alignment with other institutions, program revision, etc.): The three courses are currently offered separately. The new Music Theory curriculum calls for a 3-term sequence in the second year. These three courses together comprise one of the sequences that will satisfy that requirement. A critical piece of feedback from students who have taken the American Songbook class is that, after analyzing the songs of this period in depth, they would have liked to try their hand at composing in the style, as a way of synthesizing their understanding. This approach fits exactly with the approach I take in the Songwriting class. The 3-term sequence will allow for all of the analysis/writing to be integrated more effectively. NOTE: I am attaching the syllabi for the three classes as they were taught most recently. The next time they are due to be taught is AY2014. At that time, I will fully integrate the components of the three classes into a comprehensive sequence. These syllabi spell out the separate requirements at the 400- and 500-levels. |
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Students/Program affected: All students taking music degrees. |
| Step | Approver | Decision | Timestamp |
|---|---|---|---|
| 1 - Department | Diane Baxter | Approved | April 11 2013 |
| 2 - Division | Scott Grim | Approved | April 12 2013 |
| 3 - Division Curriculum | Jodie Garrison | Approved | April 13 2013 |
| 5 - Curriculum Committee | Thaddeus Shannon | Rejected | May 21 2013 |
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Comments: This proposal is replaced by C02622, C02623 and C02624. |
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| 5 - Graduate Committee | Kimberly Jensen | Rejected | April 16 2013 |
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Comments: The Graduate Studies Committee approves these courses but we need to have three separate course descriptions for each of the three courses as per the new OUS request. Graduate Studies Committee members request that Professor Bergeron revise with the three separate descriptions. We will look at them and take an email vote to give final approval. |
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| 6 - Faculty Senate | Keller Coker | Rejected | June 10 2013 |
| Songwriting Sequence.rtf | Download | |
| Songbook I-II-III Syllabi.pdf | Download | |
| Songwriting Catalog View.pdf | Download |