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

Name: Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual
Brand: Academic Documents Platform
Price: 10 USD
Availability: InStock
Author: Julian Cooper

Master your textbook with Basic Materials in Music Theory: A Programed Course, Books a la Carte, 13th Edition Solution Manual, offering detailed solutions to every question.

Julian Cooper

Contributor

4.8

1 day ago

Preview (16 of 94)

Solution Manual
For
Basic Materials in
Music Theory
A Programed Course
Thirteenth Edition
Prepared by
Greg A Steinke, Independent Composer/Musician
Based on materials
originally created by
Paul O. Harder, Late, of Michigan State University

Contents
Introduction vi
1.0 The Basic Materials of Music: Time and Sound 1
Main Points and Objectives 1
Alternative Approaches and Supplementary Activities 1
Classroom Aids 2
Answers to Supplementary Assignments and Quiz Masters 7
2.0 The Notation of Pitch 8
Main Points and Objectives 8
Alternative Approaches and Supplementary Activities 8
Classroom Aids 8
Answers to Supplementary Assignments 14
Answers to Quiz Masters 16
3.0 Time Classification 17
Main Points and Objectives 17
Alternative Approaches and Supplementary Activities 17
Classroom Aids 17
Answers to Supplementary Assignments and Quiz Master 22
4.0 Note and Rest Values 23
Main Points and Objectives 23
Alternative Approaches and Supplementary Activities 23
Classroom Aids 24
Answers to Supplementary Assignments 30
Answers to Quiz Master 31
iii

5.0
Time Signatures 32
Main Points and Objectives 32
Alternative Approaches and Supplementary Activities 32
Classroom Aids 32
Answers to Supplementary Assignments 37
Answers to Quiz Master 38
6.0
Intervals 39
Main Points and Objectives 39
Alternative Approaches and Supplementary Activities 39
Classroom Aids 40
Answers to Supplementary Assignments 46
Answers to Quiz Master 47
7.0
The Basic Scales 48
Main Points and Objectives 48
Alternative Approaches and Supplementary Activities 48
Classroom Aids 48
Answers to Supplementary Assignments 52
Answers to Quiz Master 53
8.0
The Major Scale 54
Main Points and Objectives 54
Alternative Approaches and Supplementary Activities 54
Classroom Aids 54
Answers to Supplementary Assignments 57
9.0
The Minor Scales 59
Main Points and Objectives 60
Alternative Approaches and Supplementary Activities 60
Classroom Aids 60
Answers to Supplementary Assignments 66
Answers to Quiz Masters 67
iv Contents

10.0 Key Signatures 68
Main Points and Objectives 68
Alternative Approaches and Supplementary Activities 69
Classroom Aids 69
Answers to Supplementary Assignments 75
Answers to Quiz Master 76
11.0 Triads 77
Main Points and Objectives 77
Alternative Approaches and Supplementary Activities 77
Classroom Aids 77
Answers to Supplementary Assignments 81
Answers to Quiz Master 81
Appendix: Additional Classroom Aids 83
Blank Masters 85
Blank Quiz Answer Sheet No. 1 87
Blank Quiz Answer Sheet No. 2 88
Musical examples completed in NoteWriter™, NoteAbility Pro™, and Finale 2009™
Pages completed in Ready, Set, Go!™
Contents v

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

Loading page 6...

The material in this manual is presented in four sections for each chapter. The manner in which the
information contained in these sections may be used is detailed below:
1. Main Points and Objectives
This section summarizes in outline form the principal items of information that are
needed for mastery of the subject matter. These generally are listed in the order in which
they occur in the text. Instructors should find this information helpful in preparing
supplementary lectures, demonstrations, and drills to reinforce in class the individual
work done by the student. This section also identifies the skills that constitute the
objectives toward which the learning experiences are aimed.
2. Alternative Approaches and Supplementary Activities
Suggestions are given to help instructors supplement the text with additional material and
related activities. Advice is also given regarding various ways to use the text, including
the reordering of chapters.
3. Classroom Aids
A set of PDF masters is provided for each chapter. The pages of this manual may also be
used to make masters for use in class. The PDF masters can be placed into a computer
presentation program such as Power Point™, Keynote™, or a PDF reader.
Instructors who have not used computer projector are encouraged to try this technique. Its
advantages include the following:
a. Use of the projector usually does not require that the room be darkened.
b. Masters may be prepared in advance and used with the projector as needed. This
avoids the time-consuming job of writing material on a chalk or white board.
d. A series of overlays may be prepared to trace a sequence of steps to solve a
problem or to demonstrate a particular process.
Instructors are encouraged to prepare other examples to supplement the masters that are
provided. To facilitate this, the Appendix contains blank masters that may be duplicated
for the preparation of additional prepared exercises, or made into a master without
additional writing. Masters can also be prepared on a computer (as indeed this whole
manual was prepared) utilizing one of the many programs now available for this purpose.
Further, masters could be prepared for other short exercises or examples from the many
musical materials available. If this is done, proper copyright notice should be placed on
the master, or the source should be acknowledged. (Please see the Reference
Bibliography in the Basic Materials in Music Theory text for further information.)
4. Answers to Supplementary Assignments and Quiz Masters
The information in this section is provided to facilitate the correction of Supplementary
Assignments and the Quiz Masters.
vi Introductioni

Loading page 7...

Loading page 8...

Loading page 9...

Loading page 10...

Loading page 11...

Loading page 12...

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

Loading page 13...

Loading page 14...

8
Chapter 2.0
The Notation of Pitch
MAIN POINTS AND OBJECTIVES
The objective of this chapter is to be able to identify, write, and interpret correctly the various
signs that indicate pitch.
Main points covered:
1. Staff
2. Treble, bass, and C-clefs
3. Names of notes on the various lines and spaces
4. Ledger lines
5. Grand staff
6. Ottava sign
7. Half and whole steps
8. Accidentals
9. Bar lines
10. Enharmonic notes
11. Chromatic scale
12. Octave designations
ALTERNATIVE APPROACHES AND SUPPLEMENTARY ACTIVITIES
For most beginning students, it may be desirable to stress the treble and bass clefs, with the alto
and tenor clefs introduced for information only. Knowledge of the C-clefs, however, is needed as
preparation for orchestral score reading, composition, or the study of music history and literature
involving the original notation of Renaissance or Baroque music.
The terminology of octave designations may be stressed to a greater or lesser extent as the
instructor sees fit. The need for precise identification of pitches is perhaps greatest in the fields
of composition, orchestration and acoustics.
Stress should be placed upon the fact that, in spite of appearances, not all adjacent notes on the
staff produce the same interval. There is a half step between the notes E–F and B–C. All other
adjacent notes produce whole steps.
Aural experience at this point is very helpful. Students should play the basic notes at a
keyboard to visualize and hear the difference between half and whole steps (a black key
separates two white keys that produce a whole step; there is no black key between two white
keys that produce a half step.) The chromatic scale should be played and sung. Also review with
students how to work with the ear-training activies by practicing some or all of them in class.
Please also see Supplementary Activities listed on page 52 in the text.
CLASSROOM AIDS
Masters 2.1A–2.2B are for supplementary classroom presentations, drills, and a quiz related to
the material contained in Chapter 2.0.

Loading page 15...

Loading page 16...

15 more pages available. Scroll down to load them.

Preview Mode

100%

Study Now!

XY-Copilot AI

Unlimited Access

Secure Payment

Instant Access

24/7 Support

Document Chat

Document Details

Subject

Music

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

Study Now!

Document Details

Related Documents

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

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

Antonio Vivaldi - ART340

Listening to Western Music 8th Edition Test Bank

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

Company

Explore

Study Tools