-
LOVE PURPLE. LIVE GOLD.
lsu.edu/cmda/music #lsumusic
Tuesday, September 11, 2018 | 7:30 p.m. | UUMC
CHAMBER SINGERS RECITAL
Dominique Petite, conductorLiliia Oliinyk, piano
-
program
Amor con fortuna Juan del EncinaMás vale trocar
(1468-1529/30)¡Cucú, cucú, cucucú!
Lindsey von Holten, soloistEric Liffmann, guitar
Amit Chabukswar, percussion
Mass for Five Voices William ByrdI. Kyrie (1540-1623)
II. GloriaGrace McCrary, Andrea Horton, Matthew Myers,
Eric Morgan, Matthew Gardner, semi-chorus
Daemon Irrepit Callidus György Orbán(b. 1947)
Gaur Akelarre Josu Elberdin(b. 1976)
I Don’ Feel No Ways Tired Traditional Spiritualarr. Gibbs
Johnny, I Hardly Knew Ye Irish Traditionalarr. Parker
All Works of Love Joan Szymko(b. 1957)
Ubi caritas Maurice Duruflé(1902-1986)
Love and Pizen Kirke Mechem(b. 1925)
Gitanjali Chants Craig Hella Johnson(b. 1962)
Barso Re A.R. Rahman(b. 1967)
arr. SperryAmit Chabukswar, tabla
artists
DOMINIQUE PETITE earned a Bachelor’s and Master’s Degree in
Choral Music Education from Florida State University, where she
studied with Judy Bowers, Kevin Fen-ton, André Thomas, Clifford
Madsen, and Nalini Vinayak. Ms. Petite has fourteen years of
teaching experience at the middle and high school levels. Her
choirs consistently received superior ratings for performance and
sight-singing at district choral adjudications, and her students
had high participation in Southern Division and National ACDA Honor
Choirs, GMEA Sight-Reading Choir, and Georgia All-State Chorus.
In addition to teaching, Ms. Petite maintained an active
performance schedule as a member of the Atlanta Symphony Orchestra
Chorus and ASO Chamber Chorus, as well as performing blues and
acoustic rock in the Atlanta area.
Ms. Petite is a student of John Dickson and Trey Davis.
This recital is given in partial fulfillment of the requirements
of the Doctor of Musical Arts degree.Dominique is from the Studio
of Dr. John Dickson.
LSU CHAMBER SINGERS PERSONNEL
SOPRANOJessica BrañasMarisa KarpinskiGrace McCraryCassandra
SchmittMichelle StutesKatherine Vukovics
ALTOAndrea HortonOlivia MuenzAnnellise SchulzeGeorgia
SweitzerLindsey von Holten
TENORAndrew KendallJustin LangfordMatthew MyersJoshua
OgnenoffTaylor StricklinCurtis White
BASSNéviton BarrosRobert BurtonStuart DameronMatthew GardnerEric
MorganAndrew OwenJoshua Thomas
Liliia Oliinyk, collaborative pianist
-
upcoming concerts
CHAMBER SINGERS RECITAL
Tuesday, October 2 at 7:30 pmUniversity United Methodist
Church
TIGER GLEE CLUB AND WOMEN’S CHORALE
Tuesday, October 9 at 7:30 pmSt. Alban’s Chapel
A CAPPELLA CHOIR
Tuesday, October 16 at 7:30 pmOur Lady of Mercy Catholic
Church
CHAMBER SINGERS RECITAL
Thursday, November 1 at 7:30 pmUniversity United Methodist
Church
NEW CONDUCTORS’ RECITAL
Tuesday, November 27 at 7:30 pmSt. Alban’s Chapel
CANDLELIGHT CONCERT
Saturday, December 1 at 7:30 pmLSU Union Theater
-
Esperanza Women’s Chorus
presents
“Resilience”
A Benefit for Iris Domestic Violence Shelter
November 13, 2018 7:30 pm
University United Methodist Church
Dominique Petite, Artistic Director Maria Curry, Pianist
This will be our reply to violence: to make music more
intensely,
more beautifully, more devotedly than ever before.
—Leonard Bernstein
-
Program
O Virtus Sapientiae Hildegard von Bingen (1098-1179) ed. Cheryl
Lynn Halm
Molly Toups, soloist Crystal Birdsong, Aubrey Nelson, Anna
Safko
Monica Music, Michelle Stutes, Katie Vukovics, ensemble
It Takes a Village Joan Szymko (b. 1957)
Jessica Brañas, soloist Maria Curry, Jennifer Pulling, Elizabeth
Wallace, percussion
Koowu Maryam Khoury (b. 1983)
Elizabeth Wallace, percussion
Laudamus te from Gloria Antonio Vivaldi (1678-1741)
Michelle Stutes, Monica Music, soloists Xinyu Yang, violin;
Alicia Monroe viola; Jaime Compton-Galván, cello
Der Strauss Fanny Mendelssohn Hensel (1805-1847)
Leah Moody, Annellise Schulze, soloists
Ave Maria Johannes Brahms (1833-1897)
Psalm 23 Z. Randall Stroope (b. 1953)
Sarah Banker, flute; Lois Kuyper-Rushing, oboe
Dies Irae Z. Randall Stroope (b. 1953)
No Time Traditional Camp Meeting Song arr. Susan Brumfield (b.
1957)
Still I Rise Rosephanye Powell (b. 1962)
Breann Burson, Rachel Punkay, soloists
-
Program Notes and Texts
It has been roughly one year since the #MeToo movement gained
national attention. As more people are finding the courage to come
forward with their stories, it is sobering to consider how
widespread, and even accepted such behavior has been. Though males
have also been victims of mistreatment, abuse, and assault,
traditionally it has been girls and women who have suffered the
most, some estimates are that one in three females will be sexually
assaulted before the age of eighteen. After reaching adulthood,
women are still at risk, this time at the hands of their romantic
partners. It is also estimated that as many as half of all homeless
women and children are fleeing domestic violence. While we should
never forget the struggles of these women, it also seems timely to
celebrate their resilience. Esperanza Women’s Chorus was formed
expressly for tonight’s concert, joined by other strong women
instrumentalists from the LSU/Baton Rouge community. Tonight we use
our musical talents for social justice. Together with your
donations, we support Iris Domestic Violence Shelter in their work
to protect and rehabilitate the victims of domestic violence,
helping them discover their own resilience.
Hildegard von Bingen had great influence with popes, emperors,
and other leaders in a time when women were largely voiceless. She
was an abbess, visionary, writer, and composer. While best known
for her liturgical drama Ordo Virtutum, she also wrote many smaller
compositions, such as antiphons, responses, sequences, and hymns. O
Virtus Sapientiae is an antiphon treating the subject of the
Trinity, with God, the Father soaring to the heights, the Son upon
the earth, and the Holy Spirit, who is omnipresent.
O virtus Sapientiae, quae circuiens circuisti comprehendendo
omnia in una via, quae habet vitam, tres alas habens, quarum una in
altum volat et altera de terra sudat, et tertia undique volat. Laus
tibi sit, sicut te decet, O Sapientia
O strength of Wisdom who, circling, circled, enclosing all in
one lifegiving path, three wings you have: one soars to the
heights, one distils its essence upon the earth, and the third is
everywhere. Praise to you, as is fitting, O Wisdom.
Joan Szymko is a conductor and composer in the Pacific
Northwest, and has been a leader in the field of composing for and
conducting women’s choirs. Her setting of “It Takes a Village” is
an adaptation of the West African saying “It takes a village to
raise a child.” In the composer’s words: I’ve sought to embody the
cultural concept behind this proverb—that is truly ALL the
individual parts linked and working together that create and
support the whole. The four vocal rhythms in the main portion of
the work, each with its own character and function, are essential
to creating the unique energy and movement of “Village.” Only when
they are sung together does a truly joyful spirit arise.
It takes a whole village to raise our children
It takes a whole village to raise one child
We all everyone must share the burden
We all everyone will share the joy.
-
Maryam Khoury started composing at a young age and has written
several works for choir. Her father grew up in Palestine and told
Maryam about the difficulties he experienced there. Koowu, which
means strength in Arabic, is a result of Maryam’s consideration of
how different her life would have been had she grown up in
Palestine instead of the United States. Her use of harmonic minor
and the dumbek are evocative of the middle eastern music of her
father’s culture.
I have a caged bird who longs to fly away
Her name is Koowu
Koowu, fly.
I have a caged bird who is weeping.
I dare not set her free.
Her song is mine and I’m keeping,
but soon this dove will die
if she does not get the chance to fly.
Fly! Oh, Koowu fly!
I have a caged bird who is weeping.
Oh, Koowu, do not cry.
If it is freedom that she is seeking, then my bird must fly!
She must fly away.
I am Koowu and her keeper.
Taste the wind. Breathe the air, Koowu.
I’ll be waiting for you there, oh Koowu.
Antonio Vivaldi wrote the Gloria (RV589) for the choir of the
Ospedale della Pietà, an orphanage for girls. The Ospedale was
widely known for the quality of its musical education and the
excellence of its choir and orchestra. Vivaldi, a priest, taught
music to the girls and composed pieces for them to perform. This,
his most famous choral piece, presents the traditional Gloria from
the Latin Mass. Laudamus te is the third of twelve movements.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.
We praise thee. We bless thee. We adore thee. We glorify
thee.
Fanny Mendelssohn Hensel was a German composer, pianist, and
conductor. Lieder and piano pieces account for the majority of her
compositions. Little of her music was published and much of her
output still exists only in manuscript form. She grew up in a
musical family (Felix Mendelssohn was her brother) and had a very
active musical life in the salon. The salons of the nineteenth
century offered women the opportunity to create and perform. Der
Strauss is an elegant duet setting of a Goethe text.
Der Strauß, den ich gepflücket, Grüße dich viel tausendmal! Ich
hab mich oft gebücket, Ach, wohl eintausendmal, Und ihn ans Herz
gedrücket Wie hunderttausendmal!
The bouquet that I picked, Greetings a thousand times! I've
often stooped Oh, well a thousand times, And pressed him to the
heart Like a hundred thousand times!
-
Johannes Brahms is one of the most well-known composers of the
nineteenth century. His vocal and instrumental music are staples of
contemporary concert repertoire. In his early twenties, he formed a
choral group for women, named the Hamburger Frauenchor, for which
he composed many pieces. As evidenced by his personal letters, he
got great enjoyment from his work with the Frauenchor and traveled
to other towns to work with additional women’s choirs. His Ave
Maria was written for the Cäcelia Verein, an advanced ensemble
directed by his friend, Julius Grimm.
Ave Maria, gratia plena, Dominus tecum. Benedicta tu in
mulieribus, et benedictus fructus ventris tui, Jesu Sancta Maria,
ora pro nobis.
Hail Mary, full of grace, the Lord is with thee. Blessed art
thou among women, and blessed is the fruit of thy womb, Jesus. Holy
Mary, pray for us sinners.
Z. Randall Stroope is the Director of Choral Studies at Oklahoma
State University and is an active composer. His choral works
showcase the strength and expressive potential of the voice. In his
setting of Psalm 23, Stroope inserts the word lauda, meaning praise
and sets the text as someone might study it, moving between ideas,
not necessarily in order, contributing to the feeling of an
intimate, personal expression.
The Lord is shepherd, I shall not want, lauda! Through death’s
dark valleys, no fear will I know, lauda! My head is cover’d with
the finest, my cup runneth over and over, lauda! Surely goodness
and mercy shall follow! Green pastures, still waters, the Lord
provides, lauda! My soul restores, my heart renews, lauda! The Lord
prepares me a table, no fear have I from my foes. The Lord anoints
me, guards me, loves me. The Lord provides me with a rod and staff,
they comfort and guide me, lauda! Surely goodness and mercy shall
follow! And in the house of the Lord, I will dwell forever,
lauda!
Stroope’s Dies Irae depicts the cataclysmic End of Days through
the agitated piano notes and
rhythmic dissonance caused by shifting and asymmetrical meters.
He set the tessitura of the voices
in what he calls the “resonance pockets” of treble voices to
create “sonic fireworks.” The seemingly
unrelenting music continues to build tension as the voices sing
salva me—not in supplication,
instead, demanding salvation.
Dies irae, dies illa,
Solvet saeclum in favilla
teste David cum Sibylla.
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta strictus discussurus!
Salva me!
Pie Jesu Domine.
dona eis requiem.
Salva me!
Day of wrath, that day
shall dissolve the world into embers,
As David prophesied with the Sybil.
How great the trembling will be,
when the Judge shall come,
the rigorous investigator of all things!
Save me!
Merciful Lord Jesus,
grant them rest.
Save me!
-
Susan Brumfield is professor of Music Education at Texas Tech
University. She is an internationally known Kodály educator, as
well as a conductor, composer, and arranger. A Louisiana native,
specializing in folk music, Dr. Brumfield has several arrangements
of traditional songs, with a focus on music from Louisiana and
Scotland. “No Time” combines two camp meeting songs: “Rise, Oh
Fathers” and “No Time.” Camp meeting songs developed during the
Revivalist meetings of the early 1800s and often feature simple
melodies and repetition of texts.
Rise, oh fathers rise; let’s go meet ‘em in the skies. We will
hear the angels singing in that morning. Oh, I really do believe
that, just before the end of time, we will hear the angels singing
in that morning. Rise, oh mothers rise; let’s go meet ‘em in the
skies. We will hear the angels singing in that morning. Oh, I
really do believe that, just before the end of time, we will hear
the angels singing in that morning. No time to tarry here, no time
to wait for you. No time to tarry here, for I’m on my journey home.
Brothers, oh, fare ye well, for I’m on my journey home. Sisters, oh
fare ye well, for I’m on my journey home.
Rosephanye Powell is a professor at Auburn University, where she
teaches voice, song literature, vocal pedagogy, and conducts
choirs. Additionally, Dr. Powell is a prolific composer, whose
works are known for their rhythmic vitality and rich harmonies. As
well as being respected in the “classical” field, she has focused
her research on the art of African American Spiritual and the art
songs of William Grant Still. “Still I Rise” captures the strength
and resolution of the Maya Angelou poem of the same name, which
must have inspired Dr. Powell’s composition. Tonight, Esperanza
closes our concert with this uplifting song about the power and
resilience of women.
Though I have been wounded; aching heart full of pain, still I
rise, yes, still I rise. Jus’ like a budding rose, my bloom is
nourished by rain. Still I rise, yes, still I rise. Haven’t time to
wonder why, though fearful I strive. Still I rise, yes, still I
rise. My pray’r and faith uphold me ‘til my courage arrives. Still
I rise, yes, still I rise. Still I rise as an eagle, soaring above
ev’ry fear. With each day I succeed, I grow strong an’ believe that
it’s all within my reach; I’m reaching for the skies, bolstered by
courage, yes, still I rise. Gentle as a woman; tender sweet are my
sighs. Still I rise, yes, still I rise. Strength is in my tears and
healing rains in my cries. Still I rise, yes, still I rise.
Plunging depths of anguish, I determine to strive. Still I rise,
yes, still I rise. My pray’r and faith uphold me ‘til my courage
arrives. Still I rise, yes, still I rise. Though you see me slump
with heartache; heart so heavy that it breaks. Be not deceived I
fly on birds’ wings, rising sun, its healing rays. Look at me, you
see a woman; gentle as a butterfly. But don’t you think, not for
one moment, that I’m not strong because I cry. Yes, still I rise as
an eagle, soaring above ev’ry fear. With each day I succeed, I grow
strong an’ believe that it’s all within my reach; I’m reaching for
the skies, bolstered by courage, yes, still I rise.
-
For more than 30 years, Iris Domestic Violence Center (formerly
The Battered Women's Shelter) has served as the largest nonprofit
domestic violence agency in the state. We provide professional,
compassionate, and empowering support for victims of domestic
violence and their children. Our daily mission is to: empower
survivors of domestic violence, prevent relationship and dating
violence and promote justice for victims of domestic violence,
their children, and our community. www.stopdv.org 24-hour Domestic
Violence Response Hotline: 225-389-3001 or 800-541-9706 Louisiana
Crisis Line: 888-411-1333 National Domestic Violence Crisis Line:
800-621-HOPE (4673) National Youth Dating Violence Crisis Line:
866-331-9474
With Gratitude
Esperanza would like to thank:
• University United Methodist Church and the Louisiana State
University School of Music for the generous use of their
facilities
• Dr. Brett Dietz and Sam Travathan for the use of their
percussion instruments
• The fabulous instrumentalists who collaborated with us
• Angelina Tregle at No. 4 Studio, LLC for designing our concert
poster: no4studiollc.com
• John Davis and the LSU print shop: UPS Store @ LSU Print
Production Center
• Our friends, families, spouses, partners, colleagues, and
professors for supporting us in this concert
-
Personnel
Soprano I Soprano II Alto I Alto II Jessica Brañas Leah Moody
Monica Music Michelle Stutes Molly Toups
Marisa Karpinski Elizabeth Kendall Jennifer McGee Cassidy
O’Connell Cassandra Schmitt Katie Vukovics
Daisha Badon Breann Burson Zoey Cuseo Rachel Punkay Anna
Safko
Crystal Birdsong Erin Perdue-Brownfield Aubrey Nelson Annellise
Schulze
Dominique Petite earned a Bachelor’s and Master’s Degree in
Choral Music Education from Florida State University, where she
studied with Judy Bowers, Kevin Fenton, André Thomas, Clifford
Madsen, and Nalini Vinayak. Ms. Petite has fourteen years of
teaching experience at the middle and high school levels. Her
choirs consistently received superior ratings for performance and
sight-singing at district choral adjudications, and her students
had high participation in Southern Division and National ACDA Honor
Choirs, GMEA Sight-Reading Choir, and Georgia All-State Chorus.
In addition to teaching, Ms. Petite maintained an active
performance schedule as a member of the Atlanta Symphony Orchestra
Chorus and ASO Chamber Chorus, as well as performing blues and
acoustic rock in the Atlanta area. Ms. Petite is currently a member
of Red Shift Choir and is a student of John Dickson and Trey
Davis.
Maria Curry is a native of Carthage, Missouri. She is a pianist,
soloist, collaborative artist and poet. She has traveled the United
States performing in solo concerts as a religious
singer-song-writer and is an original member of the Precious
Moments Singers, the Chapelaires, New Jerusalem, Spirit’s Call,
& Brand New Day. She is currently the choirmaster/organist at
St. Margaret’s Episcopal Church and a free-lance pianist in Baton
Rouge, Louisiana. Honors include Outstanding Music Student Award at
MSSU, Outstanding Musician Award at William Jewel College, and the
Excellence of Professional Service Award from the Graduate Student
Association at PSU.
-
LOVE PURPLE. LIVE GOLD.
lsu.edu/cmda/music #lsumusic
Tuesday, April 2, 2019 | 7:30 p.m. | UUMC
CHAMBER SINGERS RECITAL
Dominique Petite, conductorLiliia Oliinyk, piano
-
program
Cantate Domino SWV 81 Heinrich Schütz (1615-1672)
Lindsey von Holten, Justin Langford, Mark Hainey, Andrew Owen,
soloists
Ich lasse dich nicht, du segnest mich den Johann Sebastian Bach
BWV Anh. 159 (1685-1750)
Laboravi Clamans Jean-Philippe Rameau(1683-1764)
I am Come into My Garden William Billings(1746-1800)
Grace McCrary, Crystal Birdsong, Matthew Myers, Stuart Dameron,
soloists
Missa Brevis in F (Hob. XXII:1) Franz Joseph Haydn Kyrie
(1732-1809) Gloria Credo Sanctus Benedictus Agnus Dei Dona
Nobis
Monica Music, Ashlyn Carter, soloistsRachel Reese and Kaiyue
Zhu, violin
Nai-Chien Yo, cello
Take O Take Those Lips Away Robert Lucas Pearsall
(1795-1856)
The Long Day Closes Arthur Sullivan (1842-1900)
Néviton Barros, Stuart Dameron, Matthew Gardner, Andrew Kendall,
Justin Langford, Andrew Owen, Matthew Myers, Taylor Stricklin,
Curtis White
Zigeunerlieder Nos. 6,8, and 9 Johannes Brahms (1833-1897)
This recital is given in partial fulfillment of the requirements
of the Doctor of Musical Arts degree.
Dominique is from the Studio of Dr. John Dickson.
-
artists
DOMINIQUE PETITE earned a Bachelor’s and Master’s Degree in
Choral Music Education from the Florida State University, where she
studied with Judy Bowers, Kevin Fenton, André Thomas, Clifford
Madsen, and Nalini Vinayak. Ms. Petite has fourteen years of
teaching experience at the middle and high school levels. Her
choirs consistently received superior ratings for performance and
sight-singing at district choral adjudications, and her students
had high participation in Southern Division and National ACDA Honor
Choirs, GMEA Sight-Reading Choir, and Georgia All-State Chorus.
In addition to teaching, Ms. Petite maintained an active
performance schedule as a member of the Atlanta Symphony Orchestra
Chorus and ASO Chamber Cho-rus, as well as performing blues and
acoustic rock in the Atlanta area. Ms. Petite is currently a member
of Red Shift Choir.
LSU CHAMBER SINGERS PERSONNEL
SOPRANOJessica B. RodriguezAshlyn CarterMarisa KarpinskiGrace
McCraryMonica MusicCassandra SchmittMichelle Stutes
ALTOCrystal BirdsongAndrea HortonLee SchulzeAlana ScottGeorgia
SweitzerLindsey von Holten
TENORMark HaineyAndrew KendallJustin LangfordMatthew MyersJoshua
OgnenoffTaylor StricklinCurtis White
BASSNéviton BarrosRobert BurtonStuart DameronMatthew GardnerEric
MorganAndrew Owen
Liliia Oliinyk, collaborative pianist
-
upcoming choral events
UPCOMING CHORAL EVENTS
Brahms RequiemFriday, April 26, 2019 at 7:30pm
LSU Student Union
-
Rudiments of Music- MUS1799 Dominique Petite
T/R 1:30-2:50 MDA 249 [email protected]
Office Hours by appointment Office SOM 116 COURSE OBJECTIVES:
Rudiments of Music is designed to teach non-music majors the
written and aural foundations of music, including basic notation
and composition, leading to a study of tonal harmony. This course
assumes no prior study in music. The class will center on the music
of the Western art tradition, but will include other styles, such
as jazz and popular music. By the end of the semester, the student
will:
▪ Develop a robust set of musical listening skills ▪ Gain a
vocabulary for critically engaging with music ▪ Understand basic
music notation ▪ Be able to read and perform music at a basic level
▪ Be able to analyze and interpret music at a basic level
GENERAL EDUCATION STATEMENT: This course fulfills the
three-credit General Education Arts Requirement (GEAR) at LSU. The
goal of GEAR is to develop in students an informed appreciation for
the roles of the arts and humanities and an understanding of other
cultures and times. Students will demonstrate achievement in
objectives #1 and #4 of the GEAR required objectives: 1. a broad
understanding of existing knowledge in the discipline 2. the
ability to relate the field of study to the world at large 3. the
ability to relate the field of study to other arts 4. the ability
to recognize and apply aesthetic standards to an art event or
object REQUIRED MATERIALS: Manuscript paper (available at the LSU
bookstore or printable from Moodle), notebook paper, pencils (Not
pens! Work completed in pen will not be accepted!), and any other
materials (scores, recordings, etc.) posted to the class Moodle
page. The class is based on Elements of Music, 3rd ed. by Joseph N.
Straus, and although students are not required to purchase a
textbook, this one is recommended. ONLINE RESOURCES (SUPPLEMENTAL):
www.good-ear.com – a free ear training website www.musictheory.net
– an interactive music theory website www.teoria.com – theory
tutorials, ear training, etc. Finale NotePad –
www.finalemusic.com/products/finale-notepad – a free music notation
software COURSE POLICIES: Attendance – Your presence and
participation is expected in all class meetings. Classes may
include unannounced graded activities. See the University Policy
PS-22 for details on unexcused absences. Missed/late work will be
accepted only for excused (i.e., university approved) absences with
the appropriate documentation. It is the student’s responsibility
to notify the instructor of upcoming conflicts as well as to
arrange a makeup time for missed work. CLASSROOM ETTIQUETTE:
Disruptive or distracting behavior can result in the student’s
expulsion from the class. Examples of disruptive behavior are
provided by the Office of Student Advocacy and Accountability.
Electronic devices are allowed for classroom-related activities
only. No cell phones are to be accessed during class. If electronic
devices become a problem, you will be expected to put them away.
ACADEMIC HONESTY: Cheating and plagiarism in any form will not be
tolerated. Any instance of academic misconduct, or any suspicion
thereof, will be reported to student affairs and will result in a
failing grade for the course. Refer to the student handbook for
details on the University Code of Student Conduct.
mailto:[email protected]:[email protected]
-
Students with Disabilities – including invisible disabilities –
are encouraged to contact the Office of Disability Services (112
Johnson Hall) should they require accommodation. There is no stigma
attached to any such request. GRADING: Grade Distribution: In-Class
Assignments 15% Unit Exams (3) 45% Composition Assignments 20%
Final Exam 20% There is no extra credit. Grades will be posted
regularly to Moodle, but the Moodle gradebook is not official.
Midterm and Final Grades will be assigned based on the following
rubric, and will not be rounded up:
A+ 100-97% A 96-93% A- 92-90% B+ 89-87% B 86-83% B- 82-80%
C+ 79-77% C 76-73% C- 72-70% D+ 69-67% D 66-63% D- 62-60%
COURSE SCHEDULE: (subject to change)
Date Topic Assignments Due Week 1- Rhythm
1.11 Simple Rhythm Week 2- Rhythm and Pitch
1.16 Compound Rhythm 1.18 Note Names, Keyboard, Treble and Bass
Clef
Week 3- Major Scales and Key Signatures
1.23 Major Scales and Key Signatures Composition Assignment 1
Due 1.25 Major Scales and Accidentals
Week 4- Intervals and Melody
1.30 Intervals 2.1 Melodic Fluency
Week 5- Melody and Harmony
2.6 Melodic Fluency, cont’d Exam 1 Due 2.8 Counterpoint- Types
of Motion & Voice Leading Composition Assignment 2 Due
Week 6- Triads
2.15 Root Position Triads Week 7- Chords
2.20 Inversions of Triads Composition Assignment 3 Due 2.22
Seventh Chords
Week 8- Seventh Chords
2.27 Inversions of Seventh Chords 3.1 Exam 2 Review
Week 9- Minor Mode
3.6 Exam 2 Exam 2 Due 3.8 The minor mode
Week 10- Functional Harmony
3.13 Triads in the Context of Keys 3.15 Harmonic Function and
Progression
-
Week 11- Form
3.20 Cadences, Sequences and Non-Chord Tones 3.22 Small
Forms
Week 12- Form
3.27 Large Scale Forms Composition Assignment 4 Due 3.29 Exam 3
Exam 3 Due
Week 13- Ear-Training and Modulation
4.10 Ear-Training and Modulation 4.12 Ear-Training and
Modulation
Week 14- Loose Ends
4.24 Bass line and Chorale Analysis 4.26 Final Exam Review
Week 15- Final Exam
4.30 3:00-5:00 PM FINAL EXAM Final Exam Due
Petite_Dominique_Combined_Files_Wake_Forest.pdfPetite_Dominique_Combined_Files.pdfPetite_Dominique_Chamber_Singers_Recital_Fall.pdfPetite_Dominique_Esperanza.pdfPetite_Dominique_Chamber_Singers_Recital_Spring.pdf
Syllabus Spring 2018.pdf
