Effective: Late Fall 8-Week, 2018/2019

MUSI 323: Music Of The United States

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  Course Description

Overview of the various types of music that have evolved through folk, popular, and classical traditions in America from the Pilgrims to the present.

Prerequisite: None

Proctored Exams: Midterm



  Textbooks

As part of TruitionSM, students will receive their course materials automatically as described below.

Required

  •  Ferris, Jean. America's Musical Landscape. 7th. Boston, MA: McGraw Hill, 2014.  eText

Listening Examples

Listening examples are available for free on Spotify: Ferris, America's Musical Landscape, 7e. If you do not have an account, free Spotify registration is available. 

Bookstore Information

Ed Map is Columbia College’s bookstore for Online, Nationwide, and Evening students.

eText Information

If a course uses an eText, (see Textbook information above) the book will be available directly in Desire2Learn (D2L) and through the VitalSource eText reader the Friday before the session begins, if registered for courses prior to that date.  Students will have a VitalSource account created for them using their CougarMail email address. Upon first login to VitalSource, students may need to verify their account and update their VitalSource password.  More information about how to use the VitalSource platform, including offline access to eTexts, can be found in D2L.  Students that would like to order an optional loose-leaf print-on-demand copy of eligible eTexts can do so through the Ed Map storefront at an additional cost.  Once orders are placed, it can take approximately five to seven business days for students to receive their print-on-demand books.

Physical Course Materials Information

Students enrolled in courses that require physical materials will receive these materials automatically at the address on file with Columbia College.  Delivery date of physical materials is dependent on registration date and shipping location.  Please refer to confirmation emails sent from Ed Map for more details on shipping status.

Returns: Students who drop a course with physical course materials will be responsible for returning those items to Ed Map within 30 days of receipt of the order.  More specific information on how to do so will be included in the package received from Ed Map.  See here for Ed Map's return policy. Failure to return physical items from a dropped course will result in a charge to the student account for all unreturned items.

Note: Students who opt-out of having their books provided as part of TruitionSM are responsible for purchasing their own course materials, but may do so through the Ed Map storefront. Visit https://www.ccis.edu/bookstore.aspx for details.

  Course Overview

This course will serve as an introduction to the folk, popular, and classical traditions in America, from the Native American Indian antecedents through the earliest American colonists and continuing chronologically to the start of the twenty-first century. The aims of our study will be to gain a comprehensive mental picture of the development of America's diverse music culture and to acquire a basic appreciation for the multitude of music traditions (British, African, Spanish, Moravian, Asian, and other lesser-known cultures) that have come to form our uniquely American musical landscape. 

America's earliest notable achievements in music began with the self-taught amateurs of the First New England School and later continued with the developments of folk music, religious music, popular music of the Civil War era, nineteenth-century American concert music, country music, jazz, the Broadway musical, Tin Pan Alley, rock and roll, concluding with the a uniquely American concert music repertoire from the twentieth and twenty-first centuries. The music genres, music styles, and the repertoire that defines American music will be our primary focus. Each week we will focus on a different aspect of American music with listening examples, class discussion, and other activities, such as essays and quizzes, which will help us understand the issues, and the nature of American music. 

The picture of America’s musical landscape has greatly expanded in the twenty-first century and this course attempts to give a brief, yet comprehensive overview of American music history to non-music majors and all those who call themselves history buffs.  The story of American music is the history of America in sound.  

  Technology Requirements

Participation in this course will require the basic technology for all online classes at Columbia College:
  • A computer with reliable Internet access
  • A web browser
  • Acrobat Reader
  • Microsoft Office or another word processor such as Open Office
  • A working sound card or integrated audio (headphones recommended)

You can find more details about standard technical requirements for our courses on our site.

  Course Objectives

  • To relate American music to its foreign roots where appropriate.
  • To understand the interaction of “content” (musical structure, procedure, aesthetics versus agendas, biographies, and writing) and “context” (times-places-peoples) from which musical idioms and cultural phenomena originate.
  • To develop familiarity with a range of social, cultural, historical, economic, and biographical factors which have shaped American music since the first European colonization.

  Measurable Learning Outcomes

  • Summarize the major traditions and schools of American music distinguishing them from other music.
  • Identify composers, compositions, and other significant names and terms as they relate to the music studied.
  • Identify the studied compositions by sight or ear.
  • Discriminate among the various styles of music studied.
  • Summarize the careers of major American composers and musical figures.
  • Display general knowledge of major events and trends in American music and describe how American solutions to various issues reflect American cultural and musical context.
  • Synopsize and critique writings by composers about music.
  • Encounter new American music and categorize it into the general context of the history of American music.

  Grading

Grading Scale

Grade Points Percent
A 855-950 90-100%
B 760-854 80-89%
C 665-759 70-79%
D 570-664 60-69%
F 0-569 0-59%

Grade Weights

Assignment Category Points Percent
Discussions (14) 280 29%
Essays (3) 150 16%
Quizzes (5) 125 13%
Exams (2) 370 39%
Total 925 97%

  Schedule of Due Dates

Week 1

Assignment Points Due
Discussion 1 - Introduction 20 Thursday/Sunday
Discussion 2 20
Essay 1 50 Sunday

Week 2

Assignment Points Due
Discussion 3 20 Thursday/Sunday
Discussion 4 20
Essay 2 50 Sunday
Quiz 1 25
Proctor Information N/A

Week 3

Assignment Points Due
Discussion 5 20 Thursday/Sunday
Discussion 6 20
Quiz 2 25 Sunday

Week 4

Assignment Points Due
Discussion 7 20 Thursday/Sunday
Midterm Exam (Proctored) 185 Sunday

Week 5

Assignment Points Due
Discussion 8 20 Thursday/Sunday
Discussion 9 20
Quiz 3 25 Sunday

Week 6

Assignment Points Due
Discussion 10 20 Thursday/Sunday
Discussion 11 20
Essay 3 50 Sunday
Quiz 4 25

Week 7

Assignment Points Due
Discussion 12 20 Thursday/Sunday
Discussion 13 20
Quiz 5 25 Sunday

Week 8

Assignment Points Due
Discussion 14 20 Thursday/Saturday
Final Exam 185 Saturday
Total Points: 925

  Assignment Overview

Discussions

There will be 14 online discussions in this course worth 20 points each. A detailed grading rubric is provided in the course. Your subject headings should be descriptive. Your initial discussion post should be at least two full paragraphs in length, but no more than four paragraphs. You are expected to respond to at least two other students. Each response post should be at least one full paragraph in length. Present enough detail that you feel you are adding to the development of the discussion. Short responses such as “I agree” will not be given credit. Provide specific examples to illustrate your points from your textbook readings and listening examples. Demonstrate that you are listening to the music and understanding the work within the historical context presented in the textbook. Limit quotations to 2 or 3 sentences. Professional writing standards apply; proofreading and use of the spell check feature in D2L are expected. For maximum point benefit, cite all sources using MLA-format including the following: 

  • At least one reference to the textbook.
  • At least one reference to one of the weekly listening examples. Refer to the listening examples by title and composer; if you think it is useful, add the listening number.
  • Outside references are also welcome, but not required. 

Submit your initial post 11:59 pm CT on Thursday. Submit two thoughtful response posts by 11:59 pm CT on Sunday, except for Week 8 when they are due Saturday. Note that you will be required to post your initial response before you can read and respond to others' posts.

Essays

There will be three essays worth 50 points each. A detailed grading rubric is provided in the course. Essay 1, due in Week 1, is an orientation essay describing the six Part Summaries of America’s Musical Landscape. Everyone taking MUSI 323 starts with their own perspective of American music.  Studying the six Part Summaries and putting that information into your own words is a quick and efficient way of learning how the author of our textbook sees the America’s musical landscape. In the process, you will be expanding your own understanding of the history and essential facts that identify America’s music. Essay 2, due in Week 2, is an in-depth essay on one early American music tradition of your choice: either North American Indian chant or on any one of the four early American folk song traditions described in Chapter 2. Essay 3, due in Week 6, deals with the recent advances in digital technology and how they affect the music business today.

Your essays should each be about 750-1500 words. Document your essays with MLA references to the textbook, including a reference list with the following: 

  • At least one reference to the textbook.
  • At least one reference to one of the weekly listening examples. Refer to the listening examples by title and composer; if you think it is useful, add the listening number.
  • At least two references to outside sources.

Your essay will be checked for plagiarism. Keep directly quoted and paraphrased material to an absolute minimum. Quotations may take up no more than 20% of the essay. I want to read about your understanding and reaction to the music. Submit your essays to the appropriate Dropbox by 11:59 pm CT on Sunday of Weeks 1, 2 and 6. 

Quizzes

There will be 5 quizzes in this course in Weeks 2, 3, 5, 6, and 7. Quizzes, worth 25 points each, will consist of 25 multiple-choice questions covering the assigned reading and listening examples. The purpose of the quizzes is to help you comprehend the textbook readings; consequently, it is more of a tool for learning than a method of evaluation.  For this reason, you have two attempts to take each quiz. You will receive the highest score earned. Keep in mind, you will have only one-hour for each attempt, so please study in advance. Quizzes open Mondays and should be completed by 11:59 pm CT on Sunday of Weeks 2, 3, 5, 6, and 7.

Exams

There will be a proctored Midterm Exam worth 185 points in Week 4 and a Final Exam worth 185 points in Week 8. You will have only one, two-hour attempt to take each exam, so please study in advance.

The Midterm Exam will cover the reading and instructional materials from Weeks 1 - 4, including Chapters 1 - 7. It will consist of 45 multiple-choice questions (worth 1 point each) and two short essays (worth 70 points each). The Midterm Exam must be taken in a proctored setting. (Please see the Proctor Policy for more information.) The exam is due by 11:59 pm CT on Sunday.

The Final Exam will cover the reading and instructional materials from Weeks 5 - 8, including Chapters 8 - 23. It will consist of 45 multiple-choice questions (worth 1 point each) and two short essays (worth 70 points each). It is not proctored, but you will likely not have time to look up the answers, so be prepared. The exam is due by 11:59 pm CT on Saturday, the last day of the course.  

  Course Outline

Click on each week to view details about the activities scheduled for that week.

Readings

Preface, Introduction, The Basic Properties of Musical Sound, pp. xvi-xviii and pp. 1 - 1
Part 1-6 Summaries on pp. 69, 123, 226-227, 293, 354-355, and 414-415
“The Charge” on p. 416
Listening Example 1: “John Henry”

Discussion 1 - Introduction

Introduce yourself to the class. You might choose to include your name (or preferred name or nick name), your current job or profession, your major and year of studies. Most students taking this course have little, or no musical background, but tell us about that background anyway. Describe your memorable experiences with music. Finally, tell us about something interesting you did or experienced recently. Let’s get to know each other. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Discussion 2

How can we define American music? What is it that allows us to describe a music composition, style, or tradition as “American?" Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Essay 1

This is an orientation essay. Everyone taking MUSI 323 comes to the course with his or her own ideas about American music.  The author of our textbook has a particular view of America’s musical history, described in Part Summaries 1 - 6.

First, read these summaries and describe the author’s mental picture of America’s music history.

Next, read “The Charge” describing the goal of studying America’s music (and taking this course) according to the author.  Do you agree with her or not?  

Finally, after exploring Part Summaries 1 through 6, how has your understanding of American music been altered and expanded?  Is this what you expected? 

This essay is due by 11:59 pm CT on Sunday. Assignment information, requirements, guidance, and rubric are available in the Content area of the course.

Readings

Part 1, Chapters 1 - 2
Background information on pp. 12 - 19
Listening Examples 2 – 10: 

  • Yeibichei Chant Song (excerpt)
  • Sioux Grass Dance (excerpt)
  • “El Corrido de Gregorio Cortez”
  • “Barbara Allen”
  • “Shenandoah”
  • Field Holler
  • Father’s Field Call
  • "Hammer, Ring” (excerpt)
  • “No More Auction Block for Me”
Discussion 3

After reading Chapter 1 and listening to this week’s listening examples, Yeibichai Chant Song and Sioux Grass Dance, describe the music style characteristics of North American Indian music that make it so distinctive. Study the purple charts on pages 22 and 23 describing the music’s Genre, Timbre, Melody, Texture, Form, Rhythm, and Text before writing this discussion.

Next, do an online search and see what information you can find about the music North America Indians of today. What influences in modern American life have affected Native America music of today? Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Discussion 4

Describe the major traditions of “early” American folk music. Feel free to discuss any of the traditions listed in Chapter 2; you only need to discuss two traditions (Spanish, British, Early American, or African). The best way to write this discussion is to listen to and comment on 2 of this week’s listening examples. Use the purple listening chart descriptions in the textbook as a guide to write about the music style of the composition you are writing about. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Essay 2

Write a brief, formal essay on one early American music tradition, either North American Indian chant or any one of the four early American folk song traditions described in Chapter 2. This essay should relate to Discussion 3 and 4 and mention relevant titles from this week’s listening examples. The purple listening charts in the textbook can be used as a guide to help you write about the music style of the listening examples, even if you have little or no background in music.

This essay is due by 11:59 pm CT on Sunday. Assignment information, requirements, guidance, and rubric are available in the Content area of the course.

Quiz 1

The quiz has 25 multiple-choice questions covering this week’s readings and listening examples. It is worth 25 points. There is a 60-minute time limit with two attempts allowed. Your highest attempt will be recorded. Keep in mind, once the quiz is started, it cannot be stopped. It is a good idea to click "save" after responding to each question. The quiz opens Monday and should be completed by 11:59 pm CT on Sunday.

Proctor Information
Submit your proctor form to the appropriate Dropbox folder by the end of the week. Remember to “Save” the form before placing it in Dropbox. See the Content area for more information.
Readings

Chapters 3 - 5
Listening Examples 11 - 20  

  • “Old Hundred’
  • “Tis the Gift to be Simple”
  • “Chester”
  • “When Jesus Wept”
  • “Sherburne”
  • "Yankee Doodle"
  • ”There’ll be Joy, Joy, Joy”
  • “Amazing Grace”
  • “Nobody Knows the Trouble I’ve Seen”
  • "Nearer, My God, to Thee”
Discussion 5

The singing school masters were America's first true composers. Who were these early American composers and what are the titles of some of their compositions? Discuss musical and social functions of the Singing Schools. Use this week’s listening examples, described in the purple charts, to explain the form and texture of fuging tunes and canons. Describe how fuging tunes differ from canons in form and texture? Always include composers’ names and full titles of their compositions in your discussions. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Discussion 6

Read Chapter 4 and listen to the listening examples found in the instructional materials this week, including the Moravian Music Foundation sound and visuals. Who were some of America’s first prestigious musical amateurs? What did they do and what are the musical accomplishments they are remembered for? The music of the Moravians should be part of this discussion. 

For the second part of this discussion, read Chapter 5 and listen to Listening Examples 17, 18, 19, and 20.  Notice how the religious music from the Great Revival in the early nineteenth century start to become more authentically American than music of the prestigious musical amateurs.  What are the features of religious music in the early nineteenth century that allow us to see the emergence of a new, characteristically American music? Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Quiz 2
The quiz has 25 multiple-choice questions covering this week’s readings and listening examples. It is worth 25 points. There is a 60-minute time limit with two attempts allowed. Your highest attempt will be recorded. Keep in mind, once the quiz is started, it cannot be stopped. It is a good idea to click "save" after responding to each question. The quiz opens Monday and should be completed by 11:59 pm CT on Sunday. 
Readings

Chapters 6-7, and pp. 127-138 of Chapter 8
Listening Examples 21 - 30

  • “I Wish I was in Dixie’s Land”
  • “I Dream of Jeanie with the Light Brown Hair”
  • “Oh! Susanna”
  • “The Anacreontic Song” (“Anacreon in Heaven”)
  • “Get off the Track”
  • “Le bananier”
  • Fuga giocosa, op. 41, no. 3
  • Symphony in E minor (“Gaelic”), second movement"
  • The Stars and Stripes Forever”
  • “Maple Leaf Rag”
Discussion 7

Romanticism replaced Classicism as the preferred style of the nineteenth century. Typical Romantic traits, such as exalting the individual and denying boundaries and restraints, particularly suited the American personality. There are numerous topics discussed in Chapters 6-8.

Choose the composer, musical style, performer, or music tradition that you find the most interesting and discuss your choice in detail. You can find your choices in “Religious Music of the Early Nineteenth Century,” “Popular Music of the Civil War Era,” or else “Concert Music.” Limit yourself to discussing one composer, performer, or tradition, but do write about your choice in as much detail as possible. Include at least one or two listening examples in the body of your discussion. We can teach each other about American nineteenth century music in this discussion. Now, you lead the class. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Midterm Exam (Proctored)

The proctored midterm exam covers all reading and listening material covered in Weeks 1 – 4, including the Introduction and Chapters 1 - 7 of your textbook. It includes 45 multiple-choice questions and two short expository essays on pre-twentieth century American music. Keep in mind, the midterm is a closed-book exam and you will have only one two-hour attempt, so please study in advance. The exam opens Monday and should be completed by 11:59 pm CT on Sunday.

Readings

Chapters 8 – 12
Listening Examples 31 – 52

  • “Rose” (“A Ring to the Name of Rose”)
  • Alexander’s Ragtime Band”
  • “Night and Day”
  • “Hellhound on My Trail”
  • “Lost Your Head Blues”
  • “St. Louis Blues”
  • “Hotter Than That”
  • “Carolina Shout”
  • “Taxi War Dance”
  • “Mood Indigo”
  • “Take the A Train”
  • “KoKo”
  • “Concerto for Cootie”
  • “Take Five”
  • “Boplicity”
  • “Blue Yodel no. 9”
  • “The Ballad of Casey Jones”
  • “Earl’s Breakdown”
  • “Mele of My Tutu E”
  • “Cajun Two-Step”
  • Tito Puente: “Para los Rumbero”
  • “Desafinado” (“Off Key”)
Discussion 8

European classical music followed the traditions in the nineteenth century. Vernacular music, on the other hand, robustly developed a specific American character. Sousa's marches and Joplin's rags aroused enthusiasm abroad as well as at home. Tin Pan Alley produced songs to order, many of outstanding quality and seemingly endless appeal. Jazz, country music, and Latin popular music all influenced the American vernacular tradition.

What type of vernacular music did you find the most interesting after reading the textbook and listening to the music examples? Describe your choice in as much detail as possible. Use the purple listening charts in the textbook as a guide for writing about music style (genre, timbre, melody, texture, form, meter, tempo, etc.). Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Discussion 9

Now that we have considered so many different types of American vernacular music, what is it about vernacular that makes it so inherently popular?

This discussion is a challenge and will require you to do some of your own critical thinking and analysis.  Start by asking who, what, where, and why.  Who were some popular music artists, what kind of music are they known for, where did they come from (region, city, geographic area, and/or cultural tradition (rural, urban, African-American, Creole, etc.), and why can music associated with very specific locations and traditions morph into something we generally accept as “American music”?  

Be creative and be ambitious when you write this discussion. Come up with at least a couple of paragraphs that support your point of view. Be sure to mention the listening examples by title and performer(s). Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Quiz 3
The quiz has 25 multiple-choice questions covering this week’s readings and listening examples. It is worth 25 points. There is a 60-minute time limit with two attempts allowed. Your highest attempt will be recorded. Keep in mind, once the quiz is started, it cannot be stopped. It is a good idea to click "save" after responding to each question. The quiz opens Monday and should be completed by 11:59 pm CT on Sunday. 
Readings

Chapters 13 – 16
Listening Examples 53 – 59

  • “School Day”
  • “Stop! In the Name of Love”
  • “Down by the Riverside”
  • “Papa’s Got a Brand New Bag”
  • “Mr. Tambourine Man”
  • “A Love Supreme – Part 1, “Acknowledgement”
  • “Rapper’s Delight” (excerpt)
Discussion 10

Various social and economic conditions fostered a sense of independence and rebellion among the youth of the 1950s. Rock and roll developed from a combination of rhythm and blues and country-western styles and appealed both to young black and white listeners.

After reading the chapters on vernacular music since rock and roll, what type of music tradition did you find the most familiar or most engaging?  Topics you can chose from are found in the following chapters: Early Rock and Roll, Rock Flirts with Country, and Popular Music Since 1970.  Discuss an artist(s) and/or popular music style in as much detail as you can. Include the names if major performers and composers and the titles of some representative compositions. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Discussion 11

Jazz since 1960 developed new styles, like free jazz and third stream, without replacing established basic jazz conventions.  One signature feature of jazz that remained constant from its very inception is improvisation.

Discuss the seeming oxymoron “jazz composition.” How do jazz composers and performers meld composition and improvisation? What do you think of the new jazz composers and compositions that developed after 1960?  Limit yourself to one performer and/or composer. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Essay 3

Review the section of your textbook on Music Business, Sharing Music, and Marketing Music before you start writing this essay. Describe the recent advances in digital technology and how they affect the music business today. If you have ever downloaded music online, this exercise should help you more fully realize the economic and artistic consequences involved in that transaction.

The Challenge: Write this assignment as a third person point of view essay.  The simplest way to do that is to not use the word “I” in any part of the essay.  Give it a try and see what you come up with. This essay is due by 11:59 pm CT on Sunday. Assignment information, requirements, guidance, and rubric are available in the Content area of the course.

Quiz 4

The quiz has 25 multiple-choice questions covering this week’s readings and listening examples. It is worth 25 points. There is a 60-minute time limit with two attempts allowed. Your highest attempt will be recorded. Keep in mind, once the quiz is started, it cannot be stopped. It is a good idea to click "save" after responding to each question. The quiz opens Monday and should be completed by 11:59 pm CT on Sunday.

Course Evaluation
Please evaluate the course. You will have an opportunity to evaluate the course near the end of the session. A link sent to your CougarMail will allow you to access the evaluation. Please note that these evaluations are provided so that I can improve the course, find out what students perceive to be its strengths and weaknesses, and in general assess the success of the course. Please do take the time to fill this out.
Readings

Chapters 17 – 19
Listening Examples 60 – 67

  • “Give My Regards to Broadway”
  • “Ol’ Man River” (from Showboat)
  • “Tonight” (from West Side Story)
  • "Every Day a Little Death” (from A Little Night Music)
  • “The Murder” (from Psycho)
  • Star Wars Main Title
  • “Bess, You Is My Woman Now” (from Porgy and Bess)
  • “Spaceship” (excerpt from Einstein on the Beach)
Discussion 12

Musical theater became increasingly popular in America shortly before and after the turn of the twentieth century. Most American musical shows between the Civil War and World War I had a variety format with little if any plot, but imported European operettas paved the way for the first American operettas written by sophisticated European composers.

Choose one genre of musical theater discussed in the textbook and make yourself a mini-expert in your chosen genre.  Your choices include: variety shows, operetta, musical comedies, Black musical theater, or the golden age of Broadway musicals. Include the names of key composers and the titles of some representative musical theater works in your discussion.  Work on increasing your vocabulary by using terminology specifically associated with musical theater. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Discussion 13

From the earliest days of commercial films, live music has introduced and accompanied film. With the advent of sound films, the film score emerged as a new form of dramatic music, underpinning the movie's emotional effects while serving innumerable practical functions as well. Carefully read the information on pages 324 and 325 about the functions of music in film (e.g., as Mickey Mousing) and source versus functional music. Next, pay close attention to the film score. Mute the sound to review scenes in which music had significant impact and consider the difference in effect. Try playing different, unrelated music, while viewing the same scene. Describe your impressions. Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Sunday.

Quiz 5
The quiz has 25 multiple-choice questions covering this week’s readings and listening examples. It is worth 25 points. There is a 60-minute time limit with two attempts allowed. Your highest attempt will be recorded. Keep in mind, once the quiz is started, it cannot be stopped. It is a good idea to click "save" after responding to each question. The quiz opens Monday and should be completed by 11:59 pm CT on Sunday. 
Readings

Chapters 20 – 23
Listening Examples 68 – 80

  • General Putnam’s Camp (from Three Places in New England)
  • “At the River”
  • “The Banshee” (excerpt)
  • Gamelan Gong Kebyar: “Hudjan Mas” (“Golden Rain”)
  • Sonata V (from Sonatas and Interludes for Prepared Piano)
  • Fanfare for the Common Man
  • “Hoedown” (from Rodeo)
  • Adagio for Strings
  • Afro-American Symphony, third movement (“Humor”)
  • VONCE
  • Sound Patterns
  • New England Triptych, third movement (“Chester”)
  • “Maggie and Milly and Molly and May”
Discussion 14

Listen again to listening examples 68 through 80. At the start of this course, you were asked to give your definition of American music.  Now, seven weeks later, we revisit the question of “What is ‘American’ about these compositions?”

Choose 3 or 4 contrasting music examples from this week’s listening examples to discuss.  Include the names composers and full titles of the compositions you are discussing.  How has your understanding of the term “American” changed after studying American music for eight weeks?  Please submit your initial post by 11:59 pm CT on Thursday and two response posts by 11:59 pm CT on Saturday, the last day of the course. 

Final Exam

The final exam covers all reading and listening material covered in Weeks 5 – 8, including Chapters 8 - 23 of your textbook. It includes 45 multiple-choice questions and two short expository essays. Keep in mind, while the final exam is not proctored, you will have only one two-hour attempt, so please study in advance. The exam opens Monday and should be completed by 11:59 pm CT on Saturday, the last day of the course.

  Course Policies

Student Conduct

All Columbia College students, whether enrolled in a land-based or online course, are responsible for behaving in a manner consistent with Columbia College's Student Conduct Code and Acceptable Use Policy. Students violating these policies will be referred to the office of Student Affairs and/or the office of Academic Affairs for possible disciplinary action. The Student Code of Conduct and the Computer Use Policy for students can be found in the Columbia College Student Handbook. The Handbook is available online; you can also obtain a copy by calling the Student Affairs office (Campus Life) at 573-875-7400. The teacher maintains the right to manage a positive learning environment, and all students must adhere to the conventions of online etiquette.

Plagiarism and Academic Integrity

Academic integrity is a cumulative process that begins with the first college learning opportunity. Students are responsible for knowing the Academic Integrity policy and procedures and may not use ignorance of either as an excuse for academic misconduct. Columbia College recognizes that the vast majority of students at Columbia College maintain high ethical academic standards; however, failure to abide by the prohibitions listed herein is considered academic misconduct and may result in disciplinary action, a failing grade on the assignment, and/or a grade of "F" for the course.

Additionally, all required papers may be submitted for textual similarity review to Turnitin.com for the detection of plagiarism. All submitted papers may be included in the Turnitin.com reference database for the purpose of detecting plagiarism. This service is subject to the Terms and Conditions of Use posted on the Turnitin.com site.

Non-Discrimination

There will be no discrimination on the basis of sex, race, color, national origin, sexual orientation, religion, ideology, political affiliation, veteran status, age, physical handicap, or marital status.

Student Accessibility Resources

Students with documented disabilities who may need academic services for this course are required to register with the office of Student Accessibility Resources. Until the student has been cleared through this office, accommodations do not have to be granted. If you are a student who has a documented disability, it is important for you to read the entire syllabus as soon as possible. The structure or the content of the course may make an accommodation not feasible. Student Accessibility Resources is located in Student Affairs in AHSC 215 and can be reached by phone at (573) 875-7626 or email at sar@ccis.edu.

Online Participation

You are expected to read the assigned texts and participate in the discussions and other course activities each week. Assignments should be posted by the due dates stated on the grading schedule in your syllabus. If an emergency arises that prevents you from participating in class, please let your instructor know as soon as possible.

Attendance Policy

Attendance for a week will be counted as having submitted any assigned activity for which points are earned. Attendance for the week is based upon the date work is submitted. A class week is defined as the period of time between Monday and Sunday (except for week 8, when the work and the course will end on Saturday at midnight.) The course and system deadlines are based on the Central Time Zone.

Cougar Email

All students are provided a CougarMail account when they enroll in classes at Columbia College. You are responsible for monitoring email from that account for important messages from the College and from your instructor. You may forward your Cougar email account to another account; however, the College cannot be held responsible for breaches in security or service interruptions with other email providers.

Students should use email for private messages to the instructor and other students. The class discussions are for public messages so the class members can each see what others have to say about any given topic and respond.

Late Assignment Policy

An online class requires regular participation and a commitment to your instructor and your classmates to regularly engage in the reading, discussion and writing assignments. Although most of the online communication for this course is asynchronous, you must be able to commit to the schedule of work for the class for the next eight weeks. You must keep up with the schedule of reading and writing to successfully complete the class.

No late discussion posts will be accepted.

No credit will be given for late assignments with the exception of documented deployment or documented illness.

Course Evaluation

You will have an opportunity to evaluate the course near the end of the session. A link will be sent to your CougarMail that will allow you to access the evaluation. Be assured that the evaluations are anonymous and that your instructor will not be able to see them until after final grades are submitted.

Proctor Policy

Students taking courses that require proctored exams must submit their completed proctor request forms to their instructors by the end of the second week of the session. Proctors located at Columbia College campuses are automatically approved. The use of ProctorU services is also automatically approved. The instructor of each course will consider any other choice of proctor for approval or denial. Additional proctor choices the instructor will consider include: public librarians, high school or college instructors, high school or college counseling services, commanding officers, education service officers, and other proctoring services. Personal friends, family members, athletic coaches and direct supervisors are not acceptable.

  Additional Resources

Orientation for New Students

This course is offered online, using course management software provided by Desire2Learn and Columbia College. The course user guide provides details about taking an online course at Columbia College. You may also want to visit the course demonstration to view a sample course before this one opens.

Technical Support

If you have problems accessing the course or posting your assignments, contact your instructor, the Columbia College Technology Solutions Center, or the D2L Helpdesk for assistance.  If you have questions about the Ed Map storefront, please contact the Columbia College Technology Solutions Center.  If you have technical problems with the VitalSource eText reader, please contact VitalSource.  Contact information is also available within the online course environment.

Online Tutoring

Smarthinking is a free online tutoring service available to all Columbia College students. Smarthinking provides real-time online tutoring and homework help for Math, English, and Writing. Smarthinking also provides access to live tutorials in writing and math, as well as a full range of study resources, including writing manuals, sample problems, and study skills manuals. You can access the service from wherever you have a connection to the Internet. I encourage you to take advantage of this free service provided by the college.

Access Smarthinking through CougarTrack under Students -> Academics -> Academic Resources.