THEORY 460 - Special Courses
Section: 003
Term: FA 2009
Subject: Music Theory (THEORY)
Department: Music School
Class Misc Info:
Analysis of Modernist Music— “Four Crazies”.
Advisory Prerequisites:
250 or permission of instructor.
May be repeated for credit.
Undergrad and Grad
Meet Together Classes:
Primary Instructor:

This course will attempt to integrate many streams of musical composition (beyond the notion of genre) in the late 20th-century by examining four masters who sometimes are judged as “peculiar, strange, or even crazy”: Sun Ra, Olivier Messiaen, Pauline Oliveros, and John Cage. By performing the music and hearing in-class performances, the class will make an effort to understand the music intellectually and experientially, as well as explore the deep spiritual/religious underpinnings of their music and lives. In addition, the class will devote roughly one month to Carnatic (South Indian) Singing as a means to more fully understand deep trends in Post-Modern Music.

Prerequisite: THEORY 250 or 259 or permission of the instructor.

THEORY 460 - Special Courses
Schedule Listing
001 (LEC)
MW 1:00PM - 2:30PM
Note: How does music affect our perception of political film? How does music manipulate our feelings for or against the subject matter? In this course we will survey some of the major films in this genre, beginning with Battle of the Somme (1916), and ending with Songs of War (2012) as well as more recent political films. In addition to readings on the political/historical topic, we will learn basic terminology and analytical techniques for film music.
002 (LEC)
MW 2:30PM - 4:00PM
003 (LEC)
MW 2:30PM - 4:00PM
Note: The course is about the classical music traditions of North India, also known as Hindustani music. The first half of the course focuses on acquiring mastery over the basic musical materials of this idiom through singing, improvisation, and transcription exercises. The second half of the course builds on these skills to theorize about and analyze aspects of North Indian classical pitch (i.e. raga) and rhythmic (i.e. tala) structure, form, performance practice, and their connection to other musical idioms, including the classical music of South India, and the classical and popular musical traditions of the West.
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