137. Introduction to the Theory of Music. While this course requires no previous formal training in music theory, it is essential that students have a basic understanding of musical notation. (3). (HU).
A systematic study of common harmonic, contrapuntal, and rhythmic practices of major composers, especially of the eighteenth and nineteenth centuries.

139. Basic Musicianship: Aural Skills I. Music Theory 129 or placement by Theory Evaluation Survey Test. Limited to students enrolled in the School of Music unless admission is granted by the Chairman of the Department of Music Theory. (1). (Excl).
Sight-singing, vocal chord arpeggiation, keyboard and dictation exercises, major and minor keys including diatonic sequences, most frequent patterns of modulation and special techniques associated with 5-3 and 6-3 chords.

140. Basic Musicianship: Aural Skills II. Music Theory 139. (1) . (Excl).
Sight-singing, vocal chord arpeggiation, keyboard and dictation exercises, major and minor keys including diatonic sequences, most frequent patterns of modulation and special techniques associated with 5-3 and 6-3 chords.

149. Basic Musicianship: Writing Skills I. Music Theory 129 or placement by Theory Evaluation Survey Test. Limited to students enrolled in the School of Music unless admission is granted by the Chairman of the Department of Music Theory. (2). (Excl).
Review of rudiments; introduction to harmony and voice-leading involving triads, seventh chords, figured bass and procedures for four-voice writing; writing activities with diatonic harmony including cadential 6-4, analyses of harmony, phase-structure, texture and elements of configuration in shorter pieces.

150. Basic Musicianship: Writing Skills II. Music Theory 149. (2). (Excl).
Review of rudiments; introduction to harmony and voice-leading involving triads, seventh chords, figured bass and procedures for four-voice writing; writing activities with diatonic harmony including cadential 6-4, analyses of harmony, phase-structure, texture and elements of configuration in shorter pieces.

238. Introduction to Musical Analysis. Music Theory 137. (3). (HU).
A study of musical forms and of analytical techniques as applied to a broad range of styles.

239. Basic Musicianship: Aural Skills III. Music Theory 140 and 150, and concurrent enrollment in Music Theory 249. (1). (Excl).
Deals with chords to areas other then V; modulation to wider ranges of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords.

240. Basic Musicianship: Aural Skills IV. Music Theory 239 and concurrent enrollment in Music Theory 250. (1). (Excl).
Deals with chords to areas other then V; modulation to wider ranges of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half introduces 20th-C. materials.

249. Basic Musicianship: Written Skills III. Music Theory 140 and 150, and concurrent enrollment in Music Theory 239. (2). (Excl).
Writing activities involving melodic and rhythmic figuration, leading-tone seventh chords, diatonic modulation and chromatic voice-leading techniques; analysis of period structure, binary form, ternary forms.

250. Basic Musicianship: Written Skills IV. Music Theory 249 and concurrent enrollment in Music Theory 240. (2). (Excl).
Writing activities involving melodic and rhythmic figuration, leading-tone seventh chords, diatonic modulation and chromatic voice-leading techniques; analysis of period structure, binary form, ternary forms. Last half introduces 20th-C. materials such as atonality, exotic scales, pitch-class sets and 12-tone serialism.

351. Analysis of Tonal Music. Music Theory 238, 240, 334. (2). (Excl).
Techniques of analysis and their applications to sonata, rondo, fugue, variation, and related forms and procedures.

371. Instrumentation and Orchestration. Music Theory 238. (3). (Excl).
Emphasis on original compositions or arrangements for various instruments in string, wind, brass and percussion families. Final project is selecting and orchestrating a short piano composition for chamber orchestra.

405. Special Courses. Music Theory 240. (3). (Excl).
See Time Schedule in any particular term for description and prerequisites. Courses of recent years have included studies in analysis and aesthetics, jazz analysis, serialism, and traditional elaboration and ornamentation.

406. Special Courses. Music Theory 240. (3). (Excl).
See Time Schedule in any particular term for description and prerequisites. Courses of recent years have included studies in analysis and aesthetics, jazz analysis, serialism, and traditional elaboration and ornamentation.

430. Analysis of Twentieth-Century Music. Music Theory 351. (3). (Excl).
Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

473. Eighteenth Century Counterpoint. Music Theory 240 and Music Theory 351. (3). (Excl).
Involves analysis and practice of the craft of counterpoint based upon 18th-C. repertoire of Western music and scholarly treatises of both that period and the present. A diet of species counterpoint is emphasized in the first half, then varieties of contrapuntal craft of the difficulty of two- and three-;art inventions of J.S. Bach.