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LSA Course Guide Search Results: UG, GR, Fall 2007, Dept = THEORY
 
Page 1 of 1, Results 1 — 47 of 47
Title
Section
Instructor
Term
Credits
Requirements
THEORY 135 — Intro Music Theory Music Theory Major
Section 001, LEC

Instructor: Gosman,Alan Robert

FA 2007
Credits: 3

Course leads to THEORY 236.

Advisory Prerequisite: THTR MAJORS

THEORY 137 — Intro Mus Theory
Section 001, LEC

Instructor: Hastings,Charise Y

FA 2007
Credits: 3
Reqs: HU

Course leads to THEORY 138.

Advisory Prerequisite: No previous formal training in music theory only basic understanding of musical notation

THEORY 139 — Bmus Aural Sk I
Section 001, LAB

Instructor: Hamel,Remi Kleinstein

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 002, LAB

Instructor: Davis,Lowell George St Luke
Instructor: Fournier,Karen Jeanne; homepage

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 003, LAB

Instructor: Davis,Lowell George St Luke
Instructor: Fournier,Karen Jeanne; homepage

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 004, LAB

Instructor: Hamel,Remi Kleinstein

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 005, LAB

Instructor: Beecher,Lembit Lepasaar

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 007, LAB

Instructor: Woods,Alyssa Susan

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 008, LAB

Instructor: Woods,Alyssa Susan

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 139 — Bmus Aural Sk I
Section 010, LAB

Instructor: Sullivan,Timothy R

FA 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 140 — Bmus Aural Sk I I
Section 001, LAB

Instructor: Sullivan,Timothy R

FA 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 149 — Bmus Wrtg Sk I
Section 001, LEC

Instructor: Fournier,Karen Jeanne; homepage

FA 2007
Credits: 2

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, phrase-structure, texture, elements of figuration in shorter pieces, basic conducting skills, and rehearsal techniques.

THEORY 149 — Bmus Wrtg Sk I
Section 002, LEC

Instructor: Mead,Andrew W; homepage

FA 2007
Credits: 2

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, phrase-structure, texture, elements of figuration in shorter pieces, basic conducting skills, and rehearsal techniques.

THEORY 149 — Bmus Wrtg Sk I
Section 003, LEC

Instructor: Mead,Andrew W; homepage

FA 2007
Credits: 2

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, phrase-structure, texture, elements of figuration in shorter pieces, basic conducting skills, and rehearsal techniques.

THEORY 211 — Basic Th at Keybd
Section 001, REC

Instructor: Stevens,Daniel Brian

FA 2007
Credits: 2
Advisory Prerequisite: THRY 140,150

THEORY 211 — Basic Th at Keybd
Section 002, REC

Instructor: Stevens,Daniel Brian

FA 2007
Credits: 2
Advisory Prerequisite: THRY 140,150

THEORY 239 — Bmus Aural Sk I I I
Section 001, LAB

Instructor: Yen,Ming-Hsiu

FA 2007
Credits: 1
Other: Honors

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 239 — Bmus Aural Sk I I I
Section 002, LAB

Instructor: Levey,John Carroll

FA 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 239 — Bmus Aural Sk I I I
Section 003, LAB

Instructor: Yen,Ming-Hsiu

FA 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 239 — Bmus Aural Sk I I I
Section 004, LAB

Instructor: Heetderks,David James

FA 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 239 — Bmus Aural Sk I I I
Section 005, LAB

Instructor: Levey,John Carroll

FA 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 239 — Bmus Aural Sk I I I
Section 006, LAB

Instructor: Beecher,Lembit Lepasaar

FA 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 239 — Bmus Aural Sk I I I
Section 007, LAB

Instructor: Heetderks,David James

FA 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 249 — Bmus Wrtg Sk I I I
Section 001, LEC

Instructor: Gosman,Alan Robert

FA 2007
Credits: 2

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.

Advisory Prerequisite: THRY 150&140

THEORY 249 — Bmus Wrtg Sk I I I
Section 002, LEC

Instructor: Petty,Wayne C; homepage

FA 2007
Credits: 2

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.

Advisory Prerequisite: THRY 150&140

THEORY 259 — Accel Wrtg Sk III
Section 001, LEC

Instructor: Hubbs,Nadine M; homepage

FA 2007
Credits: 3
Other: Honors

This section by invitation only, for students who took accelerated Theory 160 last winter term (or equivalent).

Advisory Prerequisite: 160,150&P.I.

THEORY 334 — Soph Thry-Writn Skl
Section 001, REC

Instructor: Everett,Walter T; homepage

FA 2007
Credits: 2
Advisory Prerequisite: THRY 332&333

THEORY 407 — Directed Indiv Stdy
Section 001, IND

FA 2007
Credits: 2 — 4

Special topics that vary from term to term.

Advisory Prerequisite: Permission of department chairman.

THEORY 408 — Senior Project
Section 001, IND

FA 2007
Credits: 2
Advisory Prerequisite: SR.MAJ THRY

THEORY 430 — Advanced Anl Tonal Music
Section 001, LEC

Instructor: Everett,Walter T; homepage

FA 2007
Credits: 3

In-depth analysis emphasizing elements of structures evident in various important examples, offering a variety of analytical problems; readings on tonal forms.

Advisory Prerequisite: THEORY 250

THEORY 433 — Analysis of 20th Century Modernst Music
Section 001, REC

Instructor: Hastings,Charise Y

FA 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: THEORY 250

THEORY 433 — Analysis of 20th Century Modernst Music
Section 002, REC

Instructor: Johnston,Blair Allen

FA 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: THEORY 250

THEORY 442 — 18th C Counterpoint
Section 001, REC

Instructor: Satyendra,Ramon; homepage

FA 2007
Credits: 3

Involves analysis and practice of the craft of counterpoint based upon 18th-century 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-part inventions of J.S. Bach.

Advisory Prerequisite: THEORY 250

THEORY 442 — 18th C Counterpoint
Section 002, REC

Instructor: Satyendra,Ramon; homepage

FA 2007
Credits: 3

Involves analysis and practice of the craft of counterpoint based upon 18th-century 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-part inventions of J.S. Bach.

Advisory Prerequisite: THEORY 250

THEORY 454 — Orchestration I
Section 001, LEC

Instructor: Chuck,Gavin Paul; homepage

FA 2007
Credits: 3

Emphasis on original compositions or arrangements for various instruments in string, wind, brass, and percussion families. Also reading and listening assignments. Final project is selecting and orchestrating a short piano composition for chamber orchestra. Undergraduate credit only.

Advisory Prerequisite: THEORY 250

THEORY 531 — Schenkerian Theory and Analysis I
Section 001, SEM

Instructor: Petty,Wayne C; homepage

FA 2007
Credits: 3

The course teaches the basic techniques of Schenkerian analysis, a method for understanding musical works through analysis using musical notation to represent aural experience. The course emphasizes basic concepts of linear, contrapuntal, and harmonic structure in tonal music; these concepts guide analyses of short compositions and excerpts from longer works. Students learn to express their analytical insights through the preparation of analyses presented in Schenker's style of musical notation.

Advisory Prerequisite: Permission of instructor.

THEORY 533 — Analysis of Modernist Music
Section 001, REC

Instructor: Hastings,Charise Y

FA 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: Music Theory 250 or equivalent.

THEORY 542 — Eighteenth-Century Counterpoint
Section 001, REC

Instructor: Satyendra,Ramon; homepage

FA 2007
Credits: 3

Involves analysis and practice of the craft of counterpoint based on 18th-century 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-part inventions of J. S. Bach.

Advisory Prerequisite: Theory 250 or equivalent.

THEORY 542 — Eighteenth-Century Counterpoint
Section 002, REC

Instructor: Satyendra,Ramon; homepage

FA 2007
Credits: 3

Involves analysis and practice of the craft of counterpoint based on 18th-century 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-part inventions of J. S. Bach.

Advisory Prerequisite: Theory 250 or equivalent.

THEORY 570 — Directed Individual Study
Section 001, IND

FA 2007
Credits: 1 — 4

Individual work and reading for graduate students.

Advisory Prerequisite: Permission of department chairman.

THEORY 590 — Teaching Tonal Theory
Section 001, REC

Instructor: Fournier,Karen Jeanne; homepage

FA 2007
Credits: 3

Integration of practical teaching techniques with evaluation of texts and anthologies. Coverage includes fundamentals, harmony, ear training, sight-singing, keyboard harmony, counterpoint, tonal analysis, and various integrated approaches; introduction to some computer-assisted materials.

THEORY 595 — Pract in Teaching
Section 001, SEM

Instructor: Everett,Walter T; homepage

FA 2007
Credits: 1

This course is designed to satisfy the training/orientation requirement for graduate student teaching assistants.

THEORY 805 — Seminar in Theory
Section 001, SEM

Instructor: Chuck,Gavin Paul; homepage

FA 2007
Credits: 2 — 3

This doctoral seminar examines the recent development of cognitive music theory in the context of the emerging sciences of the mind. Advances in neuroscience, cognitive science, and even computer science are leading to radically new conceptions of the mind, impacting fields long concerned with knowledge, meaning, and communication — psychology, linguistics, and social anthropology, for example. Recent music-theoretical research likewise has benefited from cognitive scientific research in its goal to understand musical knowledge and experience.

On the other hand, if this is, as some claim, the age in which we will learn how the mind works, cognitive sciences also stand to benefit from the perspective offered by musicians: music — an essential way in which humans experience and understand the world — shows the mind at work in particular ways different from those we use, for example, in language. The cognitivist shift in the field thus asserts a role for music in discourse about the mind. Taken together with research by linguists, psychologists, anthropologists, and neuroscientists, among others, work by music theorists promises real insight into the mind.

Consideration in the seminar of this interdisciplinary give-and-take will engage broader historical and philosophical issues, including: the ways in which various perspectives on meaning have affected the discipline's scholarly agendas; the ever-present comparison between language and music; the role of the body in music, in conceptions of music, and in theories of the mind; and the relationship among perception, cognition, and conceptualization.

Advisory Prerequisite: Permission of instructor.

THEORY 807 — Research Project
Section 001, IND

FA 2007
Credits: 2 — 4

Studies with members of the Music Theory faculty aimed at developing the student's research abilities and preparing the student for the dissertation essay. In past experience, this course has sometimes led to the production of published papers.

Advisory Prerequisite: Permission of department chairman.

THEORY 900 — Preliminary Exam
Section 001, IND

FA 2007
Credits: 1

Preliminary examinations in field, both oral and written, are required prior to admission to candidacy. These examinations cover not only the student's field of specialization and the cognate fields, but also the broad general field of music and the relationships between music and other disciplines. These examinations are not necessarily based upon the specific individual courses taken by the student, although course work will be exceedingly helpful in preparing for the exams. During the first year of doctoral study each student in the program will be given a list of 60 to 75 works from which to choose or be assigned ten works on which to be examined during a general oral preliminary examination. These works should be studied both analytically and historically. The preliminary examinations will be based on these scores, but it is a comprehensive examination and may include other material.

THEORY 990 — Diss-Precand
Section 001, IND

FA 2007
Credits: 1 — 8

Election for dissertation work by doctoral student not yet admitted as a Candidate.

Advisory Prerequisite: Election for dissertation work by doctoral student not yet admitted as a Candidate.

THEORY 995 — Diss-Cand
Section 001, IND

FA 2007
Credits: 8

Graduate School authorization for admission as a doctoral Candidate. N.B. The defense of the dissertation (the final oral examination) must be held under a full term Candidacy enrollment period. The program culminates in a two-part dissertation consisting of an original composition for large ensemble and a substantial essay on a theoretical topic. Each of these projects will be undertaken after the acceptance of a proposal from the student by the steering committee. The dissertation committee, which may include members of the steering committee, will consist of at least four faculty members, including at least one from the Composition Department, at least one from the Theory Department, and at least one from outside the School of Music. A comprehensive oral examination on the candidate's dissertation will be conducted by the dissertation committee following the completion of the dissertation.

Enforced Prerequisites: Graduate School authorization for admission as a doctoral Candidate

 
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