It is possible for LS&A students to elect a concentration program in music, and this program is described in the LS&A Bulletin. In addition, music courses are frequently elected by LS&A students not concentrating in Music. Courses in Music History/Musicology, Composition, and Music Theory are elected for LS&A credit. Some of these courses can be used as part of the humanities requirement in a Pattern I area distribution plan. LS&A students may elect music performance courses for degree credit, but this credit counts toward the maximum twelve non-LS&A credit hours that can be applied toward an A.B./B.S. degree or twenty non-LS&A credit hours that can be applied toward a B.G.S. degree.
341. Introduction to the Art of Music. For non-School of Music students only. (3). (HU).
This is a course in listening to music. By studying the various genres, styles, and aesthetic ideals of Western art music, you will learn how to listen perceptively and creatively. No musical background is necessary. The course begins with the elements of music. After a brief survey of the artistic and cultural heritage of Western music, we will concentrate on symphony, opera, concerto, and song, by Baroque, Classical, and Romantic composers. We will also discuss the different styles and trends in twentieth-century music. There are three lectures and one discussion section per week. Tapes of assigned works are available for private study in the Undergraduate Library Listening Room. This is the first course suggested for the LS&A concentration in Music. (Monson)
345. The History of Music. For non-School of Music students only. (3). (HU).
Many students elect this course as a humanities distribution course, and most students in the course are not music concentrators. The course focuses on medieval, renaissance, and baroque music in Europe. Rudiments of musical notation are presented so that students without musical training can be accommodated. The ultimate objective of the course is to build a broad sense of historical perspective so students can place personal musical experiences within an historical frame of reference. This course is a logical election for students who want to elect Music History 346, a chronological survey of music after the baroque period. Listening assignments consist of tapes which can be played in the Undergraduate Library Listening Room, and the lectures are based upon these taped examples. Students are expected to purchase an anthology of music entitled Norton Anthology of Western Music, Vol. I, Claude V. Palisca, ed., because many of the tape examples are contained in that anthology. The class analyzes selected passages, and students are encouraged to follow the scores while listening to the tapes. There is also a textbook: Donald Jay Grout's A History of Western Music, third edition, shorter. Many of the musical examples discussed in the text are heard on the tapes. Student progress is evaluated by two one-hour examinations and a final examination. The examinations are based primarily on the lecture topics. (Taylor)
405, 406. Special Courses. (2-3). (HU). May be repeated for credit.
Section 001 – Computer-Assisted Music Research. The main project will be an independent research topic that is assisted by a computerized data management system. The chosen subject can reflect interest in music history, ethnomusicology, or music analysis. The final paper will be a formal one prepared with automated word processing. Most students will probably work with two MTS systems, TAXIR and TEXTEDIT. Prerequisites: at least a total of l6 hours in music history or theory. Method of instruction is discussion. (D. Crawford)
Section 001 – The Music of Johannes Brahms. A study of Johannes Brahms' musical style based on the analysis of selected works. The course will consist of lectures and examinations (a term paper may be asked in lieu of one examination). Class members will be expected to study and analyze music outside of class, for which the following prerequisites are expected: MHM 240 or 346, MT 238 or 240. The course is not part of a departmental sequence. No required text; purchase of some scores may be asked. (Wiley)
413. Opera from Mozart to the Present. (3). (HU).
The course covers major developments in opera from its beginnings in the late 16th century to the present day, with emphasis on the works included in current repertoires. Works are treated in chronological order, and seen as examples of the principal operatic types such as opera seria, opera buffa, reform opera, music drama, verismo, and American opera. Important operatic issues such as dramatic and musical structures, instrumental and vocal styles, and staging will also be considered. Study of representative works will be through tapes and libretti of selected scenes. Readings will be from Robert Donington, The Opera, and Ulrich Wiesstein, The Essence of Opera, with other readings and score-study encouraged. Students will be asked to attend at least one opera during the term. Class participation, two tests, an opera review, and a final examination will be used to evaluate student progress. (Taylor)
420. Music of the Seventeenth Century (Baroque). (3). (HU).
The course is a survey of the music of the Baroque Period (1600-1750) from Claudio Monteverdi and the Florentine Camerata through Bach and Handel. The development of national styles is discussed, as are the influences across national boundaries. Genres, such as opera, concerto, keyboard music, sacred music, chamber music, etc. are traced through the period with the aid of taped musical examples and an anthology of music. Significant writings and editions of Baroque music are discussed, as well as issues of social function and performance practice. Students are evaluated on the basis of midterm and final examinations and a term paper. The required texts are Palisca, Baroque Music (second edition) and Davidson and Apel, Historical Anthology of Music , Vol II, and a course pack. (Taylor)
450. Music in the United States. (3). (HU).
In Fall 1983 this course is jointly offered with American Culture 496.
Music in the U.S. is a survey of American musical history, open to undergraduate and graduate students, both music and non-music majors. Since listening is an important part of the course, and since technical terminology is not avoided, students in the course should have some musical background, preferably MHM 341 or its equivalent. Since another course in the department, MHM 460, covers folk and "popular" music, we concentrate on "classical" music and jazz. Three textbooks are used: Hitchcock's Music in the U.S. (Prentice-Hall), Charles Ives' Essays Before a Sonata (Norton), and a book on jazz history. Students are also required to listen to prepared tapes in either the UGLi or School of Music listening rooms. Tests include two hour exams and a final, and papers are required of graduate students. I spend a fair amount of time talking about music in class: recorded and live examples make up a large part of the lecture time. I'm also interested in encouraging students to analyze their own musical experiences, which I believe helps them reach a better understanding of music as a part of our culture. (R. Crawford)
459. Music Cultures of Africa and South America. (3). (HU).
This lecture course is a survey of both the music and the cultural environment
supporting the music of Africa, South America, the Caribbean Islands and Mexico. Musical styles will be studied both as systems and as complex interactions
with cultural beliefs and social actions. Listening tapes which supplement the lectures are run at the Audio Room of the School of Music and at the
Sight and Sound Center at the UGLi. In addition to midterm and final examinations, each student is required to write a term paper focusing on one of the musics
covered in the course. No prerequisites or formal musical background are
required. (J. Becker)
221. Introduction to Elementary Composition. For non-School of Music students only. (3). (Excl).
This course deals mainly with composing and appreciation of contemporary art music. Time is also spent with pop and jazz, ethnic and traditional classical music. Assignments are creative but directed. Teaching assistants give individual attention to students while working on projects. Attendance at concerts of contemporary music is required. A balance is maintained between traditional compositional crafts and advanced or experimental tendencies. Many outstanding American composers have started in this class. No musical background is required although the ability to read music will be extremely helpful. The course is also recommended for students outside of music programs who have had rather extensive backgrounds in music, performance, and even composing. This course will provide surer "footing" and guarantee better progress than higher level courses initially. (Albright)
421. Creative Composition. Non-School of Music students must have completed Composition 222 or Theory 238. (3). (Excl).
This course is an introduction to composition for musicians who wish assistance in such work and is usually elected by upper level undergraduates and graduate students. It focuses on a study of the language and methods of twentieth century composition with the emphasis always on composing. The course format includes lectures by the course instructor on composition and on various examples of music; lessons with graduate teaching assistants; and in class performances of music composed by the students in the class. Course requirements include preparation of master sheets for the musical scores and out-of-class rehearsal and performance of music written by students enrolled in the course. Student compositions are critiqued by both the course instructor and the other students in the class. The course prerequisite is one year of either composition or theory. (Bolcom)
422. Creative Composition. Composition 421. (3). (Excl).
Music 422 is a continuation of Music 421. For a description, see Music 421. (Bolcom)
423, 424. Advanced Composition. Composition 422. Composition 423
is prerequisite to 424. (2-4 each). (Excl).
Composition 423. For students capable of original creative work. Individual instruction with course instructor is provided. Participation in a weekly seminar devoted to the examination and analysis of a broad range of Twentieth Century literature is required. Previous composition courses required. (Albright)
Composition 424. A continuation of Composition 423. For description see Composition 423. (Albright)
425, 426. Advanced Composition. Comp. 424. Comp. 425 is a prerequisite
to 426. (2-4 each). (Excl).
Composition 425. Stresses different approaches to notation, such as graphic or proportional, and focuses on the shaping and instrumentation problems involved in composing for the mixed consort. Instruction is individualized. Participation in a weekly seminar is also required. (Bassett)
Composition 426. A continuation of Composition 425. For description, see Composition 425. (Albright)
521, 522. Seminar in Composition. Composition 424. Comp. 521 is
prerequisite to 522. (2-4 each). (Excl).
Composition 521. This course addresses the problems of composing for large ensemble or orchestra. Special attention is given to craft, instrumentation techniques and personal statement. Score preparation and performance material extraction, manuscript reproduction methods and presentation are stressed. Individual instruction is provided. Participation in a seminar concerned with the detailed study of recent compositions, techniques and aesthetics is required. (Albright)
Composition 522. A continuation of Composition 521. For description see Composition 521. (Bassett)
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