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. The course grade is based on three exams and a short written project in aural analysis. 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).
This course examines European music, its performance and reception, from the Middle Ages through the Baroque period (Bach, Handel). Musical works will be discussed on their own terms, as well as within broader cultural and historical frameworks. Lecture material will be supplemented by recorded music (tapes available at the UGLi Sight and Sound Center) and readings from required textbook(s), titles to be announced. Because students who are not music concentrators elect this course, the ability to read music is not necessary. However, familiarity with the topics and terminology of Music History and Musicology 341 is assumed and essential. Student performance will be evaluated by means of two one-hour examinations, a two-hour final examination, and a 5-7 page paper due after midterms. (Borders)
405. Special Course. (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 systems on MTS, TAXIR and TEXTEDIT. Prerequisites: at least a total of l6 hours in music history or theory. Method of instruction is discussion. (D. Crawford)
450. Music in the United States. (3). (HU).
In Fall, 1984, 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 terminolog is not avoided, students in the course should have some musical background, preferably MHM 341 or its equivalent. The course concentrates on "classical" music and jazz. Two textbooks are used: Hitchcock's Music in the U.S. (Prentice-Hall) and Charles Ives' Essays Before a Sonata (Norton). Students will also be asked to buy an LP recording of a jazz performance, to be determined. Required listening tapes for the course are available in both the UGLi and School of Music listening rooms. Tests include two hour exams and a final; 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. Students are encouraged 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)
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 taking the course. 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. Advanced Composition. Composition 422. (2-4). (Excl).
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)
424. Advanced Composition. Composition 423. (2-4). (Excl).
A continuation of Composition 423. For description see Composition 423. (Albright)
425. Advanced Composition. Comp. 424. (2-4). (Excl).
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)
426. Advanced Composition. Comp. 425. (2-4). (Excl).
A continuation of Composition 425. For description, see Composition 425. (Albright)
521. Seminar in Composition. Composition 424. (2-4). (Excl).
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)
522. Seminar in Composition. Composition 521. (2-4). (Excl).
A continuation of Composition 521. For description see Composition 521. (Bassett)
237. 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). (Excl).
The course covers basics of music theory and musical notation: scales, keys, intervals, triads, clefs, meter, rhythm, and some basic harmony. The course objectives are development of fluency in reading and writing musical notation, improvement of the musical ear, and provision of a foundation for music analysis skills. Ideally students should have some basic music reading ability, but students without it can catch up with some extra effort. The course is a prerequisite to Music Theory 238, Introduction to Musical Analysis. There are two lectures and one lab per week, devoted partially to aural skills development. Student evaluation is by assignments and exams.
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