It is possible for LSA students to elect a concentration program in music, and this program is described in the LSA Bulletin. In addition, music courses are frequently elected by LSA students not concentrating in Music. Courses in Music History/Musicology, Composition, and Music Theory are elected for LSA credit. Some of these courses can be used as part of the humanities requirement in a Pattern I area distribution plan. LSA students may elect music performance courses for degree credit, but this credit counts toward the maximum twelve non-LSA credit hours that can be applied toward an A.B./B.S. degree or twenty non-LSA 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 LSA 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 textbooks, 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. 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. (Brown)
405. Special Course. (2-3). (HU). May be repeated for credit.
We will assess the place of music in Western culture from late antiquity through the early 15th century through lectures, readings, listening assignments, and class discussion. We will focus on a number of questions facing music historians, including: Can we reconstruct the musical aesthetic of Roman culture despite the lack of notated music? How did the spread of Christianity affect this aesthetic? How was music conceived and performed in the medieval Church? What was the place of music in the secular courts, in the universities? How did the arts of rhetoric, painting, and architecture relate to music? Students will be evaluated on the basis of two essay examinations and one term paper on a topic of their choice. This course designed for LSA undergraduate and graduate students with no previous background in music or music history. (Borders)
406. Special Course. (2-3). (HU). May be repeated for credit.
An explication of the development of the Afro-American musical traditions from African and Afro-American folk origins to Black American music in the twentieth-century. Topics include blues, jazz, gospel, contemporary popular music, and art music. Lecture material will be supplemented by required readings from books and articles, and recorded music (available at the School of Music listening room). Student performance will be evaluated by means of one-hour midterm exam, a midterm analytical paper (5-7 pages), and a final research or analytical paper (10-15 pages). Non-music majors by permission of instructor. (Brown)
407. Special Course. (2-3). (HU). May be repeated for credit.
This course discusses the music, career, influence and character of Wolfgang Amadeus Mozart. The focus of the course will be an evaluation of Mozart's music and its relationship to that of other composers from the 18th century. The style origins, synthesis, and influence of Mozart's music will be discussed through examining a large amount of repertoire, ideas of 18th century music theory, and evidence from Mozart's own writings. Students must have completed at least a basic music theory sequence (such as Music Theory 237-238, or Music Theory 139-240) before enrolling. The course will include a midterm and final exam, as well as a short research paper. Texts will include two volumes of scores and a volume of Mozart's letters.
420. Music of the 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, 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.
450. Music in the United States. (3). (HU).
In Fall, 1986, 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)
457/CAAS 400. History of Afroamerican Music I. Music background preferred. (3). (HU).
See CAAS 400. (Brown)
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)
460. Euro-American Folk and Popular Music. (3). (HU).
The course surveys traditional folk music in Europe and the U.S., concluding with a historical survey of American popular music. Both musical and cultural issues are dealt with. The student who takes the course should end up with a basic listening experience of several repertories and some knowledge of how music reflects the culture that produces it. Some musical background is desirable, though there are no official prerequisites. Assignments include selected readings, listening to weekly tapes, and writing at least one paper. Music students are required to transcribe and analyze a piece related to the course; a term paper is required of graduate students. Evaluation is based on two hour exams and a final. (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.
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)
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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