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 and 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 MLB Language Lab. The course grade is based on three exams and a concert report. This is the first course suggested for the LSA concentration in Music. (Libby)
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 language lab listening facilities) 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, and a two-hour final examination. (Leverett)
221. Introduction to Elementary Composition. For non-School of Music students only. (3). (Excl).
Designed for students with limited musical background who wish to gain an understanding of the creative process and acquire a greater appreciation for contemporary music by composing. The course investigates traditional compositional crafts, as well as more current or experimental tendencies, including pop, ethnic and jazz idioms. Directed student creative projects receive individual attention. While no prerequisites are required, the ability to read music is strongly recommended.
421. Creative Composition. Non-School of Music students must have completed Composition 222 or Theory 238. (3). (Excl).
An introduction to composition for students interested in concentrating on original creative work in contemporary idiom. Student creative projects for which individual instruction is provided, are complimented by by-weekly lectures, investigating appropriate aspects of musical language and compositional craft.
422. Creative Composition. Composition 421. (3). (Excl).
See description for Composition 421.
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 of a broad range of Twentieth Century literature is required.
424. Advanced Composition. Composition 423. (2-4). (Excl).
See description for Composition 423.
425. Advanced Composition. Comp. 424. (2-4). (Excl).
Stresses the shaping and instrumentation problems involved in composing for the mixed consort and examines differing approaches to musical notation. Weekly seminar participation is required.
426. Advanced Composition. Comp. 425. (2-4). (Excl).
See description for Composition 425.
521. Seminar in Composition. Composition 424. (2-4). (Excl).
Addresses the problems of composing for large instrumental forces, including 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. Participation in a seminar concerned with the detailed study of recent compositions, techniques and esthetics is required.
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