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Fall Academic Term 2001 Course Guide

Note: You must establish a session for Fall Academic Term 2001 on wolverineaccess.umich.edu in order to use the link "Check Times, Location, and Availability". Once your session is established, the links will function.

Courses in Music Theory


This page was created at 7:08 PM on Wed, Oct 10, 2001.

Fall Academic Term, 2001 (September 5 December 21)

Open courses in Music Theory
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Wolverine Access Subject listing for THEORY

Fall Term '01 Time Schedule for Music Theory.

What's New This Week in Music Theory.

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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 in an 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 AB/BS degree or twenty non-LS&A credit hours that can be applied toward a BGS degree. Courses in Music History/Musicology, Composition, Music Theory, and Performing Arts Technology are listed in the Time Schedule under the School of Music.

The following courses count as LS&A courses for LS&A degree credit.


THEORY 137. Introduction to the Theory of Music.

Section 001.

Instructor(s): Andrew Mead (amead@umich.edu)

Prerequisites & Distribution: While this course requires no previous formal training in music theory, it is essential that students have a basic understanding of musical notation. (3). (HU).

Credits: (3).

Course Homepage: No homepage submitted.

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 the 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 Music Analysis. There are two lectures and one lab per week, devoted to aural skills development. Student evaluation is by assignments and exams.

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THEORY 137. Introduction to the Theory of Music.

Section 005.

Instructor(s): James Aikman (jwaik@umich.edu)

Prerequisites & Distribution: While this course requires no previous formal training in music theory, it is essential that students have a basic understanding of musical notation. (3). (HU).

Credits: (3).

Course Homepage: No homepage submitted.

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 the 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 Music Analysis. There are two lectures and one lab per week, devoted to aural skills development. Student evaluation is by assignments and exams.

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THEORY 139. Basic Musicianship: Aural Skills I.

Instructor(s):

Prerequisites & Distribution: Music Theory 129 or placement by Theory Evaluation Survey Test. Limited to students enrolled in the School of Music unless admission is granted by the Chairman of the Department of Music Theory. (1). (Excl).

Credits: (1).

Course Homepage: No homepage submitted.

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.

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THEORY 140. Basic Musicianship: Aural Skills II.

Instructor(s): Goltz

Prerequisites & Distribution: Music Theory 139. (1). (Excl).

Credits: (1).

Course Homepage: No homepage submitted.

A continuation of Music Theory 139. 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.

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THEORY 149. Basic Musicianship: Writing Skills I.

Instructor(s): Dapogny

Prerequisites & Distribution: Music Theory 129 or placement by Theory Evaluation Survey Test. Limited to students enrolled in the School of Music unless admission is granted by the Chairman of the Department of Music Theory. (2). (Excl).

Credits: (2).

Course Homepage: No homepage submitted.

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, and elements of figuration in shorter pieces.

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THEORY 239. Basic Musicianship: Aural Skills III.

Instructor(s):

Prerequisites & Distribution: Music Theory 140 and 150, and concurrent enrollment in Music Theory 249. (1). (Excl).

Credits: (1).

Course Homepage: No homepage submitted.

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.

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THEORY 249. Basic Musicianship: Written Skills III.

Section 001, 002, 004.

Instructor(s): Marion

Prerequisites & Distribution: Music Theory 140 and 150, and concurrent enrollment in Music Theory 239. (2). (Excl).

Credits: (2).

Course Homepage: https://coursetools.ummu.umich.edu/2001/fall/theory/249/001.nsf

This course aims to supply a foundation for advanced work in performance, tonal composition, tonal analysis, or musicology. It continues the study of composition and analysis begun in the THEORY 149-150 sequence. During the semester students will immerse themselves in the materials and techniques of composition used by composers such as Bach, Mozart, Beethoven, Chopin, Brahms, and Liszt with the aim of deepening their understanding of and feeling for musical expression and language. Tonality, surely one of the most miraculous properties in the universe of human experience, is a principle underlying music from the common-practice period (roughly from Bach to early Schoenberg). Accordingly, the musical power of tonality is this course's guiding theme.

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THEORY 249. Basic Musicianship: Written Skills III.

Section 003.

Instructor(s): Sarath

Prerequisites & Distribution: Music Theory 140 and 150, and concurrent enrollment in Music Theory 239. (2). (Excl).

Credits: (2).

Course Homepage: No homepage submitted.

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. Last half of 250 introduces 20th-century materials such as atonality, exotic scales, pitch-class sets, and 12-tone serialism.

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THEORY 351. Analysis of Tonal Music.

Section 001, 002.

Instructor(s): Everett

Prerequisites & Distribution: Music Theory 238, 240, 334. (2). (Excl).

Credits: (2).

Course Homepage: No homepage submitted.

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

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THEORY 351. Analysis of Tonal Music.

Section 003.

Instructor(s): Derr

Prerequisites & Distribution: Music Theory 238, 240, 334. (2). (Excl).

Credits: (2).

Course Homepage: No homepage submitted.

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

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THEORY 351. Analysis of Tonal Music.

Section 004.

Instructor(s): Janello

Prerequisites & Distribution: Music Theory 238, 240, 334. (2). (Excl).

Credits: (2).

Course Homepage: No homepage submitted.

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

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THEORY 371. Instrumentation and Orchestration.

Section 001.

Instructor(s): Aikman

Prerequisites & Distribution: Music Theory 238. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

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.

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THEORY 406. Special Courses.

Section 001 Music, Gender, and Sexuality. Meets with Music Theory 506.001.

Instructor(s): Nadine Hubbs

Prerequisites & Distribution: Music Theory 240. (3). (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided.

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THEORY 407. Directed Individual Studies.

Instructor(s):

Prerequisites & Distribution: Permission of department chair. (2-4). (Excl). (INDEPENDENT). May be repeated for credit.

Credits: (2-4).

Course Homepage: No homepage submitted.

No Description Provided.

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THEORY 430. Analysis of Twentieth-Century Music.

Section 001 Meets with Music Theory 530.001.

Instructor(s): Kirschner

Prerequisites & Distribution: Music Theory 351. (3). (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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

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THEORY 473. Eighteenth-Century Counterpoint.

Section 001 Meets with Music Theory 573.001.

Instructor(s): Korsyn

Prerequisites & Distribution: Music Theory 240 and 351. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

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.

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THEORY 473. Eighteenth-Century Counterpoint.

Section 002 Meets with Music Theory 573.002.

Instructor(s): Derr

Prerequisites & Distribution: Music Theory 240 and 351. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

Involves analysis and practice of the craft of counterpoint based upon 18th-C. 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.

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THEORY 506. Special Studies.

Section 001 Music, Gender, and Sexuality. Meets with Music Theory 406.001.

Instructor(s): Hubbs

Prerequisites & Distribution: (Excl). (INDEPENDENT).

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

No Description Provided.

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THEORY 530. Analysis of Twentieth-Century Music.

Section 001 Meets with Music Theory 430.001.

Instructor(s): Kirschner

Prerequisites & Distribution: (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

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

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

THEORY 573. Eighteenth-Century Counterpoint.

Section 001 Meets with Music Theory 473.001.

Instructor(s): Korsyn

Prerequisites & Distribution: (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

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.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

THEORY 573. Eighteenth-Century Counterpoint.

Section 002 Meets with Music Theory 473.002.

Instructor(s): Derr

Prerequisites & Distribution: (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

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.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Graduate Course Listings for THEORY.


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This page was created at 7:08 PM on Wed, Oct 10, 2001.


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