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. Through 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, a concert report, and a few short writing assignments. This is the first course suggested for the LS&A concentration in Music. [Cost:2] [WL:4] (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 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. [Cost:2] [WL:4]
405. Special Course. (2-4). (Excl). May be repeated for credit.
SECTION 001 – HISTORY OF JAZZ. An explication of the development of the jazz tradition from its African and Afro-American folk origins to contemporary developments. Topics include blues, early jazz ("King" Oliver and Louis Armstrong) and swing bands to Free Jazz and "new" creative music. Lecture material will be supplemented by required readings from books, articles, and recorded music (available from the language lab listening facilities and the School of Music listening lab). Student performance will be evaluated by means of three one-hour exams and a project. [Cost:2] [WL:4]
407. Special Course. (2-3). (Excl). May be repeated for credit.
SECTION 001 – MUSIC OF MOZART. 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 137-238, 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. [Cost:2] (Monson)
413. History of Opera. (3). (Excl).
This lecture course surveys the history of opera from Monteverdi to the present. The text is Robert Donington, THE OPERA. A considerable amount of assigned listening is involved. Discussion of representative operas deals with compositional, literary, and theatrical features. Non-music majors are welcome if they have musical backgrounds. Grades are determined by midterm and final examinations as well as a term paper. [Cost:1] [WL:1] (D. Crawford)
450. Music in the United States. (3). (HU).
In fall, 1990, this course is jointly offered with American Culture 496. Music in the U.S. is a survey of American musical history, open to undergraduates and graduate students, both music and non-music concentrators. 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 241 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 part of our culture. [Cost:2] [WL:1] (R. Crawford)
459. Music Cultures of Africa and South America. (3). (Excl).
This course is a survey of the musics of the Caribbean, Mexico, South America and Africa. Each genre will be considered within its cultural context. No musical background is necessary. Listening tapes supplement the lectures. The course grade is based upon listening quizzes in which the student is asked to identify the examples, a midterm and a final exam. Depending upon scheduling, attendance at some live performances may be required. [Cost:2] [WL:4] (Becker)
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. [COST:1] (Rush)
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. [COST:1] (Wilson)
422. Creative Composition. Composition 421. (3). (Excl).
See description for Composition 421. [COST:1] (Bassett)
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. [COST:1] (Bolcom)
424. Advanced Composition. Composition 423. (2-4). (Excl).
See description for Composition 423. [COST:1] (Bassett)
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. [COST:1] (Bolcom)
426. Advanced Composition. Comp. 425. (2-4). (Excl).
See description for Composition 425. [COST:1] (Albright)
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. [COST:1] (Bassett)
522. Seminar in Composition. Composition 521. (2-4). (Excl).
See description of Composition 521. (Lerdahl)
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