MUSIC

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.

Courses in Music History and Musicology (Division 678)

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]

342. Introduction to World Music. For non-School of Music students only. (3). (Excl).

This course will introduce students to the musical cultures of a few, select areas of the world (such as the Caribbean, West Africa, India, and Eastern Europe). Three lectures a week will be supplemented by listening tapes available at the School of Music and the Listening Lab in MLB. Students will be evaluated on the basis of listening quizzes, a midterm, a research paper, and a final exam. The department regards this course as a companion to MHM 341, Introduction to Music, a course for non-music concentrators that stresses Euro-American concert music. (McDaniel)

345. The History of Music. For non-School of Music students only. MHM 341 or equivalent. (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] (Stein)

408. Special Course. (2-3). (Excl). May be repeated for credit.
Section 001. Music of the Caribbean.
This course introduces the Caribbean as an area comprising many distinct cultures. Not only is each island unique culturally, but each contains within its borders a heterogeneous composition of peoples with evolving styles. Trinidad will be used as the model society for study because of its musical influence upon the entire Caribbean, the extraordinary array of musical practices, and its multi-ethnic makeup. The major body of the course will proceed by areas zoned musically for our purposes, and by musical type. That is, islands with historical French colonial contact will be handled together and distinct musical types of various countries will be studied by genre. We will search for the social, legislative, and economic factors that operate in favor of musical appropriation and against the continuity of individual traditional styles. Students are encouraged, in their written projects, to explore issues involving musical ideation, discovery, and decision-making in a select Caribbean area. Cost:1 WL:1 (McDaniel)

450. Music in the United States. (3). (HU).

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 terminology 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). There is also a course pack. 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)

461. The Music of Asia. (3). (Excl).

This course will survey some of the outstanding genres of music from the Middle East, India, Southeast Asia and the Far East. Middle Eastern MAQAMS, Indian RAGAS, Javanese GAMELAN music, Chinese QIN music and Japanese NOH drama music will be included in this survey of musics, their cultural contexts and their cultural meanings. Listening tapes will supplement the lectures. Evaluation will be based on genre recognition and on essay-type exams. No previous musical background is necessary. Technical language is kept to a minimum with the emphasis on learning to listen to music from other cultures, and coming to an understanding of the cultural values embedded in musical performances. Cost: 1 WL:1 (Becker)

Courses in Composition (Division 665)

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. Cost:1

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]

424. Advanced Composition. Composition 423. (2-4). (Excl).

See description for Composition 423. [COST:1]

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.

522. Seminar in Composition. Composition 521. (2-4). (Excl).

See description of Composition 521.


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