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 (Whiting)

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

This course will introduce students to the musical cultures of a few, select musical 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, 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. MHM 345 can serve in a two-course sequence for a "cognate" requirement with MHM 341, or with MHM 346, the continuation of the music history survey for non-majors that covers the repertory from the late 18th through 20th centuries. Students who have not taken MHM 341, but who have a familiarity with the topics and terminology of music history, may take the sequence MHM 345 and MHM 346 as a two-course cognate, with permission of the instructor. Cost:2 WL:4 (Stein)

405. Special Course. (2-4). (Excl). May be repeated for credit.
The Music of Tchaikovsky.
A lecture course: a review of Tchaikovsky's life and works, with emphasis on about a dozen important compositions which illustrate the major emphases of his music: its relation to western models (18th-century and 19th-century), to other Russian music (art, folk, sacred), and to classical Russian literature. Students must be able to read and analyze tonal music. Evaluation will be made on the basis of two examinations and an analytical paper. There are no required texts; readings will be placed on reserve in the music library, and listening assignments in the listening room of the Music Building. Cost:1 WL:3 (Wiley)

413. History of Opera. (3). (Excl).

This course is an historical survey. About 20 operas are stressed, sampling composers from Monteverdi to Glass. Students hear excerpts (usually at least one act) from the works chosen for discussion. In most cases operas are also viewed on video cassettes. Discussion deals with the evolving musical forms and styles, the cultural implications of librettos as literature, and varied strategies for designing an effective theatrical work. Students are evaluated through midterm and final examinations, a research paper, and a brief oral presentation to the class. (D.Crawford)

420. Music of the Baroque. MHM 345 and 346 and Theory 137 and 238, or the equivalent. (3). (Excl).

This course is an upper-level survey of the history of music in the 17th and early 18th centuries, covering the period roughly 1570-1750, which is known as the Baroque era. The focus is on principal genres, composers, repertories, and issues generated by these. Musical works will be discussed on their own terms, as well as within broader cultural and historical frameworks. The work of the course consists of listening, score study, and reading both from required texts and from selected musicological studies. Grades will be based on written work (exams and papers to be determined) and class participation. Open to students in the School of Music; non-music students may elect the course with permission of the instructor, if they have sufficient prior preparation, such as a previous survey course in the period or MHM 345. Non-majors who do not have these prerequisites should consult with the instructor. Cost:2 WL:1,4 (Stein)

422. Music of the Nineteenth Century. MHM 345 and 346 and Theory 137 and 238, or the equivalent. (3). (Excl).

A lecture course; important tendencies in 19th-century music - such as the hold of classical patterns, program music and other new genres, developments in opera and song, nationalism, and end-of-century - will be presented in class through the analysis of representative compositions, and supplemented by readings and additional listening. Students must be able to read and analyze tonal music. Evaluation will be made on the basis of two examinations and an analytical paper. Required volumes are Leon Plantinga's Romantic Music. and Frank Kirby's anthology, Music in the Romantic Period. Cost:2 WL:3 (Wiley)

423. Music of the Twentieth Century. MHM 345 and 346 and Theory 137 and 238, or the equivalent. (3). (Excl).

A survey course covering the period from Debussy and Mahler to the present day. The most important stylistic trends and aesthetic issues are defined and a context sought in relation to the other arts and social/political trends. A heavy emphasis is placed upon building the student's repertoire of 20th-century masterworks in the hope that the capacity for independent confrontation of other compositions will be facilitiated. The coordinated reading assignments are gathered together in a book written for this class by the instructor: Soundings: Music in the 20th Century (Schirmer Books, 1988). Prerequisite: MHM 240 or equivalent. Offered every fall term. (Watkins)

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. Cost:2 WL:1

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

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)

464. Music of the Caribbean. (3). (Excl).

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)

484 Introduction to Munsural Notation and Tablature. Undergraduates by permission of instructor only. (3). (Excl).

This course consists of studies in editing sacred and secular vocal music from 1400-1600 and also keyboard and lute tablatures from the same period. Grades are determined by weekly exercises in transcription and by a final paper. Willi Apel, The Notation of Polyphonic Music 900-1600 is a required text. Non-music majors by permission of instructor. (D.Crawford)

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. The prerequisite is the ability to read music. (Newby)

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). (INDEPENDENT).

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). (INDEPENDENT).

See description for Composition 423. Cost:1

425. Advanced Composition. Comp. 424. (2-4). (Excl). (INDEPENDENT).

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). (INDEPENDENT).

See description for Composition 425.


137(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 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. (Mead)

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