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).
The course is designed for those who wish to sharpen their appreciation of music, whether they have any musical background or not. It begins with the fundamentals of melody, rhythm, harmony, and texture, then presents a survey of the artistic and cultural heritage of Western art music, from the Baroque era to the present. We examine representative examples of opera and concerto, symphony and song, solo and chamber music; but the listening skills developed in class are meant to be applied to virtually any kind of music. Such skills involve understanding conventions of musical expression and form, so that students learn to listen with appropriate expectations. Students attend three lectures and one discussion section per week. Tapes of assigned works are available for private study. Grades are based upon three examinations, concert reports, and participation in discussion sections. This is the first course suggested for the LS&A concentration in music. (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 European concert music. Cost:2 WL:1 (McDaniel)
345. The History of Music. For non-School
of Music students only. (3). (HU).
Section 001 – Music History, Medieval to 1750. A survey of music history for students with interests in music, the humanities, or cultural history. It begins with chant and early secular songs of chivalry. The course traces the development of Western attitudes toward polyphony, notation, performance, and compositional techniques. Cultural history is an important subtheme, and we sample works associated with medieval castles and churches as well as Renaissance courts and controversies involving religions. Studies conclude with Baroque repertories, culminating in the music of Handel and Bach. No musical background necessary. Lecture format. Assignments consist of readings and listening to prepared cassettes. Rudiments of music will be presented so that students will be able to follow the notation of musical examples. The grade will be determined by two hour exams and a final exam. This course is a logical election for students who want to go on to Music History 346, an historical survey of music from 1750 to the present. It can serve as a two-course cognate requirements with MHM 341 or with MHM 346. Cost:3 WL:4 (D.Crawford)
405. Special Course. (2-4). (Excl). May
be repeated for credit.
Section 001 – Tchaikovsky and His Music. (3 credits). This course will study the life, music and times of Pyotr Ilyich Tchaikovsky. A selection of important works composed throughout his life will be the focus of class lectures, for which a knowledge of music is desirable but not required. Various matters of context – social, political, religious, personal – will provide a setting for the musical discussion. Students are welcome from all disciplines which bear in some way upon the course content, including Slavic literature and history, anthropology, psychology, theatre and drama, the history of art, sexuality and other critical approaches. The topic of a term paper will be adapted to the specialty of each student in consultation with the instructor. Grading factors: midterm and final examinations, term paper. Cost:1 WL:3 (Wiley)
406. Special Course. (2-4). (Excl). May
be repeated for credit.
Section 001 – Absolutely Free: The Music of Frank Zappa and the American Zeitgeist. Until his death in 1993, Frank Zappa was arguably the most creatively eclectic and controversial musician in America – "creatively eclectic" in his command and juxtaposition of musical styles ranging from blues to atonality, "controversial" in his embrace of bitingly satirical and (in some peoples' view) censurable lyrics. This new course will examine Zappa's music on its own terms, that is, as defined within complex stylistic and cultural matrices. With lecture, assigned listenings and readings, and class discussions as points of departure, students will survey selected songs and instrumental works ultimately leading to making their own "anthology" of Zappa's music. Students will also be required to: participate in an on-line conference; present a 15-20-minute "position paper"; and write a 20-25-page term paper. Other projects - creating a Hypertext document, making detailed musical transcriptions of Zappa's music – may also be undertaken. (Borders)
407. Special Course. (2-3). (Excl). May
be repeated for credit.
Section 001 – Origins of Jazz to the Swing Era. (3 credits). This lecture course focuses most intensively on jazz repertory between 1890 and 1942 and its three principal tributaries, ragtime, blues, and musical theater. The course begins, however, by providing an historical overview of the music of Africans in America in the 18th and 19th centuries and the problem of origins in an historical and cultural context shaped by reciprocal influences between Africans and Europeans on the North American continent. A look at spirituals and the phenomenon of minstrelsy set the stage for the intensive discussion of early jazz repertory and the various historical accounts in circulation about it. One of the principal goals of the course is developing aural and analytic familiarity with jazz and jazz-related repertories between 1890 and 1942. Students will become familiar with the standard tunes of the era as well as with the most prominent jazz artists and composers. Students are expected to complete listening and reading assignments as well as an individual project or term paper. Cost:1 WL:4 (Monson)
420. Music of the Baroque. (3). (HU).
This course is designed as an overview of selected topics in music of the seventeenth and early eighteenth centuries (roughly 1570-1750), but it is not designed as a strict survey of Baroque music. Particular emphasis will be given to the invention and definition of musical genres, the relationship of music to text, and the place and function of music (secular and sacred, vocal and instrumental, for court, chamber, church, and theater) in early modern society. In addition to studying music by such composers as Monteverdi, Schütz, Lully, Corelli, Vivaldi, Handel, and J.S. Bach, this edition of the course will pay special attention to the music of Henry Purcell (d.1695) in the 300th anniversary of his death. It will also introduce students to music from Spain and its Latin American colonies in the 17th and early 18th centuries. Musical works will be discussed in their own terms, as well as within broader cultural and historical frameworks. The work of this course consists of listening, score study, and reading. We will discuss the music in class, in some detail. Grades will based on written work and class participation. Cost:2 WL:1,4 (Stern)
547/Anthro. 546. Ethnomusicology.
Section 001 – Introduction to Ethnomusicology. This course will address the theory and methodology of ethnomusicology as well as the current issues and intellectual history of the discipline. Some background in either music or anthropology is expected. The format is of a proseminar, which means that students will be expected to take an active part in discussions and class presentations. Several small papers and one final, longer paper will be required. Cost:1 WL:4 (Monson)
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.
222. Composition. For non-School of Music students only. Composition 221. (3). (Excl).
Composition 221 and 222 are taught in the same classroom; 222 is a more advanced continuation of 221.
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 complemented by by-weekly lectures, investigating appropriate aspects of musical language and compositional craft.
422. Creative Composition. Composition 421. (3). (Excl).
Composition 421 and 422 are taught in the same classroom; 422 is a more advanced continuation of 421. Cost:1
423. Advanced Composition. Composition 422. (2-4). (Excl). (INDEPENDENT).
For students capable of original creative work. Instead of classwork as in 421-422, 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
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.
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.
137. 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). (HU).
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. (Lewis)
351. Analysis of Tonal Music. Theory 238, 240, 334, or equivalent. (2). (Excl).
Techniques of analysis and their applications to sonata, rondo, fugue, variation, and related forms and procedures.
371. Instrumentation and Orchestration. Theory 238 or equivalent. (2). (Excl).
Emphasis on original compositions or arrangements for various instruments in string, wind, brass and percussion families. Final project is selecting and orchestrating a short piano composition for chamber orchestra.
430(452). Analysis of Twentieth-Century Music. Theory 351. (2). (Excl).
Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.
473. Eighteenth Century Counterpoint. Theory 240 and Theory 351 or the equivalent. (2). (Excl).
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-;art inventions of J.S. Bach.
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