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 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 and Musicology (Division 678)

139. Introduction to Music. Limited to students enrolled in the School of Music unless admission is granted by the concentration advisor. (2). (HU).

A survey of concepts and repertories of world musics. (Andre)
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239. History of Western Art Music: Middle Ages through the Baroque. Limited to students enrolled in the School of Music unless admission is granted by the concentration advisor. (2). (HU).

History of music from the Middle Ages through the Baroque. (Borders)
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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 surveys the 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, jazz and rock; 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. WL:1 (Rabin)
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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:1 (D.Crawford)
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405. Special Course. (2-4). (Excl). May be repeated for credit.
Section 001 Music of Cole Porter and the Gershwins. (3 Credits).
This course will focus on aspects of American musical comedy in the 1930s as exemplified by the works of Cole Porter and George and Ira Gershwin, specifically Girl Crazy, Of Thee I sing (Gershwin) and Gay Divorce and Anything Goes (Porter). In addition to analyses of the song lyrics and music, class discussions will include the dramatic context of the songs and their resonance with contemporary social issues. WL:1 (Zak)

Section 002 The New York Jazz Scene: From 1920 To The Present. (3 credits). This course examines the history and constitution of the jazz "scene" in New York City. Rather than concentrate strictly on the development of musical style, students will examine the varied and changing roles of musicians, audiences, performance venues, the recording industry, legal structures, and various media in the production and development of jazz in New York City from the early 20th century to the present. Readings will focus on the interactions between these different social agents and institutions and their importance for the creation and maintenance of the scene. While musical knowledge is not a prerequisite, students with a basic understanding of the history of jazz will be at an advantage. WL:1 (Jackson)
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407. Special Course. (2-3). (Excl). May be repeated for credit.
Section 001 Introduction to Jazz. (3 credits)
The emphasis is on listening and writing about jazz from its recorded beginnings in the 1920s up to the present day. Lectures and readings outline the major issues, which center on musical form and ways of experiencing it. The heart of the course lies in the class tapes (approximately one per week), on which students in the class are asked to keep a listening journal. Instead of exams, students will be asked to write three essays (5-8 pages) on issues to be assigned. In addition, a number of short (2-page) papers are part of the course requirement. The course is open to graduates and undergraduates alike, including non-concentrators, though the latter ought to have some musical background, whether in jazz or not. WL:1 (R. Crawford)

Section 002 The History Of The String Quartet. (3 credits). A survey of the string quartet from its origins in the second half of the eighteenth century through the twentieth century. Lectures will emphasize analytical approaches to the repertory. Grades will be determined by exams and analytical papers. WL:1 (Rabin)
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408. Special Course. (2-3). (Excl). May be repeated for credit.
Section 001 Translating Music 1360-1660.
This course deals with examples of mensural repertories and instrumental tablatures from about 1350 to 1560. The original notational records of these repertories involve two forms of translation for modern study: one a translation into a modern graphic representation, and the other a translation into sound. Exercises therefore, take two forms: each week will be a written assignment that translates original notation into modern notation, and each week will be several exercises in singing or playing from original notation. Students will learn computerized music editing, and the emphasis will be upon works that have not yet been made available in a modern edition. The course necessarily includes discussions of the role of written traditions in music, source studies, and source criticism as well as principles of responsible music editing, issues that apply to repertories of any era. WL:1 (D. Crawford)
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411. History of the Symphony. (3). (Excl).

This course surveys the symphony from its earliest inception through the 20th century. Three basic premises are taken as points of departure: the symphony is a product of its social origin and milieu; it is an expression of contemporaneous aesthetic values; the mutation of symphonic form and style is often a product of other general musical trends and genres of the day. Lectures are supplemented by recorded listening assignments. Grades will be determined by exams and brief analytical papers. WL:1 (Andre)
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413. History of Opera. (3). (HU).

This course is devoted to the study of opera in the first two centuries of its existence, from its beginnings just before 1600 to nearly the end of the 18th century. Here opera is to be studied critically as music, as theater, as spectacle, as performance medium, and as cultural expression. Special aspects of the course for Fall 1997 will include a consideration of operatic eroticism, a look at opera's arrival in the Americas, and a focus on some issues of performance practice in early opera. While some of the lectures and listening assignments will be organized around excerpts, others will be designed to focus on whole operas, their musical dramaturgy, historical significance, economics, modes of production, and impact and reception in performance. Composers to be studied include Monteverdi, Cavalli, Lully, Purcell, Hidalgo, A. Scarlatti, Handel, Vivaldi, Rameau, Mozart, Haydn, and Piccinni. The assignments in this course will be primarily listening assignments, to be supplemented by score study, readings from the course pack or materials on reserve, and some in-class performances. Grades will be based on written work and class participation. WL:1 (Stein)
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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, Schuetz, Lully, Purcell, Corelli, Vivaldi, Handel, and J.S. Bach, we will also consider Hispanic music in the 17th and early 18th centuries. The course introduces students to writings about music, musical sources, and aesthetic theories of the period, as well as musical repertory. Music will be discussed on its own terms, as well as within 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 be based on written work and class participation. WL:1 (Stein)
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422. Music of the Nineteenth Century. (3). (Excl).
Section 001 Early Nineteenth Century Music.
This lecture course will survey the most important developments in western art music from about 1800 to about 1850. To give an idea of what this means: the period comprises most of the works of Ludwig van Beethoven, all the compositions of Franz Schubert, Frederic Chopin, Felix Mendelssohn and Fanny Hensel, and the early compositions of Giuseppe Verdi and Richard Wagner. Prerequisites: undergraduate surveys of music history and music theory, or, lacking these, permission of the instructor. Graduate students elect 522. Grading factors: two hour examinations and a final; students electing MHM 522 will be expected to write an analytical paper of 10-15 pages. Prerequisite: MHM 240 or equivalent. WL:1 (Wiley)
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423. Music of the Twentieth Century. MHM 240. (3). (Excl).

This course will explore the central topics and issues relating to the composition of 20th-century concert music and the formation of its canon. The aim is to develop an historically oriented understanding of this century's complex mixture of musical styles and compositional techniques. Discussions of particular pieces and general stylistic trends will include both their contemporary context and influential musical and ideological precursors. Composers' prose will be considered along with their musical works in order to gain a fuller sense of their aesthetic stances. WL:1 (Zak)
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460. Euro-American Folk and Popular Music. (3). (HU).

This course is a survey, by nation and/or region, of various folk musics of Europe and their modern-day, popular manifestations. Lectures and readings will focus on the nature and constitution of folk and popular music and on the interconnections between musical style, culture, and identity. We will be concerned specifically with the impact of modernization and urbanization on these musics as well as their transformations and uses over time both in Europe and the United States. No previous musical background is required for this course. WL:1 (Jackson)
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461. The Music of Asia. (3). (HU).

This course examines East Asian music in its cultural, historical, and musical contexts. Emphasis will be on representative genres of Chinese, Japanese, and Korean musics, and on issues raised by their similarities and differences. The course is interdisciplinary in nature, and welcomes students from inside and outside the School of Music. WL:1 (Lam )
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Courses in Composition (Division 665)

221. Introduction to Elementary Composition. For non-School of Music students only. (3). (CE).

Designed for students with some 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. (Rush)
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421. Creative Composition. Non-School of Music students must have completed Music Composition 222 or Music 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 bi-weekly lectures, investigating appropriate aspects of musical language and compositional craft. (Daugherty)
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422. Creative Composition. Music Composition 421. (3). (Excl).

Composition 421 and 422 are taught in the same classroom; 422 is a more advanced continuation of 421. Cost:1 (Daugherty)
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423. Advanced Composition. Music 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 (Music Composition 450) devoted to the examination of a broad range of Twentieth Century literature is required. Cost:1
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424. Advanced Composition. Music Composition 423. (2,4). (Excl). (INDEPENDENT).

See description for Composition 423. Cost:1
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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 (Music Composition 450) is required.
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426. Advanced Composition. Comp. 425. (2,4). (Excl). (INDEPENDENT).

See description for Composition 425.
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Courses in Music Theory (Division 696)

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. WL:4 (Mead)
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139. Basic Musicianship: Aural Skills I. 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).

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. WL:4
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140. Basic Musicianship: Aural Skills II. Music Theory 139. (1) . (Excl).

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. WL:4
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149. Basic Musicianship: Writing Skills I. 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).

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, phase-structure, texture and elements of configuration in shorter pieces. WL:4 (Dapogny)
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239. Basic Musicianship: Aural Skills III. Music Theory 140 and 150, and concurrent enrollment in Music Theory 249. (1). (Excl).

Deals with chords to areas other then V; modulation to wider ranges of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. WL:4
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249. Basic Musicianship: Written Skills III. Music Theory 140 and 150, and concurrent enrollment in Music Theory 239. (2). (Excl).

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. WL:4
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351. Analysis of Tonal Music. Music Theory 238, 240, 334. (2). (Excl).

Techniques of analysis and their application to sonata, rondo, fugue, variation, and related forms and procedures. WL:4 Section 001: Petty; Section 001: Mead
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371. Instrumentation and Orchestration. Music Theory 238. (2). (Excl).
Section 001 Instrumentation and Orchestration.
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. WL:4 (Sheng )
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406. Special Courses. Music Theory 240. (1-3). (Excl).
Section 001 The Pedagogy of the Great Composers. MT 373 and 374, and permission of Instructor. (3 credits).
How did composers such as J.S. Bach, Handel, C.P.E. Bach, Haydn, Mozart, Beethoven, and Brahms teach theory and composition? This course will explore this question by examining some fascinating sources, including Thomas Attwood's studies with Mozart, Archduke Rudolph's work with Beethoven, Gustav Jenner's work with Brahms, and more. We will engage these materials in an active manner by composing music based on a given composer's pedagogy; thus we will write variations on the theme that Beethoven gave to Archduke Rudolph, or write songs that follow Brahms' advice to Jenner, and so on. The course will raise many questions about composition, theory, analysis, and pedagogy. How, for example, might knowledge of a composer's pedagogical methods influence analysis of music? How might one integrate these insights into a contemporary curriculum? Course requirements will include weekly composition assignments, along with an oral presentation. WL:4 (Korsyn)
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430. Analysis of Twentieth-Century Music. Music Theory 351. (2). (Excl).

Primary emphasis is on the development of analytical and aural skills in significant 20th C. musics using varied repertoire, varied aural and analytical approaches. WL:4 (Mead)
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473. Eighteenth Century Counterpoint. Music Theory 240 and Music Theory 351. (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-part inventions of J.S. Bach. WL:4 (Derr, Korsyn)
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Courses in Performing Arts Technology (Division 691)

201. Microcomputers and Music. Permission of instructor. (3). (Excl).

Students receive basic instruction in the use of microcomputers, synthesizers, and computer music software for composition and recording. Requires the ability to read music and some musical keyboard proficiency. WL:1 (Bloom, Polot)
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