Courses in Music

Fall Term, 1998 (September 8-December 21, 1998)

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/Musicology, Composition, Music Theory, and Performing Arts Technology are listed in the Time Schedule under the School of Music.

The following courses count as LS&A courses for LS&A degree credit.

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Music History and Musicology

 Composition

 Theory

Courses in Music History and Musicology (Division 678)

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, popular song 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 examinations, concert and listening reports, and participation in discussion sections. This is the first course suggested for the LS&A concentration in music. Cost:1 WL:1,4 (Zak)
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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 (Stillman)
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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.
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420. Music of the Baroque. (3). (HU).
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.
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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. (Santos)
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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 (Santos)
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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. (Hubbs)
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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).
A continuation of Music Theory 139. WL:4
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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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351. Analysis of Tonal Music. Music Theory 238, 240, 334. (2). (Excl).
In-depth analysis emphasizing elements of structures evident in various important examples, offering a variety of analytical problems; readings on tonal forms. WL:4 (001: Petty; 002: Derr; 003: Everett)
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371. Instrumentation and Orchestration. Music Theory 238. (3). (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. (Sheng)
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430. Analysis of Twentieth-Century Music. Music Theory 351. (3). (Excl).
Primary emphasis is on the development of analytical and aural skills in significant 20th-century music 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. (3). (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. (001: Korsyn; 002: Derr)
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