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LSA Course Guide Search Results: UG, GR, Winter 2007, Dept = THEORY
 
Page 1 of 1, Results 1 — 50 of 50
Title
Section
Instructor
Term
Credits
Requirements
THEORY 139 — Bmus Aural Sk I
Section 001, LAB

Instructor: Beecher,Lembit Lepasaar

WN 2007
Credits: 1

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.

Advisory Prerequisite: 129/SURV TEST

THEORY 140 — Bmus Aural Sk I I
Section 001, LAB

Instructor: Mead,Andrew W; homepage
Instructor: Beecher,Lembit Lepasaar

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 002, LAB

Instructor: Sullivan,Timothy R
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 003, LAB

Instructor: Hamel,Remi Kleinstein
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 004, LAB

Instructor: Stevens,Daniel Brian
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 005, LAB

Instructor: Davis,Lowell George St Luke
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 006, LAB

Instructor: Davis,Lowell George St Luke
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 007, LAB

Instructor: Woods,Alyssa Susan
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 008, LAB

Instructor: Hamel,Remi Kleinstein
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 140 — Bmus Aural Sk I I
Section 009, LAB

Instructor: Woods,Alyssa Susan
Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 1

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.

Advisory Prerequisite: THRY 139&149

THEORY 150 — Bmus Wrtg Sk I I
Section 001, LEC

Instructor: Fournier,Karen Jeanne; homepage

WN 2007
Credits: 2

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, phrase-structure, texture, elements of figuration in shorter pieces, basic conducting skills, and rehearsal techniques.

Advisory Prerequisite: THRY 149&139

THEORY 150 — Bmus Wrtg Sk I I
Section 002, LEC

Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 2

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, phrase-structure, texture, elements of figuration in shorter pieces, basic conducting skills, and rehearsal techniques.

Advisory Prerequisite: THRY 149&139

THEORY 150 — Bmus Wrtg Sk I I
Section 003, LEC

Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 2

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, phrase-structure, texture, elements of figuration in shorter pieces, basic conducting skills, and rehearsal techniques.

Advisory Prerequisite: THRY 149&139

THEORY 160 — Accel Wrtg Sk I I
Section 001, LEC

Instructor: Everett,Walter T; homepage

WN 2007
Credits: 3

Encompasses all of THEORY 150 and part of THEORY 249 in one term.

Advisory Prerequisite: THEORY 139,149

THEORY 212 — Basic Th at Keybd
Section 001, REC

Instructor: Stevens,Daniel Brian

WN 2007
Credits: 2
Advisory Prerequisite: THRY 211

THEORY 236 — Intro Music Analysis Music Theatre Major
Section 001, LEC

Instructor: Gosman,Alan Robert

WN 2007
Credits: 3

Emphasizes conceptual aspects of theory with some rigorous practice of aural and writing skills.

Advisory Prerequisite: THTR MAJORS

THEORY 238 — Intro Music Anal
Section 001, LEC

Instructor: Hastings,Charise Y

WN 2007
Credits: 3
Reqs: HU

For non-music majors, emphasizing conceptual aspects of theory with some rigorous practice of aural and writing skills. Entrance also by Transfer Proficiency Exam during orientation for the Winter Term.

Advisory Prerequisite: THRY 137

THEORY 239 — Bmus Aural Sk I I I
Section 001, LAB

Instructor: Yen,Ming-Hsiu

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 140&150

THEORY 240 — Bmus Aural Sk I V
Section 002, LAB

Instructor: Sullivan,Timothy R

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 239,249

THEORY 240 — Bmus Aural Sk I V
Section 003, LAB

Instructor: Levey,John Carroll

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 239,249

THEORY 240 — Bmus Aural Sk I V
Section 004, LAB

Instructor: Heetderks,David James

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 239,249

THEORY 240 — Bmus Aural Sk I V
Section 005, LAB

Instructor: Yen,Ming-Hsiu

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 239,249

THEORY 240 — Bmus Aural Sk I V
Section 007, LAB

Instructor: Heetderks,David James

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 239,249

THEORY 240 — Bmus Aural Sk I V
Section 008, LAB

Instructor: Levey,John Carroll

WN 2007
Credits: 1

Deals with chords to areas other than V; modulation to wider range of keys, harmony involving mixture, tonicization in major and minor and Neapolitan and augmented sixth chords. Last half of 240 introduces 20th-century materials.

Advisory Prerequisite: THRY 239,249

THEORY 250 — Bmus Wrtg Sk I V
Section 001, LEC

Instructor: Gosman,Alan Robert

WN 2007
Credits: 2

(Parallels 239, 240.) 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. Last half of 250 introduces 20th-century materials such as atonality, exotic scales, pitch-class sets, and 12-tone serialism.

Advisory Prerequisite: THRY 249&239

THEORY 250 — Bmus Wrtg Sk I V
Section 002, LEC

Instructor: Petty,Wayne C; homepage

WN 2007
Credits: 2

(Parallels 239, 240.) 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. Last half of 250 introduces 20th-century materials such as atonality, exotic scales, pitch-class sets, and 12-tone serialism.

Advisory Prerequisite: THRY 249&239

THEORY 407 — Directed Indiv Stdy
Section 001, IND

WN 2007
Credits: 2 — 4

Special topics that vary from term to term.

Advisory Prerequisite: Permission of department chairman.

THEORY 430 — Advanced Anl Tonal Music
Section 001, LEC

Instructor: Korsyn,Kevin E; homepage

WN 2007
Credits: 3

In-depth analysis emphasizing elements of structures evident in various important examples, offering a variety of analytical problems; readings on tonal forms.

Advisory Prerequisite: THEORY 250

THEORY 430 — Advanced Anl Tonal Music
Section 002, LEC

Instructor: Johnston,Blair Allen

WN 2007
Credits: 3

In-depth analysis emphasizing elements of structures evident in various important examples, offering a variety of analytical problems; readings on tonal forms.

Advisory Prerequisite: THEORY 250

THEORY 433 — Analysis of 20th Century Modernst Music
Section 001, REC

Instructor: Chuck,Gavin Paul; homepage

WN 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: THEORY 250

THEORY 433 — Analysis of 20th Century Modernst Music
Section 002, REC

Instructor: Satyendra,Ramon; homepage

WN 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: THEORY 250

THEORY 443 — 18th C Counterpoint
Section 001, REC

Instructor: Korsyn,Kevin E; homepage

WN 2007
Credits: 3

Sequel to THEORY 442, moving ahead in analysis and practice of craft to sophisticated settings of 18th-century contrapuntal forms, especially with the creation of fugues in the styles of representative composers. Pedagogical treaties of that era as well as contemporary scholarship are dealt with in analytical and creative tasks.

Advisory Prerequisite: THEORY 442

THEORY 460 — Special Courses
Section 001, LEC
Performance and Analysis: The Performer as Co-Creator

Instructor: Hastings,Charise Y

WN 2007
Credits: 3

This course considers ways of analyzing music from a performer's and a listener's perspective. It studies the performer's role in the creation and understanding of music, viewing the performer as someone who, along with the composer, co-creates a unique musical experience for the listener. The course explores factors that influence a performer's conception of a piece, such as learned knowledge and unconscious intuition. We will examine how teachers and other performers can shape one's comprehension of music. Additionally, the physical features of a performer's hands, arms, and even entire body have a significant impact on a performance. How does a performer translate a score into physical gestures? What is the relationship between the written score and sounding music? What does it mean for a performer to be "faithful" to the score? We will read articles on these topics by current theorists and compare different performances of the same piece. Students will have the opportunity to lead a discussion and write a "performer's analysis" on a work of their own choosing.

Advisory Prerequisite: 238/250/EQ.

THEORY 460 — Special Courses
Section 002, LEC
Four 20th-Century Figures: Sun Ra, Olivier Messiaen, Pauline Oliveros, and John Cage

Instructor: Rush,Stephen J; homepage

WN 2007
Credits: 3

This course will discuss the many trends of musical composition in the 20th-century by examining four masters of music, Sun Ra, Olivier Messiaen, Pauline Oliveros, and John Cage. By performing music and hearing performances of the "theme composers," the class will make an effort to understand the music intellectually and experientially. An attempt will also be made to integrate the composers' spirituality with the understanding of compositional process.

Advisory Prerequisite: 238/250/EQ.

THEORY 461 — Analysis-Tonal Mus
Section 001, REC

Instructor: Chuck,Gavin Paul; homepage

WN 2007
Credits: 2

Survey of Western music since about 1900.

Advisory Prerequisite: SEE BULLETIN

THEORY 461 — Analysis-Tonal Mus
Section 002, REC

Instructor: Mead,Andrew W; homepage

WN 2007
Credits: 2

Survey of Western music since about 1900.

Advisory Prerequisite: SEE BULLETIN

THEORY 532 — Schenkerian Theory and Analysis II
Section 001, LEC

Instructor: Petty,Wayne C; homepage

WN 2007
Credits: 3

A continuation of THEORY 531, emphasizing analysis of complete compositions or movements from multi-movement works. Compositions chosen reflect a variety of formal types and a variety of styles, ranging from Bach to Chopin and Brahms.

Advisory Prerequisite: Permission of Instructor.

THEORY 533 — Analysis of Modernist Music
Section 001, REC

Instructor: Chuck,Gavin Paul; homepage

WN 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: Music Theory 250 or equivalent.

THEORY 533 — Analysis of Modernist Music
Section 002, REC

Instructor: Satyendra,Ramon; homepage

WN 2007
Credits: 3

Primary emphasis is on the development of analytical and aural skills in significant 20th-C. musics. Varied repertoire; varied aural and analytical approaches.

Advisory Prerequisite: Music Theory 250 or equivalent.

THEORY 534 — Twentieth Century Music: Theory and Analysis I
Section 001, REC

Instructor: Satyendra,Ramon; homepage

WN 2007
Credits: 3

A systematic and critical study of theoretical systems treating music of the 20th century. Practice in applying these systems in analyses of significant repertoire.

Advisory Prerequisite: Music Theory 433 or permission of instructor.

THEORY 537 — Proseminar in the Analysis of Music
Section 001, SEM

Instructor: Fournier,Karen Jeanne; homepage

WN 2007
Credits: 2 — 3

Each proseminar treats varied repertoire presenting different approaches for analysis

Advisory Prerequisite: Music Theory 430 or Permission of Instructor.

THEORY 543 — Eighteenth-Century Counterpoint
Section 001, REC

Instructor: Korsyn,Kevin E; homepage

WN 2007
Credits: 3

Moving ahead in analysis and practice of craft to sophisticated settings of 18th-century contrapuntal forms, especially with the creation of fugues in the styles of representative composers. Pedagogical treaties of that era as well as contemporary scholarship are dealt with in analytical and creative tasks.

Advisory Prerequisite: THEORY 542

THEORY 560 — Special Studies
Section 001, LEC
Performance and Analysis: The Performer as Co-Creator

Instructor: Hastings,Charise Y

WN 2007
Credits: 2 — 3

This course considers ways of analyzing music from a performer's and a listener's perspective. It studies the performer's role in the creation and understanding of music, viewing the performer as someone who, along with the composer, co-creates a unique musical experience for the listener. The course explores factors that influence a performer's conception of a piece, such as learned knowledge and unconscious intuition. We will examine how teachers and other performers can shape one's comprehension of music. Additionally, the physical features of a performer's hands, arms, and even entire body have a significant impact on a performance. How does a performer translate a score into physical gestures? What is the relationship between the written score and sounding music? What does it mean for a performer to be "faithful" to the score? We will read articles on these topics by current theorists and compare different performances of the same piece. Students will have the opportunity to lead a discussion and write a "performer's analysis" on a work of their own choosing.

Advisory Prerequisite: Music Theory 250 or permission of instructor.

THEORY 560 — Special Studies
Section 002, LEC
Four 20th-Century Figures: Sun Ra, Olivier Messiaen, Pauline Oliveros, and John Cage

Instructor: Rush,Stephen J; homepage

WN 2007
Credits: 2 — 3

This course will discuss the many trends of musical composition in the 20th-century by examining four masters of music, Sun Ra, Olivier Messiaen, Pauline Oliveros, and John Cage. By performing music and hearing performances of the "theme composers," the class will make an effort to understand the music intellectually and experientially. An attempt will also be made to integrate the composers' spirituality with the understanding of compositional process.

Advisory Prerequisite: Music Theory 250 or permission of instructor.

THEORY 570 — Directed Individual Study
Section 001, IND

WN 2007
Credits: 1 — 4

Individual work and reading for graduate students.

Advisory Prerequisite: Permission of department chairman.

THEORY 805 — Seminar in Theory
Section 001, SEM
The Analysis of Rock Music

Instructor: Everett,Walter T; homepage

WN 2007
Credits: 2 — 3

A course covering analytical techniques as applied to the entire half-century of rock music. Class discussions will be based on readings, listening, transcription and analysis projects. Students will present the results of their work in preparation for discussion, class presentations, essay writing, and a formal paper.

Advisory Prerequisite: Permission of instructor.

THEORY 807 — Research Project
Section 001, IND

WN 2007
Credits: 2 — 4

Studies with members of the Music Theory faculty aimed at developing the student's research abilities and preparing the student for the dissertation essay. In past experience, this course has sometimes led to the production of published papers.

Advisory Prerequisite: Permission of department chairman.

THEORY 900 — Preliminary Exam
Section 001, IND

WN 2007
Credits: 1

Preliminary examinations in field, both oral and written, are required prior to admission to candidacy. These examinations cover not only the student's field of specialization and the cognate fields, but also the broad general field of music and the relationships between music and other disciplines. These examinations are not necessarily based upon the specific individual courses taken by the student, although course work will be exceedingly helpful in preparing for the exams. During the first year of doctoral study each student in the program will be given a list of 60 to 75 works from which to choose or be assigned ten works on which to be examined during a general oral preliminary examination. These works should be studied both analytically and historically. The preliminary examinations will be based on these scores, but it is a comprehensive examination and may include other material.

THEORY 990 — Diss-Precand
Section 001, IND

WN 2007
Credits: 1 — 8

Election for dissertation work by doctoral student not yet admitted as a Candidate.

Advisory Prerequisite: Election for dissertation work by doctoral student not yet admitted as a Candidate.

THEORY 995 — Diss-Cand
Section 001, IND

WN 2007
Credits: 8

Graduate School authorization for admission as a doctoral Candidate. N.B. The defense of the dissertation (the final oral examination) must be held under a full term Candidacy enrollment period. The program culminates in a two-part dissertation consisting of an original composition for large ensemble and a substantial essay on a theoretical topic. Each of these projects will be undertaken after the acceptance of a proposal from the student by the steering committee. The dissertation committee, which may include members of the steering committee, will consist of at least four faculty members, including at least one from the Composition Department, at least one from the Theory Department, and at least one from outside the School of Music. A comprehensive oral examination on the candidate's dissertation will be conducted by the dissertation committee following the completion of the dissertation.

Enforced Prerequisites: Graduate School authorization for admission as a doctoral Candidate

 
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