It is possible for LSA students to elect a concentration program in music, and this program is described in the LSA Bulletin. In addition, music courses are frequently elected by LSA students not concentrating in Music. Courses in Music History/Musicology, Composition, and Music Theory are elected for LSA credit. Some of these courses can be used as part of the humanities requirement in a Pattern I area distribution plan. LSA students may elect music performance courses for degree credit, but this credit counts toward the maximum twelve non-LSA credit hours that can be applied toward an A.B./B.S. degree or twenty non-LSA 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 and styles 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. We will study symphony, opera, concerto, and song, by Baroque, Classical, and Romantic composers, and 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 Undergraduate Library Listening Room. But most of the works to be studied appear on an inexpensive and excellent record album, Recordings for the Enjoyment of Music. This is the first course suggested for the LSA concentration in Music. (Gajewski)
346. The History of Music. For non-School of Music students only. MHM 341 or 345. (3). (HU).
Western Art Music from Franz Joseph Haydn until the present day is discussed through the medium of a group of recordings selected to illustrate the principal forms and trends in this most familiar and rich portion of our musical heritage. Classicism, Romanticism, Impressionism, Serialism, Neo-classicism and Chance are some of the themes covered. Genres to be discussed include keyboard and chamber music, symphonic works, opera and other vocal forms. Students should have taken at least one course in the appreciation, theory or history of music or the equivalent. Instruction is in the form of lectures and tapes of the works studied. Two tests and a final examination serve to evaluate student progress. The course follows MHM 345 in sequence. Texts: Donald Jay Grout, A History of Western Music 3rd ed., Norton; Claude Palisca, Norton Anthology of Western Music, V. II, Norton, 1980; and Taylor, Course Pack for 346, available at Albert's Copying. (Taylor)
405, 406. Special Courses. (2-3). (HU).
May be repeated for credit.
Music 406: Bach and Handel. The course is a comparative study of the works of these two late-Baroque composers. The contrast will serve to illuminate the individual style and personality of each composer as well as throw light on contrasting trends in European music of the early 18th century. Starting with characteristic keyboard works, the study will proceed through instrumental and then vocal compositions of both composers. We will study and discuss bibliography-literature and various editions along with selected readings in the most important literature. Students will be evaluated by two projects (paper, analysis, bibliography, etc.) and a final examination. Texts: Geiringer, J.S. Bach, Lang, G.F. Handel. (Taylor)
421. Music of the Eighteenth Century. (3). (HU).
In the years between Haydn's birth (1732) and Mozart's birth (1756), music underwent a tremendous change in style, culminating in their compelling, mature works of the 1770s, 80s, and 90s. This lecture course first surveys the music of that transitional period, examining the works of post-Baroque and early Classic composers in different European cultural centers. The course then concentrates on the lives and works of Haydn and Mozart, finally treating Beethoven as the inheritor and transformer of the Classical tradition. The required text, Music in the Classic Period by F.E. Kirby, is an anthology of pieces, for which listening tapes are provided in the School of Music Listening Room and the Sight and Sound Center at the UGLi. A midterm, final exam, and paper are used to evaluate student progress. This course is open to all LSA students with a knowledge of music at the level of MHM 341 or 345 and Theory 238, as well as to students in the School of Music. (Sisman)
460. Euro-American Folk and Popular Music. (3). (HU).
The course surveys traditional folk musics in Europe and the U.S., concluding with a historical survey of American popular music. Both musical and cultural issues are dealt with. The student who takes the course should end up with a basic listening experience of several repertories and some knowledge of how music reflects the culture that produces it. Some musical background is desirable, though there are no official prerequisites. Assignments include selected readings, listening to weekly tapes, and writing at least one paper. Music students are required to transcribe and analyze a piece related to the course. Evaluation is based on two hour-exams and a final. (Crawford)
461. The Music of Asia. (3). (HU).
This course is a survey of the basic music traditions of Asia in terms of their sounds, musical instruments, forms, and their functions in relation to the society and culture that supports them. It is open and designed equally for music and non-music majors. Weekly listening tapes and selected outside readings are required. The textbook is W. Malm, Music Cultures of the Pacific and Near East and Asia, (2nd Edition). Midterm and final examinations are primarily essay. (Malm)
222. Composition. For non-School of Music students only. Composition 221. (3). (Excl).
This course deals mainly with composing and appreciation of contemporary art music. Assignments are creative but directed. Teaching assistants give individual attention to students while working on projects. Attendance at concerts of contemporary music is required. A balance is maintained between traditional compositional crafts and advanced or experimental tendencies. Many outstanding American composers have started in this class. The course is also recommended for students outside of music programs who have had rather extensive backgrounds in music, performance, and even composing. This course will provide surer "footing" and guarantee better progress than higher level courses initially. (Bolcom)
421. Creative Composition. Non-School of Music students must have completed Composition 222 or Theory 238. (3). (Excl).
This course is an introduction to composition for musicians who wish assistance in such work and is usually elected by upper level undergraduates and graduate students. It focuses on a study of the language and methods of twentieth century composition with the emphasis always on composing. The course format includes lectures by the course instructor on composition and on various examples of music; lessons with graduate teaching assistants; and in class performances of music composed by the students in the class. Course requirements include preparation of master sheets for the musical scores and performance of music written by students enrolled in the course. Student compositions are critiqued by both the course instructor and the other students in the class. The course prerequisite is one year of either composition or theory. (Basset)
422. Creative Composition. Composition 421. (3). (Excl).
Music 422 is a continuation of Music 421. For a description, see Music 421. (Bassett)
423, 424. Advanced Composition. Composition
422. Composition 423 is prerequisite to 424. (2-4 each). (Excl).
Composition 423. For students capable of original creative work. Individual instruction with course instructor is provided. Participation in a weekly seminar devoted to the examination and analysis of a broad range of Twentieth Century literature is required. Previous composition courses required. (Albright)
Composition 424. A continuation of Composition 423. For description see Composition 423. (Albright)
425, 426. Advanced Composition. Comp.
424. Comp. 425 is a prerequisite to 426. (2-4 each). (Excl).
Composition 425. Stresses different approaches to notation, such as graphic or proportional, and focuses on the shaping and instrumentation problems involved in composing for the mixed consort. Instruction is individualized. Participation in a weekly seminar is also required. (Wilson)
Composition 426. A continuation of Composition 425. For description, see Composition 425. (Bolcom)
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