Music History and Musicology (MHM: Division 678)

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, styles, and aesthetic ideals 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. After a brief survey of the artistic and cultural heritage of Western music, we will concentrate on symphony, opera, concerto, and song, by Baroque, Classical, and Romantic composers. We will also discuss 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. This is the first course suggested for the LSA concentration in Music. (Monson)

346. The History of Music. For non-School of Music students only. MHM 341 or 345. (3). (HU).

Western Art Music from Haydn and the "Pre-Classics" until the present day is discussed through the medium 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 405: The American Experience.
Dealing with musical life in the USA today, the course will be organized topically rather than chronologically. Topics to be covered include music and ritual, musical learning, classifications of music (e.g., "classical" and "popular" and "folk") and what they reveal, the transmission of music, the values of different kinds of performers, the sociology of music in the U.S., and others. Since the instructors' training and research interests are very different one is an ethnomusicologist with an anthropological-linguistics orientation whose work has centered on Southeast Asian music while the other is a historical musicologist concentrating on American music their perspectives on these issues differ as well. Much of the course will be devoted to exploring these differences in perspective and sharing them with class members. The course will combine lecture and discussion. Guest lecturers will sometimes appear. Readings and listening tapes will be assigned, and a paper of some kind will be required of all students. This course is not part of a departmental sequence. (J. Becker and R. Crawford)

Music 406: Music in Medieval Culture. Music in Medieval Culture will explore the history of sacred and secular musical forms by way of the relationships between music and other aspects of medieval life. The latter include religion, politics, the development of literature and art. Topics such as oral composition in music, the introduction of polyphony, and the growth of secular music will also be discussed. This course is not strictly a part of the music history sequence in the School of Music. For this reason, the ability to read music, while desirable, is not required. The format of the course will be lecture (sometimes by distinguished guests), discussion, and student reports. Two papers (12-18 pp.) and two oral reports (approximately 15 minutes) will be required. The topics of these reports will concern subjects covered in required readings and in the listening assignments. (Borders)

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 the compelling, mature works of the 1770's, 80's, and 90's. This lecture course first surveys the music, theory, and performance practice of that transitional period, with student projects using copies of original sources. 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. 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. (Monson)

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; a term paper is required of graduate students. Evaluation is based on two hour-exams and a final. (R. 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)

Composition (Division 665)

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. Limit 20 per class. (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)

521, 522. Seminar in Composition. Composition 424. Comp. 521 is prerequisite to 522. (2-4 each). (Excl).

Composition 521. This course addresses the problems of composing for large ensemble or 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. Individual instruction is provided. Participation in a seminar concerned with the detailed study of recent compositions, techniques and aesthetics is required. (Albright)

Composition 522. A continuation of Composition 521. For description see Composition 521. (Albright)

Music Theory (Division 696)

238. Introduction to Musical Analysis. Theory 237. (3). (Excl).

The course is a continuation of MT 237 and thus assumes a basic understanding of scales, chords, and tonal harmony. In MT 238 an emphasis is placed on elements of chromaticism, larger forms and 20th century techniques. Laboratory sessions supplement lectures and provide opportunities for discussion and practical application of musical materials. Two in-class examinations plus weekly homework assignments. (Burt)

405, 406. Special Courses. Theory 240. (1-3 each). (Excl).

Music Theory 405 and 406 are offered Winter Term, 1983.

Music Theory 405: Analysis Practicum Using Ideas of Schenker. The course is intended to introduce students to the concepts and techniques developed by Heinrich Schenker for the analysis of tonal music. No prior knowledge of Schenker's work is assumed, but the student should have a good working basis in traditional tonal theory (Music Theory 451 or the equivalent). Some readings in Schenker; daily exercises and several projects; a seminar format, wherein the pieces being worked on are discussed and each student contributes ideas and questions. Open to any qualified student; not part of any department's requirements. (Browne)

Music Theory 406: Film and Music. The course centers on the dynamic quality and function of film music in the "sound" period (1935 to the present). Major composers and landmark scores are considered as well as are technical matters of spotting, film and cue breakdowns, synchronization (click-track and free timing, etc.), and post-record editing. Throughout, the fundamental concern is with the question of how, when, why or on what basis music is functioning in relation to particular films. Pacing, dramatic curve, point of view, primacy of film and the interaction between the two media are basic issues. Directed primarily to students of both film and music (upper division or graduate levels), the course will be understandable to everyone regardless of background. The course is not part of a departmental sequence. Two brief exams and a final written project are based on lecture discussions, reading (textbook), listening (recordings on reserve) and films shown in class (three or more). The Academy of Motion Pictures is sending Alex North to visit this class in March, 1983. (Burt)

452. Analysis of Twentieth-Century Music. Theory 451. (2). (Excl).

The course is divided into three parts: pitch-centered music (Bartok, Hindemith, Stravinsky); atonal and serial music (Schoenberg, Berg, Webern, late Stravinsky); and music since 1950. Music theory 451 is a prerequisite, and the course is not recommended for LSA students who do not have a strong background in music. The course is required only for undergraduate majors in piano, organ, music theory, and composition. The course meets three hours weekly for lecture/recitation. There are written assignments, two major exams, and a final paper and presentation for the third unit. No final exam. Required anthology: Wennerstrom, Mary, Anthology of Twentieth Century Music. Recommended book: Wittlich, Gary, et al., Aspects of Twentieth Century Music. (Hatten)

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