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. The course grade is based on three exams and a short written project in aural analysis. 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., short or regular 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, 407, 408. Special Courses. (2-3).
(HU). May be repeated for credit.
405, Section 001 – Contemporary Music of China. This course will be a survey of Chinese instrumental solo and ensemble music since ca. 1600 A.D. It is open to undergraduates and graduates. No previous musical background is required. This is a lecture course, with listening tapes on reserve at the School of Music. Grades will be assigned on the basis of a midterm and final exam. (Tong)
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).
Selected music traditions of the Near East, India, Southeast Asia, China, Korea and Japan will be studied. The sounds of the music, the instruments, the forms of the music and how all are integrated into the surrounding society are considered. The course is open to all students, regardless of musical background. Weekly listening tapes and readings are correlated with the lectures. Music Cultures of the Pacific, Near East and Asia by W. P. Malm will be used as a text. Grades will be assigned on the basis of exams which are partly essay, partly objective. (J. Becker)
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. Music 222 requires prior attendance in Music 221 or, in a few cases, proof of some degree of musical literacy. 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. (Bassett)
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)
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