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, a final examination, and concert attendance 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. (Cook)
405. Special Course. (2-3). (HU). May
be repeated for credit.
Section 001 – American Music Since 1920. This course will deal with the music of composers of special interest and important genres of American music. Composers will include Copeland, Thomson, Babbit, Cage, Ellington, Glass, Brant and Zappa. Topics/genres will include Musical Americanism, music and politics, the American musical stage, total serialism, chance music, the Decline of the Hit Parade and the Rise of Rock. It is desirable to have some knowledge of music, but this course is not designed exclusively for music majors. Students in all fields, especially American studies, will find it valuable. This course is designed to follow Professor Richard Crawford's course in American music, but there is no prerequisite. There will be two quizzes, a final, and a critical paper. Readings will be taken from Thomson, American Music since 1910; Rockwell, All American Music; Hamm, Music in the New World, and Hitchcock, Music in the United States. In addition some listening and concert attendance will be required; method of instruction is lecture, discussion, and occasional performance. (Bruce)
406. Special Course. (2-3). (HU). May
be repeated for credit.
Section 001 – American Piano Music. This course will consist of lecture-recitals on various topics in American piano music, including: art music in the middle of the 19th century; ragtime and related music; dance music in the early 19th century; American piano sonatas; descriptive piano music. Individual composers will be covered in depth, including: A.P. Heinrich, John Cage, Arthur Farwell, Charles Ives, L.M. Gottschalk, Percy Grainger. It is desirable to have some knowledge of music, but this course is not designed exclusively for music majors. Students in all fields, especially American studies, will find it valuable. This course is not a part of a departmental sequence. There will be two quizzes, a final, and a critical paper. Texts will be Loesser Men, Women and Pianos, and Hitchcock, Music in the United States. Extensive outside listening is required. Method of instruction is lecture, performance and discussion. (Bruce)
413. History of Opera. (3). (HU).
The course covers major developments in opera from its beginnings in the late 16th century to the present day, with emphasis on the works included in current repertoires. Works are treated in chronological order, and seen as examples of the principal operatic types such as opera seria, opera buffa, reform opera, music drama, verismo, and American opera. Important operatic issues such as dramatic and musical structures, instrumental and vocal styles, and staging will also be considered. Study of representative works will be through tapes and libretti of selected scores. Readings will be from Robert Donington, The Opera, and Ulrich Wiesstein, The Essence of Opera, with other readings and score-study encouraged. Students will be asked to attend at least one opera during the term. Class participation, two tests, an opera review, and a final examination will be used to evaluate student progress. (Taylor)
420. Music of the Baroque. (3). (HU).
The course is a survey of the music of the Baroque Period (1600-1750) from Claudio Monteverdi and the Florentine Camerata through Bach and Handel. The development of national styles is discussed, as are the influences across national boundaries. Genres, such as opera, concerto, keyboard music, chamber music, etc. are traced through the period with the aid of taped musical examples and an anthology of music. Significant writings and editions of Baroque music are discussed, as well as issues of social function and performance practice. Students are evaluated on the basis of midterm and final examinations and a term paper. The required texts are Palisca, Baroque Music (second edition) and Davidson and Apel, Historical Anthology of Music, Vol. II, and a course pack. (Taylor)
421. Music of the Classic Period. (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, and 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. A midterm, final exam, and research 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 341/345 and Theory 238, as well as to students in the School of Music. (Monson)
459. Music Cultures of Africa and South America. (3). (HU).
No prerequisites or formal training in music are necessary for this course. A minimum of technical language will be used and all terms will be thoroughly explained. Music of Mexico, the Caribbean and South America, both Indian and Mestizo, rural and urban, and music of many African cultures will be presented in the lectures. The student will come to appreciate the complex interrelationships between musical style and cultural content. Listening tapes and readings will supplement the lectures. Evaluation will be based on a midterm exam, a term paper and a final exam. (J. Becker)
221. Introduction to Elementary Composition. For non-School of Music students only. (3). (Excl).
This course deals mainly with composing and appreciation of contemporary art music. Time is also spent with pop and jazz, ethnic and traditional classical 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. No musical background is required although the ability to read music will be extremely helpful. 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. (Bassett)
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. Advanced Composition. Composition 422. (2-4). (Excl).
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)
424. Advanced Composition. Composition 423. (2-4). (Excl).
A continuation of Composition 423. For description see Composition 423. (Albright)
425. Advanced Composition. Comp. 424. (2-4). (Excl).
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. (Bassett)
426. Advanced Composition. Comp. 425. (2-4). (Excl).
A continuation of Composition 425. For description, see Composition 425. (Bolcom)
521. Seminar in Composition. Composition 424. (2-4). (Excl).
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)
522. Seminar in Composition. Composition 521. (2-4). (Excl).
A continuation of Composition 521. For description see Composition 521. (Albright)
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