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).
This course examines European music, its performance and reception, from the Classical period (Haydn, Mozart) through contemporary compositions of the twentieth-century. Musical works will be discussed on their own terms, as well as within broader cultural and historical frameworks. Lecture material will be supplemented by recorded music (tapes available at UGLi Reserve desk) and readings from required textbooks, titles to be announced. Because students who are not music concentrators elect this course, the ability to read music is not necessary. However, familiarity with the topics and terminology of Music History and Musicology 341 and 345 is assumed. Student performance will be evaluated by means of two one-hour examinations, and a two-hour final examination. (Brown)
405. Special Course. (2-3). (HU). May be repeated for credit.
An explication of the development of the jazz tradition from its African and Afro-American folk origins to contemporary developments. Topics include blues, early jazz ("King" Oliver and Louis Armstrong) and swing bands to Free Jazz and "new" creative music. Lecture material will be supplemented by required readings from books, articles, and recorded music (available from the UGLI reserve desk and the School of Music Listening Room). Student performance will be evaluated by means of two one-hour exams, a final paper and project. (Brown)
406. Special Course. (2-3). (HU). May be repeated for credit.
The Song and the Tale: Epic in Its Musical Setting. This course examines the texts (in English translation) and the music of five epic traditions from diverse cultures: the Kalevala, Finland; the Ballads of Marko Kraljevic, Yugoslavia; Sundiata, Mali; the Gasumbi epic, Philippines; and the Ramayana as adapted to Indonesian drama. The five, three of whose texts as well as music are field-recorded, embody ideas of epic broader than the Greek mold and open for us new questions of the relation of text to living performance. We examine the performer – composer's technique in light of his or her other oral performances or other closely related narratives. We consider ways to approach meaning and literary values in a culture new to us; adding cultural and religious background we explore the potential insights and hazards of structural and oral-traditional interpretation. The method of instruction will be primarily in the form of lectures, although discussions will sometimes be encouraged. Evaluation will be based upon exams and short papers. (J. Becker)
413. History of Opera. (3). (HU).
This lecture course surveys the history of opera from Monteverdi to the present. The text is Robert Donington, The Opera. A considerable amount of assigned listening is involved. Discussion of representative operas deals with compositional, literary, and theatrical features. Non-music majors are welcome if they have musical backgrounds. Grades are determined by midterm and final examinations as well as a term paper. (Crawford)
421. Music of the Classic Period. (3). (HU).
This course is a presentation and analysis of the music and ideas of 18th century Europe. The first half of the course describes the early style transformations that took place in opera, symphony, and ensemble music, and compares these findings with contemporary aesthetic and theoretical models. The reformulation of this musical language of the Enlightenment is then traced through Haydn, Mozart, and early Beethoven, which forms the balance of the course. Students must have had at least a year of basic music theory, including some analysis of sonata-type movements. Two exams are given, and a research paper is required. (Monson)
461. The Music of Asia. (3). (HU).
The course surveys music of ancient and contemporary Near East, Central and South Asia, and the Far East. The cultural/historical context and functions are discussed along with musical characteristics. Weekly cassette listening and text book reading are required as is one non-western music concert. If the first essay exam is A, a term paper may be used in lieu of the final. Music and non-music majors perform equally well in this exotic topic. (Malm)
463/Asian Studies 463. Music of Southeast Asia. (2). (HU).
In the course we will study the various musical genres and cultural contexts of the music of Burma, Thailand, Laos, Cambodia, Malaysia, Indonesia and the Philippines. Vocal traditions, solo instrumental traditions, ritual and theatrical traditions and the ensembles such as the Burmese hsaing-waing, the Thai pi-phat, the Indonesian gamelan and the Philippine kulintang will all be studied both for their musical aspects and their cultural significance. The course content will be presented through lectures, listening tapes and reading. We will be studying not only the special ensembles and genres of each country but also the pan-Southeast Asian musical styles and instruments that contribute to the musical continuities across the entire geographical area. Evaluation will be based upon short papers and exams. No prerequisites or musical background are required. Paper assignments will be adjusted to the background and the particular interests of each student. ( 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. (Campanelli)
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. (Campanelli)
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).
Composition 422 is a continuation of Music 421. For a description, see Composition 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. (Campanelli)
424. Advanced Composition. Composition 423. (2-4). (Excl).
A continuation of Composition 423. For description see Composition 423. (Thorne)
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. (Albright)
426. Advanced Composition. Comp. 425. (2-4). (Excl).
A continuation of Composition 425. For description, see Composition 425. (Thorne)
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. (Thorne)
522. Seminar in Composition. Composition 521. (2-4). (Excl).
A continuation of Composition 521. For description see Composition 521. (Albright)
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. (Mead)
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