It is possible for LS&A students to elect a concentration program in music, and this program is described in the LS&A Bulletin. In addition, music courses are frequently elected by LS&A students not concentrating in Music. Courses in Music History/Musicology, Composition, Music Theory, and Performing Arts Technology are elected for LS&A credit. Some of these courses can be used as part of the humanities requirement in a PATTERN I area distribution plan. LS&A students may elect music PERFORMANCE courses for degree credit, but this credit counts toward the maximum twelve non-LS&A credit hours that can be applied toward an A.B./B.S. degree or twenty non-LS&A 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. Through a brief survey of the artistic and cultural heritage of Western music, we will concentrate on symphony, opera and 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 MLB Language Lab. The course grade is based on three exams, a concert report, and a few short writing assignments. This is the first course suggested for the LS&A concentration in Music. [Cost:2] [WL:4] (Monson)
405. Special Course. (2-4). (Excl). May be repeated for credit.
Section 001 – MONUMENTS OF RUSSIAN OPERA (3 credits) will focus on five to six (more, possibly, if time permits) of the most celebrated operas from Glinka to Tchaikovsky. The libretto and music of each work will be analyzed in class, and anticipated by various readings. Students enrolling in this class should have completed an undergraduate course sequence in music history and music theory, OR, lacking preparation in music, must have attained a reading fluency in Russian and be willing to read and report to the class on literature in that language. If there is any question about pre-requisites, consult the instructor. 'Monuments of Russian Opera' is a lecture course, but class discussion will be encouraged. Grading factors will be a midterm examination, a final examination, and a written term project. (Wiley)
Section 002 – WEST AFRICAN PERFORMING ARTS. No Description available. (D. Crawford)
406. Special Course. (2-4). (Excl). May be repeated for credit.
Section 001 – TOPICS IN JAZZ. The area of study will be improvised jazz solos recorded between 1925 and 1935. Three projects will be required. First, a transcription of several solos by Louis Armstrong and a brief paper discussing questions of analysis. Each member of the class will then select a soloist (or several soloists, depending on the availability of recordings) for the major project of the term. An annotated bibliography should be completed by midterm, followed by transcribed solos and a paper. Students should be capable of transcribing jazz solos from recording to accurate notation. Some background in music theory and analysis is required. Course enrollment is limited to 15. (Brothers)
407. Special Course. (2-3). (Excl). May be repeated for credit.
Section 001 – NATIVE AMERICAN MUSIC. (For Winter Term, 1991 this course is jointly offered with American Culture 311, Section 002.) In this course the musics of First Nations Peoples from Northern Mexico to the Arctic circle will be explored. The emphasis will be on music as a part of culture rather than an abstraction from it. In addition to traditional repertoires, modern forms such as country, rock and pan-Indian social musics (pow-wow and 49) will be covered. There will be midterm (take home) and final examinations, one paper of approximately five pages in length, one required performance attendance and thirty minutes of listening per week. The format will be primarily lecture with occasional topics for discussion. WL:2 (Browner)
411. Symphony. (2). (Excl).
This course surveys the symphony from its earliest inception through the 20th century. Three basic premises are taken as points of departure: the symphony is a product of its social origin and milieu, it is an expression of contemporaneous aesthetic values, and the mutation of symphonic form and style is often a product of other general musical trends and genres of the day. Texts will include a course pack and a volume of full scores. All students must have completed at least one year of elementary music theory and at least a one term survey of music from the Baroque to the present. Two exams and two brief analytical papers will determine the grade. Three lectures are given each week. Cost:2 WL:4 (Monson)
478. Renaissance Music. MHM 345 and 346 and Theory 137 and 138, or equivalent. (3). (Excl).
This course combines a survey of 15th and 16th century music with in-depth study of selected topics from the period. Students should have some background in Music Theory and Western Music History. Students are evaluated on the basis of listening exams and assigned papers. (Brothers)
221. Introduction to Elementary Composition. For non-School of Music students only. (3). (Excl).
Designed for students with limited musical background who wish to gain an understanding of the creative process and acquire a greater appreciation for contemporary music by composing. The course investigates traditional compositional crafts, as well as more current or experimental tendencies, including pop, ethnic and jazz idioms. Directed student creative projects receive individual attention. While no prerequisites are required, the ability to read music is strongly recommended.
222. Composition. For non-School of Music students only. Composition 221. (3). (Excl).
A continuation of Composition 221 (see description), this course serves as an introduction to instrumental idiom and a study of musical structure through individual creative effort.
421. Creative Composition. Non-School of Music students must have completed Composition 222 or Theory 238. (3). (Excl).
An introduction to composition for students interested in concentrating on original creative work in contemporary idiom. Student creative projects for which individual instruction is provided, are complimented by by-weekly lectures, investigating appropriate aspects of musical language and compositional craft.
422. Creative Composition. Composition 421. (3). (Excl).
See description for Composition 421. Cost:1
425. Advanced Composition. Comp. 424. (2-4). (Excl).
Stresses the shaping and instrumentation problems involved in composing for the mixed consort and examines differing approaches to musical notation. Weekly seminar participation is required.
426. Advanced Composition. Comp. 425. (2-4). (Excl).
See description for Composition 425.
521. Seminar in Composition. Composition 424. (2-4). (Excl).
Addresses the problems of composing for large instrumental forces, including 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. Participation in a seminar concerned with the detailed study of recent compositions, techniques and esthetics is required.
522. Seminar in Composition. Composition 521. (2-4). (Excl).
See description of Composition 521.
238. Introduction to Musical Analysis. Theory 137. (3). (Excl).
The course is a continuation of MT 137 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. One term long analysis project and weekly homework assignments. (Mead)
201. Microcomputers and Music. (2). (Excl).
Students receive basic instruction in the use of microcomputers for various musical purposes. Training is provided in the use of synthesizers and computer music software for notation, recording and sound synthesis. Requires permission of instructor.
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