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Winter Academic Term 2002 Course Guide

Note: You must establish a session for Winter Academic Term 2002 on in order to use the link "Check Times, Location, and Availability". Once your session is established, the links will function.

Courses in Music Theory

This page was created at 5:51 PM on Tue, Oct 30, 2001.

Winter Academic Term, 2002 (January 7 April 26)

Open courses in Music Theory
(*Not real-time Information. Review the "Data current as of: " statement at the bottom of hyperlinked page)

Wolverine Access Subject listing for THEORY

Winter Academic Term '02 Time Schedule for Music Theory.

What's New This Week in Music Theory.

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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, and Music Theory are elected for LS&A credit. Some of these courses can be used in an 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 AB/BS degree or twenty non-LS&A credit hours that can be applied toward a BGS degree. Courses in Music History/Musicology, Composition, Music Theory, and Performing Arts Technology are listed in the Time Schedule under the School of Music.

The following courses count as LS&A courses for LS&A degree credit.

THEORY 406. Special Courses.

Section 001 Queer World-Making in American Musical Modernism, 1934-50. Meets with Institute for the Humanities 511.003, Theory 506.001 and Women's Studies 483.008.

Instructor(s): Nadine Hubbs

Prerequisites & Distribution: Music Theory 240. (3). (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: No homepage submitted.

American art music's coming of age, beginning in the mid-1930s, gave the U.S. a new signature sound and a new stature as a nation of culture, as well as wealth and technological power. The prime architects of America's musical identity in this defining moment were composers like Copland, Thomson, and Barber, along with Bernstein, Blitzstein, Bowles, Diamond, Rorem, and others. And the Manhattan-centered realm in which these artists moved was distinguished by its involvement not only with musical modernism, as is generally acknowledged, but with queerness.

This seminar will examine sexual identities and politics in the American modernist music world to illuminate both the crucial role of queer identity in the twentieth-century American classical music world, and the crucial role of American classical music in the making of twentieth-century queer identities and queer worlds.

Required books: course reader (other materials will be on reserve).

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Graduate Course Listings for THEORY.


This page was created at 5:51 PM on Tue, Oct 30, 2001.

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