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 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, concert reports, and a few short writing assignments. This is the first course suggested for the LS&A concentration in Music. Cost:2 WL:1 (Whiting)
406. Special Course. (2-4).
(Excl). May be repeated for credit.
Voices of Epic: Heroic Narrative in Living Performance. Epics live. Ancient heroic narrative songs of struggles for the sake of a community, epics are still orally composed during performance today – probably on every inhabited continent. This interdisciplinary course studies three current epic traditions from three diverse cultures: SUNDIATA, Mali, West Africa; THE BALLAD OF GREGORIA CORTEZ, Mexico; and the MAHABHARATA as adapted to Indonesian shadow drama. We read each epic in multiple versions in English as transcribed oral literature, come to know it as musical performance on tape, sometimes through guest performance as well, and study both forms in interaction. From these, though we learn by analogy about Homer, we learn primarily that epic is far broader than the Greek mode, and that to editorially smooth living epic to fit Western European expectations make it, as one student noted, "fade to black." Performance brings a dimension to understanding a narrative. "Texts" change dramatically from performance to performance depending upon medium, upon individual and upon audience. An instrument may connote nobility (the Kora that accompanies the SUNDIATA epic) or a particular religious affiliation (the gamelan ensemble or Java with its ties to pre-Islamic Hinduism). In many cases the performer is believed to have supernatural powers. Thus music and narrative together give us a new way to approach meaning, while we add structural and oral-traditional interpretation and cultural information. As well as listening, writing is central to our approach. A "listening" journal, and music quizzes as we go, varied writings in class, and a final comparative paper are part of the learning process. Two further papers will be due in stages. No prerequisite courses, but MARC concentrators will want to be familiar with Western epic. Cost:2 WL:4 (Becker, Clark)
407. Special Course. (2-3). (Excl). May
be repeated for credit.
Section 001: Native American Music. For Winter Term 1993, this course is jointly offered with American Culture 311.001. (Browner)
413. History of Opera. (3). (Excl).
This course is an historical survey. About 20 operas are stressed, sampling composers from Monteverdi to Glass. Students hear excerpts (usually at least one act) from the works chosen for discussion. In most cases operas are also viewed on video cassettes. Discussion deals with the evolving musical forms and styles, the cultural implications of librettos as literature, and varied strategies for designing an effective theatrical work. Students are evaluated through midterm and final examinations, a research paper, and a brief oral presentation to the class. (D.Crawford)
462. Japanese Music. (3). (Excl).
The course is a survey of the history, aesthetic, and musical characteristics of traditional Japanese music from the 9th through the 20th century with an emphasis on theater music. The course is designed primarily for those in music, theater or Japanese studies though it is open to any intellectually talented student. Weekly listening tapes at the School of Music and UGLI plus classroom video tapes and live performance enhance the meaning of each tradition. The course pack includes selected readings plus translations of any vocal music heard on the tapes. Cost:1 (Malm)
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. The prerequisite is the ability to read music. (Newby)
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. (Newby)
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