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 weekf711. 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)

342. Introduction to World Music. For non-School of Music students only. (3). (HU).

This course will introduce students to the musical cultures of a few, select musical areas of the world (such as the Caribbean, West Africa, India, and Eastern Europe). Three lectures a week will be supplemented by listening tapes available at the School of Music and the Listening Lab in MLB. Students will be evaluated on the basis of listening quizzes, a midterm, and a final exam. The department regards this course as a companion to MHM 341, Introduction to Music, a course for non-music concentrators that stresses Euro-American concert music. (McDaniel)

346. The History of Music. For non-School of Music students only. MHM 341 or equivalent. (3). (HU).

This course deals with European and American music, its performance and reception, from 1750 to the present. 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 the language lab listening facilities) and readings from a textbook. Because students who are not music concentrators elect this course, the ability to read music is not necessary. However, familiarity with some rudiments of music is assumed. Grades will be determined by means of two one-hour examinations and a two-hour final. (D.Crawford)

458. Music and Culture. (3). (Excl).
Section 001 Music and Ritual.
This is a lecture course designed to stimulate students to explore music as a marker of structure, as an enhancer of affect, and as a catalyst for trance states. A few rituals will be studied in depth, including the Sufi Qawwali ritual from Pakistan and the Barong/Rangda ritual from Bali, Indonesia. Lectures will intersperse theory with focus on particular rituals. No musical background is required, but the ability to hear musical patterns is essential. Students will be asked to write several short papers and a final paper. Readings from a course pack and listening tapes will be included in the assignments. (Becker)


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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