MUSIC

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.

Music History and Musicology (Division 678)

341. Introduction to the Art of Music. For non-School of Music students only. (3). (HU).

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 selected works by Baroque, Classical, and Romantic composers. We will also discuss various 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 and at the School of Music. The course grade is based on three exams 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 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. Cost:2 (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. Although most pieces studied are from art traditions, samples from popular music and jazz are also included. Music is discussed as samples of compositional styles, but also as representatives of broader cultural and historical frameworks. Lectures are supplemented by recorded listening assignments (cassettes available at the language lab listening facilities) and readings from a textbook. Students should have some familiarity with rudiments of music. Grades will be determined by two one-hour examinations and a final examination. (D.Crawford)

405. Special Course. (2-4). (Excl). May be repeated for credit.
Section 001 Caribbean Music and the Feminist Novel.
This course proposes the reading of feminist literature as anthropology in order to glean from it an informed backdrop to the musical landscape that distinguishes each culture. As a seminar, discussions will be led by members of the class. Novels by Paula Marshall, Rosario Ferre, Audre Lorde, Michelle Cliff, Jamaica Kincaid, and Simone Schwartz-Barth will be part of the readings. Musical types will be introduced in class and offered on listening tapes. Evaluations will be based upon class participation and a research paper. (McDaniel)

406. Special Course. (2-4). (Excl). May be repeated for credit.
Section 001 Popular Music in Modern Japan.
This course will focus on Japanese popular music of the contemporary period including rock, punk, grunge, rap, onka, and karaoke. The lecture format will be followed. Issues such as the rule of socialization, the concept of the artifact, and the aesthetics of publicity will be addressed. Reading ability in Japanese is desired but not required. Readings will include some material on modern Japanese history, Bruno Nettl's Western Impact on World Music and Popular Music in Japan (IASPM-Japan). Cost:1 WL:1 (Hosokawa)

407. Special Course. (2-3). (Excl). May be repeated for credit.
Section 001 American Popular Music, 1840-1920.
This course traces the emergence of distinctively American popular music styles from minstrelsy and the songs of Stephen Foster to early Tin Pan Alley songs, ragtime, and the first published blues. Special emphasis will be placed on the interaction of African-American and European-American traditions that much of the music of this period reveals. While building a knowledge of the period's basic repertory and styles, the class will develop answers to questions such as: How do these songs and instrumental pieces engage with the events, issues, and values of the times in which they were written? What kind of stories do they tell about American culture? How do performance practices affect our perception of those "stories"? Class meetings will combine lecture, discussion, listening, and informal performance. Evaluation will be based on short papers, class participation, and a research paper (for graduate students). Cost:1 WL:1 (Magee)

413. History of Opera. (3). (HU).

This course is an historical survey of opera from Monteverdi to the present. About twenty-five operas are studied, each of the examples being supported by assigned videos to see or recordings to hear. The listening and viewing assignments will be available at facilities at the School of Music. Lectures are supplemented by readings in a textbook. Opera is discussed as musical composition, and also as literature, theatre, and as a cultural expression. Students should have some familiarity with rudiments of music. Grades will be determined by two one-hour examinations and a final exam. Cost:2 WL:3 (D. Crawford)

458. Music and Culture. (3). (HU).
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. Cost:1 WL:4 (Becker)

477. Medieval Music. MHM 345 and 346 and Theory 137 and 238, or the equivalent. (3). (Excl).
Section 001 Defining Gender and Rank.
To what extent was music involved in the construction of gender in the Middle Ages? What role did it play in defining one's place in human and cosmic hierarchies? Following a lecture-based survey of the early development of Western music, the second half of this course will examine these questions through analyses of music, rituals, and texts (in translation) and by examining the development of the text/music relationship over the period 800-1450. Course work will involve listening and reading assignments, including musical scores, music theoretical literature, and medieval cultural studies. Grading will be based on performance on a listening quiz, a midterm essay exam, an oral presentation, and a term paper. Because this course is primarily designed for undergraduate and graduate students in the School of Music, the ability to read musical notation will be assumed. Those interested in a more general approach to medieval music in which the ability to read music is not essential, please consider MARC 411, section 004, Music in Medieval Culture. (Borders)


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