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.
305. Special Course. Non-music only. (3).
Section 001 – Chant. This course, intended for non-music majors, will survey the sacred monophony (single-part music) of contemporary and historical cultures. One point of departure will be Gregorian chant, which students will examine through listening and reading assignments. Lectures will focus initially on musical aspects and ritual use, but attention will soon shift to chant's popularity with modern audiences. Students will discuss issues which this commercialization raises, read relevant articles from mass media publications, listen to and discuss hybrid performances combining chant with modern instruments. The point will be to understand the place of nominally sacred, traditional repertories in modern consumer societies. We will then examine sacred singing in other religions, including Islam, Judaism, Buddhism, and First Nations (Native Americans), how these musics work, and how they are represented in recordings. Issues raised in the course will be treated in two essay exams and a term paper. (Borders)
306. Special Course. Non-music only. (3).
Section 001 – American Popular Music to 1950. From the rise of minstrelsy to the golden age of Tin Pan Alley song, American popular music before the rock era remains a vital and central component of American culture. This class aims to develop a deeper understanding of a wide-ranging repertory that remains familiar, from "Home Sweet Home" to "Over the Rainbow" and other songs by such composers as Stephen Foster, Henry Clay Work, Irving Berlin, Jerome Kern, George Gershwin, Harold Arlen, Cole Porter, and Richard Rogers. The primary focus will be on songs, but popular instrumental music will also be considered. While building a knowledge of major composers, songs, and styles, the class will develop answers to questions such as: How does this music engage with the events, issues, and values of the times in which it was written? What kinds of stories does it tell about American culture? How does performance style affect our perception of those "stories" Class meetings will combine lecture, discussion, listening, and informal group singing. Evaluation will be based on class participation, short papers, quizzes, a songwriting project, and a final exam. A willingness to sing and discuss popular songs is a must; and the ability to read music, although not required, will be an asset. (Magee)
341. Introduction to the Art of Music. For non-School of Music students only. (3). (HU).
The course is designed for those who wish to sharpen their appreciation of music, whether they have any musical background or not. It begins with the fundamentals of melody, rhythm, harmony, and texture, then presents a survey of the artistic and cultural heritage of Western art music, from the Baroque era to the present. We examine representative examples of opera and concerto, symphony and song, solo and chamber music; but the listening skills developed in class are meant to be applied to virtually any kind of music. Such skills involve understanding conventions of musical expression and form, so that students learn to listen with appropriate expectations. Students attend three lectures and one discussion section per week. Tapes of assigned works are available for private study. Grades are based upon three examinations, concert reports, and participation in discussion sections. This is the first course suggested for the LS&A concentration in music. (Whiting)
346. The History of Music. For non-School of Music students only. (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 performance on exams. A short extra credit paper will be optional. Cost:2 WL:4 (André)
405. Special Course. (2-4). (Excl). May
be repeated for credit.
Section 001 – Bebop to Avant-Garde and Beyond: Jazz History 1940-Present. (3 credits). This course concentrates on the history and repertory of jazz between 1940 and the present. The musics of Charlie Parker, Dizzy Gillespie, Thelonius Monk, Bud Powell, Lennie Tristano, Charles Mingus, Art Blakey, Miles Davis, Ornette Coleman, John Coltrane, Sun Ra, Henry Threadgill, and Wynton Marsalis are among those covered. It will be the goal of the course to develop musical and listening skills, as well as an awareness of the relationship of these musical developments to African American history and culture. In developing an intellectual framework which takes into consideration musical, cultural, intercultural, and historical issues, the viewpoints of musicians on these topics will be stressed. In so doing, we will evaluate several historical works against the standards of the musical community. (Monson)
406. Special Course. (2-4). (Excl). May
be repeated for credit.
Section 001 – The Music of Charles Ives. (3 credits). This course is concerned with the life, music, and influence of the American composer Charles Ives (1874-1954), as well as his musical and intellectual contemporaries. The format will combine lectures with seminar-discussions on assigned readings and musical compositions. It is recommended that students have some experience analyzing twentieth century art music. Requirements include short papers and a final research project. There will be no exams. Cost:1 WL:4 (Sherwood)
407. Special Course. (2-3). (Excl). May
be repeated for credit.
Section 001 – Music, Theater, and Society, 1570-1750. (3 credits). The aim of this course is to investigate the several ways in which social and political factors and events, literary trends, and musical developments interacted in the period 1570-1750 to produce significant works in the European and American musical-theatrical repertory. This course is interdisciplinary and will be organized around topics, for example, public opera in Venice ca. 1650; court opera and ballet in Paris in the reign of Louis XIV; the politics of hybrid genres in Hapsburg Madrid ca. 1650-1685; the politics of the Purcell/Dryden King Arthur; Handel's music, the public imagination, and the London theaters 1710-1740; the first New-World opera in Lima, Peru, around 1700. The choice of topics will be refined according to the interests and abilities of the seminar participants. One segment of the course is sure to be devoted to the first New World opera and its historical moment (Lima, 1701); and another segment to exploring the construction of musical eroticism in musical theater from this period. Open to upper division students in LS&A, graduate students in the various performing arts and humanities fields, and School of Music students of all levels. Enrollment limit: 15-20. Cost: 2 W:1,3 (Stein)
413. History of Opera. (3). (HU).
This course is an historical survey of opera (as music, as theater, and as cultural expression) from its beginnings to the present. While some of the lectures and listening assignments will be organized around excerpts, others will be designed to focus on whole operas, their musical dramaturgy, and their impact and reception in performance. The assignments in this course will be primarily listening assignments, to be supplemented by score study, readings from the course pack or materials on reserve, and some in -class performances. For Winter 1996, this course will be team taught by Professor Louise Stein, for the 17th- and 18th-century repertory, and Professor Naomi Andre for the 19th- and 20th-century repertory. Open to upper-level LS&A students and to graduate students in the performing arts and humanities fields, and to all students in the School of Music. Cost:2 WL:1,3 (Stein and Andre)
421. Music of the Classic Period. (3). (Excl).
A historical survey of vocal and instrumental music in Europe from the style galant of the 1730s to "second-period" Beethoven. Important topics along the way will include patterns of structural thinking (sonata forms, aria, rondo), conventions of genre and expression, the impact of comic opera and the reform of serious opera, and the pertinent political and philosophical contexts. Much of the course is devoted to a detailed examination of works by Haydn, Mozart, and Beethoven. The ability to read symphonic scores is presumed. Grades are based upon daily participation, three analytical exercises, and no examinations. (Whiting)
437/Phil. 437. Philosophy of Music. An introductory course in philosophy; or previous course work in music; or permission of the instructor. (3). (Excl).
See Philosophy 437. (Walton)
458. Music and Culture. (3). (HU).
Section 001 – Church Rituals in the Latin West. In the first half of the term, students will examine modern sacred music and musical performances from an ethnomusicological/anthropological perspective. The results of students' field research will then form the basis for historical speculations concerning the rituals and the chant of the medieval Christian Church. Reading knowledge of Latin would be helpful but not necessary since the instructor will provide students with translations of the medieval ritual texts. Some knowledge of basic musical notation and terminology would be useful, as would prior fieldwork experience. Requirements: two papers; required readings; fieldwork; class discussion. (Borders)
464/CAAS 464. Music of the Caribbean. (3). (HU).
This course introduces the Caribbean as an area comprising many distinct cultures. Not only is each island unique culturally, but each contains within its borders a heterogeneous composition of peoples with evolving styles. Trinidad will be used as the model society for study because of its musical influence upon the entire Caribbean, the extraordinary array of musical practices, and its multi-ethnic makeup. The major body of the course will proceed by areas zoned musically for our purposes, and by musical type. That is, islands with historical French colonial contact will be handled together and distinct musical types of various countries will be studied by genre. We will search for the social, legislative, and economic factors that operate in favor of musical appropriation and against the continuity of individual traditional styles. Students are encouraged, in their written projects, to explore issues involving musical ideation, discovery, and decision-making in a select Caribbean area. Cost:2 WL:1 (McDaniel)
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.
222. Composition. For non-School of Music students only. Composition 221. (3). (Excl).
Composition 221 and 222 are taught in the same classroom; 222 is a more advanced continuation of 221.
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 complemented by by-weekly lectures, investigating appropriate aspects of musical language and compositional craft.
422. Creative Composition. Composition 421. (3). (Excl).
Composition 421 and 422 are taught in the same classroom; 422 is a more advanced continuation of 421. Cost:1
423. Advanced Composition. Composition 422. (2-4). (Excl). (INDEPENDENT).
For students capable of original creative work. Instead of classwork as in 421-422, individual instruction with course instructor is provided. Participation in a weekly seminar devoted to the examination of a broad range of Twentieth Century literature is required. Cost:1
424. Advanced Composition. Composition 423. (2-4). (Excl). (INDEPENDENT).
See description for Composition 423. Cost:1
425. Advanced Composition. Comp. 424. (2-4). (Excl). (INDEPENDENT).
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). (INDEPENDENT).
See description for Composition 425.
521. Advanced Composition. Composition 424. (2-4). (Excl). (INDEPENDENT).
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. Advanced Composition. Composition 521. (2-4). (Excl). (INDEPENDENT).
See description of Composition 521.
201. Microcomputers and Music. Permission of instructor. (2). (Excl).
Students receive basic instruction in the use of microcomputers, synthesizers, and computer music software for composition, recording, and musical notation. Requires the ability to read music and some musical keyboard proficiency.
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