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Music Courses
The following courses are open to students; no previous musical experience is required.
An introduction to the great music of Western civilization from the Middle Ages to the present. The course begins with a discussion of the elements of music and proceeds with a chronological overview of music history. Musical masterworks from all style periods are studied. (Credit, full course.) Lehman
A general introduction to the language of music intended to help the student gain fluency in reading conventional musical notation. Fundamental theoretical concepts (melodic and rhythmic notation, intervals, major and minor key signatures, major and natural minor scales, and simple and compound meters) are studied and rudimentary piano skills (scales and chords) are cultivated in a weekly laboratory (one half hour per week). Students with some proficiency in these areas are urged to seek placement in Music 103. (Credit, half course.) Staff
This course assumes knowledge of basic musical notation, intervals, key
signatures, major and natural minor scales, and compound meters. Topics
studied include harmonic progressions in major and minor keys, harmonic
and melodic minor scales, basic Roman numeral analysis and the
harmonization of melodies using I, IV, and V chords. The course
culminates in a simple composition assignment for piano. Keyboard
skills are developed in a weekly laboratory (one half hour per week)
and includes simple chord progression and a short piece. Students with
some proficiency in these areas are urged to seek placement in Music
260. Prerequisite: Music 102 or instructor permission. This course
cannot be taken for credit by students who have already earned a full
course credit for Music 102. (Credit, half course.) Staff
This course allows students to develop musical literacy and,
concurrently, to explore the ways electronic keyboards and computers
communicate. Participants use a new technique for learning musical
notation that combines the aural experience of music with its visual
representation on the computer monitor. Hands-on experience with
computers and piano keyboards is important, as students learn the
rudiments of music making and notation, composing their own melodies
and rhythms. Basics of MIDI — Musical Instrument Digital Interface, the
communication protocol between musical instruments and computers — are
covered. The course follows a historical progression, examining a
few representative masterpieces of Western classical music. Initially,
early music and its relatively simple melodic organization provide
students with an entrée to notation, but as literacy skills increase,
more recent compositions come under analysis, culminating in
nineteenth- and twentieth-century works. The music theory skills
acquired here allow the student to advance into Music 260. (Credit,
full course.) Miller
A detailed survey of music in the 18th, 19th, and 20th centuries. The course first looks at early modern traits in music of the 18th century, like Bach’s polyphony and castrato singers, and then considers the influence of the Enlightenment on music and Beethoven’s championing of individual expression. The enhanced status of popular music — including jazz, rock, and rap — in the 20th century is linked with the broader cultural development of the “mechanically reproducible artwork,” specifically music recording. Prerequisite: Music 101. (Credit, full course.) Miller
A survey of the history and literature of music from 1600 to 1750
culminating in the study of selected works by Bach and Handel. (Credit,
full course.) Delcamp
A study of the formulation of the classical style and its evolution in
the hands of the Viennese classicists: Haydn, Mozart, and Beethoven.
(Credit, full course.) Shrader
A study of the history, literature, and ethos of musical romanticism as
it is expressed in the works of the great composers from Schubert to
Mahler. (Credit, full course.) Shrader
A study of the history and literature of music from the Impressionist
period to the present day, encompassing neoclassicism, expressionism,
serialism, and electronic music. (Credit, full course.) Delcamp
The world of western art music continues to be dominated by the works of the common practice period (that is, the corpus of works composed from 1700 to 1920 by Bach, Beethoven, Wagner, Brahms, and others). Music 212 examines specific masterworks from this vast repertory of works that continues to engage the attention of performers and listeners at all levels. Selected musical compositions are studied in depth from an analytical, historical, and critical perspective. Prerequisite: Musc 101 or Musc 105 or consent of instructor. (Credit, full course.) Shrader
Recording technologies, which date back to the late nineteenth century, have affected music more profoundly than any other musical change since the adoption of music notation. This course traces the development of those technologies, with particular attention to the performers, composers, and repertories that have exploited them. Many important figures and movements in twentieth- and twenty-first century music are addressed: ragtime, blues, jazz, and rock; Copland, Varèse, Reich; the Beatles, Pink Floyd, Radiohead. Different recording formats — from piano rolls to mp3s — receive particular attention. Prerequisite: Musc 101 or Musc 105. (Credit, full course.) Miller
A study of the principal genre of orchestral composition from its birth
in the eighteenth century to the present day. Selected works by Haydn,
Beethoven, Brahms, Mahler, and others are closely examined. The
evolution of the symphony orchestra is considered. (Credit, full
course.) Staff
A chronological survey of music in the United States from the colonial
period to the present day with emphasis on the music of the twentieth
century. The course examines both European-derived and vernacular
styles (e.g., ragtime, jazz, and rock). (Credit, full course.) Miller
A comparative and historical examination of works for the lyric stage,
including grand opera, comic opera in its various national
manifestations, and American musical theatre. Literary sources of stage
works are read in conjunction with the study of scores. (Credit, full
course.) Shrader
A study of music composed for keyboard instruments from the time a
distinct keyboard idiom appeared in the late Renaissance to the present
day. Selected works by composers such as Bach, Chopin, Liszt, Debussy,
and Messiaen are closely examined. (Credit, full course.) Delcamp
An historical survey of musical settings of the mass from Gregorian
chant to the twentieth century. Settings by Palestrina, Machaut, Bach,
Haydn, Beethoven, Verdi, and twentieth-century composers are analyzed
in detail. (Credit, full course.) Delcamp
A survey of music in the English church from the Reformation to the
present day. The evolving role of music in the Anglican liturgy are
considered against the backdrop of the history of the English church
and the evolution of European musical style. Works by Byrd, Gibbons,
Purcell, Handel, Vaughan Williams, and others are closely examined.
(Credit, full course.) Delcamp
An intensive examination of the music dramas of Richard Wagner, considered from musical, dramaturgical and cultural perspectives. Study of Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger, and Parsifal constitutes the core of the course, but earlier works by Wagner and works by contemporaries such as Verdi and Brahms are also considered. Wagner's position as one of the preeminent cultural figures of the latter nineteenth century is critically examined. (Credit, full course.) Staff
The major focus is on Mozart's mature works. The selected works, each
of which is studied in its entirety, is drawn from a variety of genres,
reflecting Mozart's unparalleled universality. Study of Mozart's life
and career deal with the place of music in society and also with the
romantic "myth of Mozart as the eternal child." Recent scholarship and
controversies concerning performance practice are included. (Credit,
full course.) Staff
The course focuses most centrally on a limited number of Beethoven's
works that have remained as the staple masterpieces of Western music.
Selected compositions from the piano sonatas, the symphonies, and the
string quartets are stressed; students are expected to learn these in
considerable detail. Beethoven's relationship to his heritage from
Mozart and Haydn is studied, as well as the personal quality of
his style and the changes his individuality brought to music. Finally,
the class attempts to account for the continuing power and attraction
of Beethoven's works throughout two centuries and into the present day.
(Credit, full course.) Staff
Training in performance as a singing actor in a workshop setting,
providing opportunities for the integration of singing and movement.
The course covers a variety of musical styles with emphasis on Broadway
and opera scenes. Prerequisite: permission of instructor. (Credit, full
course.) Rupert
The sequence of Music 260, 261, and 360 comprise a systematic view of
the theoretical concepts and applied skills requisite to good
musicianship. Required of music majors, the sequence is also
appropriate for non-majors who are serious students of music
performance or composition. Students may take Music 260 by successfully
completing Music 102 or by passing a department-administered placement
test on the rudiments of music. An introduction to the harmonic theory
of the common practice period, the course begins with a review of music
fundamentals and then examines the nature of triads and seventh chords,
basic principles of voice-leading and harmonic progression, chord
inversion, and non-chord tones. Skills such as ear-training and
keyboard harmony are simultaneously cultivated. (Credit, full course.)
Staff
A continuation of the study of the harmony of the common practice
period, including an introduction to chromatic harmony (secondary
function chords and diatonic modulation). The vocabulary of harmonic
analysis is extended; aural skills on an increasingly sophisticated
level are cultivated. Composition in traditional music idioms is
undertaken. (Credit, full course.) Staff
A survey of three related topics within the general area of music and
nature: a) various theories on the origin of music, many of which
recognize the sounds of nature as important mimetic sources for music,
b) the connections with love and sex that nature imagery in music often
suggests, and c) the study of specific pieces inspired by nature.
Composers and pieces to be considered include the Western classical
tradition (e.g., Vivaldi’s Four Seasons, Beethoven’s Pastoral Symphony)
and other traditions, such as Anglo-American folk and popular songs and
non-Western music (e.g., Native American songs, Chinese koto music).
Discussion of these works helps to develop a vocabulary of music style
terms and focuses attention on how the music-nature conjunction has
changed through history. (Credit, full course.) Miller
An introduction to musicology that considers music of the medieval, Renaissance, and baroque periods. While the course surveys the music of these periods and its historical contexts, the primary focus is on the theoretical and critical approaches of recent scholarship. The course assumes substantial previous contact with music history on the part of the student. Prerequisites: Music 101 and Music 260. (Credit, full course.) Staff
Advanced chromatic sonorities, chromatic modulation, and extended
tertian harmonies are studied. Aspects of twentieth-century and
pre-Baroque music theory and analytic vocabulary are introduced.
Exercises in free composition are undertaken. (Credit, full course.)
Staff
An introduction to the methods and materials of music research. A
series of musicological problems are addressed, and the specific
problems involved in expository writing about music are discussed.
Students are expected to produce a paper involving original research.
(Credit, full course.) Shrader
This systematic examination of the formal procedures of Western musical
composition involves intensive study of selected musical masterpieces.
(Credit, full course.) Shrader
Analysis and writing in all eighteenth-century contrapuntal and fugal
forms. Prerequisite: Music 304. (Credit, full course.) Delcamp
To meet the needs and particular interests of selected students. May be repeated. (Credit, half to full course.) Staff
Participation in the University orchestra, the University choir, or other ensemble under the supervision of the music faculty. (Credit, one quarter course for each semester of participation.)
Jazz Ensemble provides experiences in performance of all types of jazz literature from early swing (Duke Ellington, Count Basie) and Latin forms (Antonio Carlos Jobim) to contemporary fusion (Pat Metheny, Brecker Brothers, Yellowjackets). The group focuses on the developing jazz student, providing an opportunity for a challenging ensemble experience while encouraging the performer to explore improvisation. In addition, members have the opportunity to compose and arrange music for the ensemble. Membership is open to all students regardless of major. The group consists of saxophones, trumpets, trombones, guitar, bass, drum set and keyboard. In addition, the group involves male and female vocalists as well as string players with an interest in learning to sing or play jazz. The Jazz Ensemble offers one or more performances each semester. (Credit, one-quarter course.) Staff
These courses may be taken by students who are enrolled in or have already completed Music 102 and/or Music 103. These courses are designed for the non-major. The course may be taken more than once for credit. Weekly lessons with the instructor and daily practice are expected. Prerequisite: consent of the instructor.
(Credit, quarter course.) Staff
(Credit, quarter course.) Staff
(Credit, quarter course.) Staff
(Credit, quarter course.) Staff
(Credit, quarter course.) Staff
(Credit, half course.) Shrader
(Credit, half course.) Delcamp
(Credit, half course.) Rupert
(Credit, half course.) Lehman, Reed
(Credit, half course.) Staff
(Credit, half course.) Delcamp, Shrader
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