|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
PQ: Working knowledge of musical scores, Italian, and German. Mozart' s five mature comic operas (Die Entführung aus dem Serail, Le nozze di Figaro, Don Giovanni,Cosà fan tutte, Die Zauberfl te) are analyzed and explored through scores, librettos, primary sources, and the secondary literature. D. Buch. Spring.
-
3.00 Credits
PQ: MUSI 15300 or equivalent. This course introduces theoretical and analytical approaches to twentieth-century music. The core of the course involves learning a new theoretical apparatus-often called "set theory"-and exploring how best to apply that apparatus analytically to pieces by composers such as Schoenberg, Bartók, and Stravinsky. We also explore the relevance of the theoretical models to music outside of the high-modernist canon, including some jazz. The course provides an opportunity to confront some foundational questions regarding what it means to "theorize about mu sic." This course typically is offered in alternate years. S. Rings. Sp
-
3.00 Credits
PQ: MUSI 15300 or equivalent. This course focuses on the knowledge necessary to improvise over the chord changes of standard jazz tunes. We cover basic terminology and chord symbols, scale-to-chord relationships, connection devices, and turn-around patterns. For the more experienced improviser, we explore alternate chord changes, tritone substitutions, and ornamentations. Using techniques gained in class, students write their own solos on a jazz tune and transcribe solos from recordings. This course typically is offered in alternate years. M. Bowden. Spring.
-
3.00 Credits
PQ: MUSI 15300 or equivalent. Open to nonmajors with consent of instructor. This course surveys recent research in music cognition and cognitive psychology and explores how it can be applied to music scholarship. We begin with a general review of research on categorization, analogy, and inferential systems. This review is paired with close readings of empirical literature drawn from cognitive science, neuroscience, and music psychology, as well as theoretical work in cognitive linguistics and cognitive anthropology. Student projects focus on applications of research in cognitive science to historical musicology, ethnomusicology, music theory, or music analysis. Weekly lab meetings required. This course typically is offered in alternate years. L. Zbikowski. Winter.
-
12.00 Credits
PQ: Ability to read music. This course begins with a description of the logarithmic perception of pitch increments. We then cover the historically important tunings of the diatonic scale-just intonation, Pythagorean and meantone tunings, and twelve-note equal tuning. A parametric representation is described that reveals that the historic tunings are particular members of a general family of diatonic tunings. We also discuss the individual chromatic properties of certain equal tunings, focusing on the tunings of 12, 15, 17, 19, and 31 notes. This course typically is offered in alternate years. E. Blackwood. Spring.
-
3.00 Credits
PQ: MUSI 15300 or equivalent. This course focuses on the art song of the nineteenth century, with special attention to the relationship between tonal structure and song text. Both individual songs and song cycles are considered, with the main emphasis on works by Schubert, Schumann, and Brahms. Student projects include comparative analyses of settings of the same text by different composers, analyses of a song and its later arrangement as an instrumental work, or the analysis and performance of a song. This course typically is offered in alternate years. L. Zbikowski. Autumn.
-
3.00 Credits
PQ: MUSI 14200 or 15300, or equivalent. This course introduces some of the basic problems in musical composition through a series of simple exercises. Spring.
-
2.00 Credits
PQ: Consent of instructor. Rudimentary musical skills (but not technical knowledge) required; basic Macintosh skills helpful. This two-quarter course of study gives students in any discipline the opportunity to explore the techniques and aesthetics of computer-generated/assisted music production. During the first quarter, students learn the basics of digital synthesis, the Musical Instrument Digital Interface (MIDI), and programming. These concepts and skills are acquired through lecture, demonstration, reading, and a series of production and programming exercises. Weekly lab tutorials and individual lab time in the department's computer music studio are in addition to scheduled class time. This course is offered in alternate years. H. Sandroff. Autumn, Winter.
-
3.00 Credits
PQ: MUSI 15300 or equivalent. This course is an introduction to the theory, analysis, and composition of modal counterpoint using texts that uses examples by sixteenth-century theorists (i.e., Zarlino) and composers (i.e., Josquin, Lassus, Palestrina). Techniques include cantus firmus, canon, and modal mixture. Students read sources, analyze passages, and compose (and improvise) counterpoint in two to four parts. This course typically is offered in alternate years. Autumn.
-
3.00 Credits
This is a practical course for learning the art of fugue writing that concentrates on writing different types of fugues and on short pieces involving different types of imitation. The material is based on Bach's The Well-Tempered Clavier, Goldberg Variations, Das Musikalische Opfer, and Die Kunst der Fuge. This course typically is offered in alternate years. Winter.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2024 AcademyOne, Inc.
|
|
|