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Course Criteria
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4.00 Credits
This course serves as an introduction to music theory and music making and is the entry-level course to the classical theory sequence. Basics of musical notation is the starting point, after which the class moves quickly to scales and recognition of triads and seventh chords, as well as rhythmic performance. By the end of the course, students should possess the ability to write a hymn, song, or brief movement of tonal music. At all times the course emphasizes analysis of real music, and an ear-training component reinforces the theoretical knowledge with practical experience. This course fulfills a music theory requirement for music majors.
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4.00 Credits
This chronological survey begins with Mozart's early work in opera and related genres and examines in detail his seven mature operatic masterpieces.
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2.00 Credits
Africana Studies, American Studies, SRE A two-semester course designed for music lovers and readers of literature. The class explores jazzthemed short stories, novels, and plays, with the goal of scrutinizing the synergy of two great American art forms-literature and jazz-in the20th century. The reading list includes Maya Angelou, James Baldwin, Donald Barthelme, Ralph Ellison, Langston Hughes, Toni Morrison, and Ann Petry.
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4.00 Credits
Asian Studies An examination of various forms of Chinese music, with a particular focus on instrumental genres. The goal of the course is to provide students with a comprehensive knowledge of musical styles, concepts, and recurring themes in Chinese music history. The topical organization follows a more or less chronological order as attention is drawn to certain issues and prominent characteristics of music and musical life in China from the ancient times to the present. The course, which fulfills a music history elective for music majors, includes lectures, assigned readings, listening and viewing assignments, and performance demonstrations by guest artists.
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4.00 Credits
Contrary to his public image, Beethoven wasn't really more experimental than his predecessors Haydn andMozart; rather, he accepted his inherited forms, but vastly increased the range of drama and dynamic contrast. In so doing he arrived at a music so logical that it can sometimes be memorized after a reading or two, and he created archetypes for musical expression that continue to resonate today. This course follows the development of Beethoven's formal ideas, leading up to a detailed examination of the astonishing late piano sonatas and string quartets, considered by some to be the most "avantgarde"music ever written. Literature relevant to Beethoven's late music, such as Thomas Mann's Doctor Faustus, is also considered. Prerequisites: Music Theory I and II or the equivalent (familiarity with Roman numeral analysis, secondary dominants, and augmented sixth chords).
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4.00 Credits
Claudio Monteverdi (1567-1643) was the first great composer of the Baroque period, and his music continues to grow in interest and attraction. Students consider his career in historic and artistic contexts, from its start at the court of the Gonzaga family in Mantua to its conclusion in Venice, where Monteverdi was master of the ducal chapel of San Marco. Students examine his productions in various genres: madrigal, opera (e.g., L'Orfeo and L'incoronazione di Poppea), masque, and sacred music. The course fulfills a music history requirement for music majors.
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4.00 Credits
Music, in its myriad forms, is ubiquitous throughout human society. Why is music such an integral part of the human experience? How do we hear sound, and how do certain combinations of pitches and rhythms invoke emotion? Using psychophysics, cognitive psychology, and neurology, this course explores these and other fundamental questions of music. Each class focuses on a different musical topic, including melody, harmony, rhythm, and emotion. Texts include Moore's Introduction to the Psychology of Hearing, Rossing's The Science of Sound, and Yost' s Fundamentalsof Hearing. No scientific or musical background is necessary.
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4.00 Credits
Beginning with the history of such early electronic instruments as the theremin and the Ondes-Martenot, this course traces the development of electronic music from early musique concrète, elektronische musik, and tape music through the advent of live electronic music and computer music (from the early mainframe works of Mathews, Tenney, and Risset to recent and current PC-based interactive and multimedia pieces). Composers studied include Amacher, Anderson, Babbitt, Berio, Cage, Eno, Henry, Kosugi, Lewis, Martirano, Musica Elettronica, Nono,Oliveros, Pousseur, Schaeffer, Sonami, Sonic Arts Union, Spiegel, Stockhausen, Subotnik, Takahashi, Varèse, Viva, Xenakis, and Young. Other developments, including the ambient, illbient, and DJ scenes, are also studied.
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4.00 Credits
Integrated Arts Taking the radical innovations of such revolutionary figures as Henry Cowell, Charles Ives, and Edgard Varèse early in the 20th century as its starting point, this course examines the experimental music tradition in the United States and elsewhere. In addition to studying the body of work this tradition has produced and discussing its aesthetic and philosophic underpinnings, students are encouraged to actively realize and perform works by the composers and artists studied. Possible performance projects include Ives's quartertone pieces; Cowell's piano music; graphic scores by Brown, Cardew, and Feldman; chance and intermediate scores of Cage; live electronic pieces by Behrman, Lucier, or Tudor; the realization of a Nancarrow player-piano score on Disklavier; event pieces by Fluxus, Kusogi, and Paik; Oliveros's meditation pieces; phase pieces by Steve Reich; notated and text pieces by Rzewski; and game pieces by Wolff and Zorn.
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4.00 Credits
Integrated Arts The course begins with a brief survey of the earliest electronic instruments and postwar developments in France,Germany, and theUnited States. Also studied are computer music from early sound synthesis experiments at Bell Labs and elsewhere; live electronic music, from Cage and Tudor to current PC-based interactive "live"computer music; and multimedia works, from '60s "classics" to the present. Assignmentinclude extensive listening, reading, research, and analysis, as well as possible recreations of "classical" pieces from the repertoire and originalcompositional and performance projects inspired by these studies. A continuation of and complement to Music 240, the course is strongly recommended as a preparation for all electronic music studio courses.
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