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  • MU 211: Chromatic Harmony

    3.00 Credits
    Boston College

    This course covers the basic principles of chromatic progression. The proper use of secondary dominants, diminished seventh chords and augmented triads precedes an in-depth study of the harmonization of Bach chorales, the concept of modulation using modal exchange, the introduction of Neapolitan sixth and augmented sixth chords. We will study via harmonic and form analysis the works of great composers including Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin, Brahms, Wolf, Mahler, and Wagner. It is recommended that music majors take MU 081 or 082 Ear Training/Sight-Singing Lab.
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  • MU 215: Jazz Harmony, Improvisation, and Arranging

    3.00 Credits
    Boston College

    This music theory course will focus on the study of chord structures, chord substitutions, chord scales, composition and improvisation as they have been codified by contemporary jazz musicians. The technical innovations in the music of Sonny Rollins, Thelonius Monk, Charlie Parker, and Miles Davis will be analyzed and discussed. Special attention will be placed on learning how to improvise on the great standards of the jazz repertory. Additional studies will include the following: piano lead sheet arrangements, ii-V-I keyboard harmony, re-harmonization, and composing original tunes based on chord structures of standards by Berlin, Kern, Gershwin, rhythm changes, and the blues.
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  • MU 226: Masterworks of Choral Music

    3.00 Credits
    Boston College

    A chronological examination of acknowledged masterpieces and lesser known works of the Western choral repertory in such genres as: the Mass, motet, madrigal, oratorio, chorale, cantata, choral symphony, part songs, villancico, modern acapella music and spirituals among others. In addition to studying examples of each genre, we will look at the historical, social and cultural contexts of this music and its performance.
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  • MU 227: Keyboard Music

    3.00 Credits
    Boston College

    This course will show how composer/performers have explored and exploited the expressive possibilities inherent in three keyboard instruments (harpsichord, clavichord and piano music for organ is not included). Students should come away with an understanding of the main differences in the construction and sonic possibilities of these three instruments, the change of musical styles and forms over a four hundred year period (from the Baroque through today), and specific knowledge of the masterpieces of keyboard music by some of the great keyboard composer/performers. Some previous acquaintance with the keyboard is recommended but not required.
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  • MU 231: Soundscapes/Early Modern Spain: Court, Cloister, and Chapel

    3.00 Credits
    Boston College

    Course introduces, through texts, visitors, and site visits, the extraordinary variety of early Spanish music as a key to understanding a thriving, dynamic and diverse culture at the height of its imperial glory. Special consideration is given to a body of Hispanic music within the wider cultural, political, social, and instiutional contexts which made it and make it intelligible in both past and in the present.
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  • MU 264: High Renaissance Masters

    3.00 Credits
    Boston College

    The High Renaissance is dominated by the works of four composers. Spanish priest Tom's Luis de Victoria (1548-1611) worked in Rome and Madrid composed a relatively small body of works, all of which are Latin liturgical pieces. The more prolific Italian Giovanni Luigi da Palestrina (1525-1594) composed in secular and sacred genres. Much more versatile were the Englishman William Byrd (1540-1623) and the Franco-Fleming Orlande de Lassus (1532?-1594). Our course examines Renaissance lingua franca common to these composers and individual stylistic fingerprints that distinguish them. We examine the cultural, social, liturgical, professional and national contexts within which each composer worked.
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  • MU 270: Beethoven

    3.00 Credits
    Boston College

    An introduction to Ludwig van Beethoven (1770-1827), tracing his intellectual development within the culture and society of the Rhenish Enlightenment, his musical enrichment of the High Classicism of Mozart and Haydn (among others), and the heroic style of his best known works, to his feelings and expressions of musical and social isolation in his last years, and his problematic identity with the burgeoning romantic movement in Germany. Emphasis will be on the music itself, concentrating on compositions from three genres: piano sonata, string quartet, and symphony. Also covered will be the concerto, his opera Fidelio, and the Missa Solemnis.
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  • MU 301: Introduction to World Music

    3.00 Credits
    Boston College

    This course provides an introduction to selected musical traditions from around the world, in their cultural contexts. Our main goals are to study the connections between music and other cultural features and institutions, to become familiar with the features of major musical styles from the cultures studied, and with basic concepts in ethnomusicology and comparative musicology. Case studies include Native North and South American; West, Central and Southern African; Arabic, Persian, Hindusthani, Karnatak, Javanese, and Japanese musics. Musical training and background are not required, and are not presumed.
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  • MU 306: African Music

    3.00 Credits
    Boston College

    This course surveys the musical styles and genres of selected African cultures, emphasizing traditions of the sub-Saharan region. Using case studies, we will explore the thesis of J. H. Kwabena Nketia that musical styles are created to suit specific cultural needs. Historical traditions and modern musics are included with attention to issues of colonialism, nationalism, ethnicity, hybridity, diaspora and globalization. No prerequisite; the ability to read western European music notation is not required.
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  • MU 307: Musics of Asia

    3.00 Credits
    Boston College

    This course offers an approach to Asian culture focusing on East and Southeast Asian performing arts and music. Through case studies from China, Korea, Japan, Indonesia, Vietnam, and Cambodia, this course surveys a selection of particular practices and problematizes the uses of music when performed as part of religious expressions, political strategies, identity claims, and for entertainment. This course considers music through an historical perspective as well as through its contemporary expression, including the impacts of migration, Diaspora, and globalization. There is no prerequisite to attend the course: the ability to read Western music notation is not required.
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