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Course Criteria
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2.00 Credits
Explores three fundamental aspects of contrapuntal practice (compositional, theoretical, and historical-stylistic) from the late Middle Ages up to the Renaissance period. Through constant writing, reading, listening, performance, and analysis, students will deepen their grasp of essential contrapuntal principles and a variety of contrapuntal approaches. Composers to be discussed include Machaut, Dufay, Ockeghem, Josquin, Palestrina, and Lassus. In addition, contrapuntal theory from Zarlino, Fux, Jeppesen, and others will be consulted. Topics are to include melodic motion and shape, consonance/dissonance, contrapuntal rhythm, cantus firmus procedures, imitation and canon. (2 credits) Truniger
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2.00 Credits
Explores the evolution of contrapuntal practice and its underlying theoretical principles from the Baroque period up to the late 20th century. Music to be examined includes works by Bach, Beethoven, Brahms, Schoenberg, Stravinsky, Bartok, Webern, and Carter. Students will deepen their understanding of diverse contrapuntal approaches through constant writing of compositional exercises, as well as through analysis, listening, and performance. Additional insight will be gained from theoretical texts by Schenker, Salzer/Schachter, Schoenberg, Seeger, and Krenek. Topics are to include tonal counterpoint, imitation procedures, dissonant counterpoint, serial counterpoint, and rhythmic stratification. (2 credits) Truniger
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2.00 Credits
Compositional experience for students who plan a career that includes teaching, theory, or composing. Composition, and criticism of others' compositions, using a variety of historical, cultural, and theoretical approaches, based on Cogan and Escot's Sonic Design: Practice and Problems. Critical review of counterpoint, harmony, and composition texts. (2 credits) Escot
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2.00 Credits
Continuation of THYG 551. (2 credits) Escot
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2.00 Credits
Heinrich Schenker's seminal theories of tonality and analysis and their influence on musical hearing, thinking, and performance. Theoretical, aural, and performance study of his treatment of diminution, voice-leading, counterpoint, harmony, and motive, including his methods of graphic display, in excerpts and short compositions primarily from Bach through Brahms. Focus on keyboard literature, along with selected chamber and vocal examples. Aural and written homework; readings; semester aural and written exam assignments. (2 credits) Zaritzky
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2.00 Credits
Examines and applies Schenker's theories of tonality and analysis, and their influ ence on musical hearing, thinking, and performance. Aural and textual study of Auskomponierung and Ursatz in longer compositions, primarily from Bach through Brahms, that exhibit binary, ternary, sonata, rondo, cyclical, and fantasia charac teristics. Schenker's methods of research, autograph study, and graphic display. Pre requisite: THYG 553 or instructor's permission. (2 credits) Zaritzky
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2.00 Credits
Introduces the scientific analysis of sound. Analysis, including computer spectrographs, of the sounds of musical instruments and their combinations, and of the ways sonic qualities are chosen by composers and performers to shape and color musical contexts and works. Sonic design in music of different periods and cultures; relationship of tone color to other parameters and to visual color. Text: Cogan, New Images of Musical Sound. (2 credits) Cogan
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2.00 Credits
Analysis, including computer spectrographs, of the sounds of voices, languages, and their combinations, and of the ways vocal-linguistic properties color whole musical contexts and works. Vocal-linguistic music of different periods and cultures; per form ance comparisons; relationship to instrumental color; and theories of linguistic phonology. Text: Cogan, New Images of Musical Sound. (2 credits) Cogan
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2.00 Credits
Theories of musical space and time (rhythm, dimensions, proportion), with attention to diverse musical practices, and to scientific analysis, including computer spectrographs, of sound and time. Combines relevant ideas of information theory, linguis tics, and the history and philosophy of science and art. Presents musical works from diverse cultures and periods. (2 credits) Cogan
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3.00 Credits
Hands-on practice in spectrographic analysis of instruments, voices, and entire sonic contexts using available computer technology; development of theories of tone color and vocal-instrumental sound. Open to a small number of qualified students with instructor's permission. Prerequisite: THYG 555, or THYG 556, or THYG 557. (2 credits) Cogan
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