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Course Criteria
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2.00 Credits
Intensive practice in perception and performance of advanced melodic and tonal motions; linear and multilinear formations; rhythmic subdivisions; harmonic and contrapuntal textures; chromaticism and modulation. Based on Gestalt pedagogy of Jersild's Ear Training. Dictation; prepared and sight-singing; aural analysis; semester project. Vocal and instrumental music from Baroque, Classical, and Romantic periods especially by Bach, Mozart, Beethoven, Brahms, and Wolf. (2 credits) Zaritzky
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2.00 Credits
Hearing and singing 20th-century idioms. Intensive practice in perception and per formance of rhythm, interval, scale, and tone-set formations. Based on Gestalt pedagogy of Edlund's Modus Novus. Dictation, prepared and sight-singing, aural analysis; semester project. Music of European and American 20th-century composers. (2 credits) Zaritzky
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3.00 Credits
Introduces the application of mathematical ideas and structures to musical com - position and theory. Selected topics in statistics, set theory, probability, nonlinear phenomena, proportional theory, fractals, and geometry as they apply to music from earliest to modern times. (Mathematical expertise is not a prerequisite.) (2 credits) Escot
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2.00 Credits
Focuses on various forms of musical ambiguity in the great repertoire of the 18th and 19th centuries, beginning with Haydn, Mozart, and Beethoven, and ending with Mahler and Debussy. The course will look at various kinds of ambiguity: harmonic and tonal, rhythmic and metric, and formal (including phrase ambiguity). Short works (Lieder and miniature piano pieces) will model ambiguity types and larger works, such as single movements from larger multi-movement works, will demonstrate how ambiguity is created and, in many but not all cases, resolved. Some repertory will be chosen based on class instrumentation, and in-class performances will be encouraged as much as possible. (2 credits) Stein
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2.00 Credits
Aural and score study of thematic and tonal forms in compositions of Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms, including binary, ternary, sonata, rondo, cycle, and fantasia designs, using approaches of Schoenberg, Schenker, and others. Historical contexts, theoretical resources, analytical methods, performance concerns. Aural and written homework; readings; semester aural and written exams. (2 credits) Zaritzky
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2.00 Credits
Explores the 19th-century expansion of harmonic practice and tonality, including chromatic third relations, double tonality, tonal ambiguity, modality, and expansion of the plagal domain. (2 credits) Stein
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2.00 Credits
The six Bartok String Quartets are a microcosm of the early 20th-century reconception of European musical arts formal, timbral, tonal, metric, and societal. They likewise represent a "macrocosmos" of Bela Bartok's increasingly-influential musicalegacy. Through a cross-referencing traversal of the quartets, we will review classical European concepts and discover their new Bartokian formulations by means of spectral, tone-set, rhythmic, formal, and proportional ear training and analysis. Weekly theoretical reading, and analytical listening and score study. Comparisons with other Bartok and related works. Ongoing semester project on a student-selected non-quartet Bartok movement or small piece. (2 credits) Zaritzky
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2.00 Credits
Besides string and flute players, for whom Bach specifically composed his "solo"works "senza basso," virtually every instrumentalist and even vocalist can engagethese works in transcription. The course explores this literature, considering how a single melodic part conveys a whole thematic, rhythmic, spatial, timbral, and tonal texture everything from mono-thematic preludes to polyphonic fugues, with all degrees of textures in between. Exercises in hearing, singing, improvisation, analysis, composition, and performance of Bach (including transcriptions) and of related music by others. Includes monthly graded assignments and a semester project individually selected to engage "unaccompanied" melodic expression within thestudent's own repertoire. Project format choices include analysis, composition, tran scrip tion, improvisation, or performance-demonstration. (2 credits) Zaritzky
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2.00 Credits
Explores Bach's Well-Tempered Clavier from multiple analytical perspectives; comparative study of recordings; student projects and in-class performance (transcriptions for non-keyboardists). Insights from philosophy, architecture, literature, painting incorporated to amplify diverse design concepts and understandings. Readings include Albers, C.P.E. Bach, Benjamin, Bodky, Busoni, Cogan, Deleuze, Doczi, Foucault, Guattari, Itten, Kahn, Kirnberger, Kirkpatrick, Neumann, Riemann, Strunk, and Venturi. (2 credits) Faculty
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2.00 Credits
Studies Beethoven's quartets in light of modern historical research and analytical theory, with attention to their harmonic, contrapuntal, motivic, and structural formation, and the implications of these for understanding and performance. (2 credits) Truniger
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