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  • THRY 7099: Master's Candidacy

    1.00 Credits
    University of Cincinnati-Main Campus

    Retaining of eligibility for graduation.
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  • THRY 8001: Advanced Topics in Analysis

    3.00 Credits
    University of Cincinnati-Main Campus

    This course is conceived as an advanced section of Graduate Theory and Analysis, for students ready and interested in more advanced study. Each class will aim for advanced analytical work in the given topic.
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  • THRY 8011: Set Theory 1

    3.00 Credits
    University of Cincinnati-Main Campus

    Introduces the basic theoretical concepts needed to analyze and understand the post-tonal music of the twentieth and twenty-first centuries. Concepts that are covered include: relationships between pitch-class sets (transposition, inversion, z-relations, complement relations, subset relations, contour relations), centricity, collectional interactions, interval cycles, twelve-tone theory (twelve-tone operations, subset structure, invariance, derivation, combinatoriality), as well as an introduction to topics in the area of transformational theory (transpositional combination, composing out, voice-leading) and other advanced serial techniques (such as rotational arrays, multiplication, trichordal arrays). Also includes exercises intended to develop aural skills geared specifically towards a post-tonal musical language.
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  • THRY 8012: Set Theory 2

    3.00 Credits
    University of Cincinnati-Main Campus

    This intensive seminar explores the theoretical basis and analytical application of post-tonal music-theoretical concepts through a detailed and critical study of the main literature on the topic. Readings are selected based on how they participate in the history of ideas, as well as how they develop particular areas of study. They provide an introduction to the theoretical contributions of main scholars in the field (Babbitt, Lewin, Morris, Forte, Perle, Straus, Hasty, Cohn, etc.) and are considered as models for creative thinking and scholarly processing. Topics covered can vary, but typically include segmentation, relationships between sets, inversional balance, composing-out, interval cycles, transpositional combination, contour, twelve-tone invariants, combinatoriality, and twelve tone areas.
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  • THRY 8015: Schenkerian Analysis 1

    3.00 Credits
    University of Cincinnati-Main Campus

    During the course, students with no prior experience in Schenkerian analysis will be introduced to its methodology through a series of demonstrations and exercises progressing from the most basic to the more complex. By the end, students will be able to graph short tonal works of varying degrees of complexity. Among the topics to be studied are: strict counterpoint, diminutions of melody and bass lines, harmony and figured bass, compound melodies, linear intervallic patterns, various structural features (e.g., voice exchanges, implied tones, register transfers), the unfolding of intervals, the prolongation of the Kopfton through initial ascent and arpeggiation, basic forms (interrupted vs. non-interrupted forms of the Ursatz, and the role of "middle sections").
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  • THRY 8016: Schenkerian Analysis 2

    3.00 Credits
    University of Cincinnati-Main Campus

    This course is a continuation of Schenkerian Analysis 1 (16 MTHC 8015). During the first phase, students will continue to explore new analytic techniques and concepts (e.g., various registral techniques, mixture and the Phrygian II, substitution, octave lines, the Schenkerian idea of motives, the auxiliary cadence, and issues related to chromaticism and to contrapuntal displacement). The second phase will be devoted to an in-depth study of Schenkerian approaches to various forms: "one-part," binary, ternary, rondo, and sonata. By the completion of the course, students will have graphed tonal works of moderate sizes in all of these forms.
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  • THRY 8050: Music Theory Colloquium

    1.00 Credits
    University of Cincinnati-Main Campus

    An interactive forum for students and faculty to share research, discuss current publications in the field, explore new methodologies in analysis and research and to foster professional development. The format of each meeting will vary accordingly. Colloquium is coordinated with the CCM lecture series Thinking About Music. Guest lecturers recommend readings to be taken up in Colloquium in advance of lecture events.
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  • THRY 9001: Introduction to Aesthetics

    3.00 Credits
    University of Cincinnati-Main Campus

    This course is designed to introduce students to issues in modern aesthetics and to develop students' skills in various modes of aesthetic inquiry. It is also designed to acquaint students with a broad range of recent as well as classic writings from both philosophy and music. The course is not a historical survey nor is it restricted to one school of aesthetics. Rather, through broad reading, the student will develop a sense of the wide-ranging discourse about aesthetics covering topics such as: taste and judgment, creativity and process, criticism and interpretation, expression and emotion, ontology and phenomenology.
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  • THRY 9011: History of Theory 1: Antiquity to 1600

    3.00 Credits
    University of Cincinnati-Main Campus

    Study of the history of music theory from Ancient Greece through 1600. The focus will be on both issues and specific treatises. Readings will include primary sources (the treatises), as well as secondary sources on the treatises or on applications of pertinent historical/theoretical issues to the analysis of contemporaneous music. The course will be conducted in seminar format, with weekly student-led presentations/discussions. Aside from weekly presentations, the main project for the course will be a final research paper on a topic of the student's choice.
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  • THRY 9012: History of Theory 2: 1600 to Present

    3.00 Credits
    University of Cincinnati-Main Campus

    This is a research and survey course spanning the scientific revolution to the present and designed with the following aims: (1) the close study of primary sources and polemics in music theory from the 17th century to the present, (2) the exploration of the intellectual history of music theory and its interaction with science, philosophy and the arts, and (3) the examination of the literature, scholarship and historiography of music theory's history.
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