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Course Criteria
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3.00 Credits
Full course for one semester. Johannes Brahms (1833-97) was the most prominent composer of the 19th century who did not write operas. He was considered old-fashioned by his contemporaries, but was labeled "progressive" by Schoenberg. Can both descriptions be true Why has Brahms's music remained beloved by audiences and performers alike We will explore his life and music, listening to works in all the genres in which he composed. Prerequisite: sophomore standing. Lecture-conference. Not offered 2009-10.
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3.00 Credits
Full course for one semester. With the discourses of identity/alterity and créolité providing a conceptual framework, this course will introduce students to musical styles from the Caribbean region, including bachata and merengue (Dominican Republic), calypso and steel pan (Trinidad), rara and konpa (Haiti), son (Cuba), reggae and dancehall (Jamaica), and the U.S.-based styles Latin jazz and salsa. Prerequisite: sophomore standing. Lecture-conference. Not offered 2009-10
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3.00 Credits
Full course for one semester. This course is an introduction to the music of Strauss, Mahler, Debussy, Ravel, Satie, Stravinsky, Schoenberg, Berg, Webern, Bartòk, Hindemith, Weill, Prokofiev, Shostakovich, Ives, Varése, Crawford, Gershwin, and Copland. We will approach this music from the perspective of modernist aesthetic theory. Lecture-conference. Not offered 2009-10.
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3.00 Credits
Full course for one semester. As composer, arranger, songwriter, bandleader, and pianist, Duke Ellington (1899-1974) stood at the center of American music. His works mirror the development of jazz from ragtime to hot jazz, swing, bebop, and beyond. We will trace the development of Ellington's style, the evolution of his orchestra and the influence of its players on his music, and his collaboration with Billy Strayhorn. We will also examine Ellington's exploration of different genres, including extended jazz compositions, musical theatre, and religious music. Lecture-conference. Not offered 2009-1
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3.00 Credits
Full course for one semester. This course is an introduction to some of the key aesthetic, theoretical, and methodological concerns in the burgeoning field of popular music studies, which has explored the ways in which meaning is produced through the performance, (re)production, and consumption of popular music. Among the topics the course will address are popular music as creative expression, as recorded sound, and as a field of sociocultural discourse, focusing primarily on popular music in the United States. Prerequisite: sophomore standing. Lecture-conference. Not offered 2009-10.
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3.00 Credits
Full course for one semester. We will study representative works of late modernism, avant-garde music, minimalism and postmodernism by Elliott Carter, Olivier Messiaen, Karlheinz Stockhausen, Gy rgy Ligeti, Witold Lutoslawski, John Cage, Morton Feldman, Steve Reich, Philip Glass, Meredith Monk, George Crumb, John Adams, Arvo P rt, and Alfred Schnittke. Lecture-conference. Not offered 2009-10.
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3.00 Credits
Full course for one semester. This course explores one of the most influential and well-known genres of the 20th century. We will analyze the music of its principal practitioners-Riley, Young, Glass, Reich, Adams, and Andriessen and explore their compositional philosophies will be explored. We will also place the genre historically, identifying influences and interactions with other arts. Lecture-conference.
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3.00 Credits
Full course for one semester. A survey exploring concert music in Latin America with a focus in the 20th and 21st centuries. Music from the Baroque to the late 19th century in Latin America will be discussed as a preamble to the great works of 20th-century and contemporary composers including Ginastera, Chavez, Villa-Lobos, Golijov, and Piazzola. Lecture-conference.
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3.00 Credits
Full course for one semester. This course will examine the development of harmonic resources in 19th- and 20th-century musical idioms through compositional and analytical exercises. In particular we will study the chromatic styles of Schubert, Chopin, and Wagner; impressionist harmonies of Debussy and Ravel; modernist idioms of Stravinsky, Bartók, and Schoenberg; and contemporary jazz harmony. Conference with musicianship lab. Prerequisite: Music 211.
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3.00 Credits
Full course for one semester. This course is an introduction to contemporary composition. Students will compose and perform short works. The course will deal with problems of instrumentation, notation, and performance, as well as the larger aesthetic issues of coherence and gesture, within a broad range of styles and media. Prerequisite: Music 212 or consent of the instructor. Conference.
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