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Course Criteria
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3.00 Credits
09S, 10S: 2 A study of the traditional theory and practice of combining two or more melodies in a conventional tonal or modal framework. The course begins with sixteenth-century modal counterpoint in the styles of Palestrina, Lassus, and their contemporaries. The course then proceeds to a study of Baroque tonal counterpoint, particularly as practiced by J. S. Bach, and the extension of the tradition into the Classical, Romantic, and twentieth-century eras. Students will also analyze the essential Baroque forms of two- and three-part invention, canon, passacaglia, choral prelude, fughetta, and especially, fugue. The final project will be the composition of a fugue. Assignments will include composition to models, analysis of works from the literature, and listening. Laboratory: sight-singing in treble and bass clefs, singing single lines and in parts; melodic, harmonic, and rhythmic dictation; score-reading of simple keyboard works; chord progressions, modulations, and counterpoint exercises at the keyboard. Prerequisite: Music 5 or the permission of the instructor. Laboratory to be arranged. Dist: ART. Duff.
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3.00 Credits
08F: 10 09F: 10A This course covers the theory and practice of Western music orchestration, focusing on the music of the late 19th and early 20th century composers including Debussy, Ravel, Bartok, Stravinsky, and Schoenberg. Beginning with an introduction to the individual instruments in the standard orchestra, students will learn about the timbres, ranges, performance techniques and conventions of each instrument, in preparation for composing with multi-instrument orchestral ideas. Coursework will include re-arranging pre-existing scores, in-depth listening, and in-class analysis and discussion of scores. Related topics on music form will be discussed to enhance the understanding of instrumental music writing. Prerequisite: Music 21 or the permission of the instructor. Laboratory to be arranged. Dist: ART. Casey.
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3.00 Credits
09S, 10S: 2A The course is intended for students who demonstrate a serious interest in creative work with electro-acoustic music. The study of relevant acoustics, equipment design and function, and the analysis of examples of electronic music are covered in weekly class meetings. In addition, students are given weekly individual instruction and are provided with regular hours for work in the studio. Prerequisite: Music 5, and permission of the instructor. Dist: TAS.
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3.00 Credits
09S, 10S: D.F.S.P. This course combines the study of music with an intensive exposure to musical performance. Students attend concerts, examine works selected from the repertoire, and keep a journal of concert observations. Performance practices of various historical style periods are reviewed in their historical context, including such factors as the circumstances of composition, the place of the work within a composer's total output, and the contribution of individual works to the development of musical form and style. Dist: ART. Summers.
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3.00 Credits
09S. 10S: D.F.S.P. A close examination of the circumstances in which music has been composed and performed in England from early times to the present. Course topics include the effects of ruling monarchs and changing religious affiliations on musical life, the rise of music societies, and the influence of music from Continental Europe such as opera and the Italian madrigal. Students will study works by Dunstable, Tallis, Dowland, Byrd, Purcell, Handel, Elgar, Walton, Britten, and Tippett. Dist: ART; WCult: W.
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3.00 Credits
09W, 10W: 10A A historical and stylistic survey that begins with the development of liturgical chant and secular song in the Middle Ages (ca. 800) and ends with the emergence of a seconda prattica that provides the foundation for Western musical languages after 1600. The course syllabus focuses on music from the Cathedral of Notre Dame and other French music, as well as on Italian, English, Flemish and German traditions. Representative composers include Machaut, Dufay, Dunstable, Ockeghem, Josquin, Palestrina, Byrd, Gabrieli and Monteverdi. Prerequisite: Music 21, or permission of the instructor. Dist: ART; WCult: W. Summers.
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3.00 Credits
08F. 09F: 11 Beginning with church music and opera in the seventeenth century, the course emphasizes the development of large-scale instrumental and musical-dramatic forms and the rise of new harmonic and structural concepts, culminating in the music of Beethoven. Representative composers, in addition to Beethoven, include Bach, Vivaldi, Handel, Haydn, Mozart, Rameau, Purcell, Schütz, Lully, and Frescobaldi. Prerequisite: Music 20, or permission of the instructor. Dist: ART; WCult: W. Paulin.
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3.00 Credits
08F, 09F: 10A The century-and-a-half-long period from the emergence of Romanticism in music to the "rediscovery" of tonality in the late 1970s was characterized by a tension between innovative experiments with new styles, media, and techniques and the continuing evolution of older musical forms and languages. Drawing on the work of composers such as Schubert, Berlioz, Schumann, Brahms, Wagner, Verdi, Debussy, Schoenberg, Ives, Bartók, Stravinsky, Shostakovich, Stockhausen, Cage, Ligeti, Glass, and Adams, the course will trace the interplay of innovation, tradition, and reinvention in the classical concert music repertory that remains most influential in our own timePrerequisite: Music 20, or permission of the instructor. Dist: ART; WCult: W. Paulin.
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3.00 Credits
Not offered in the period from 08F through 10S This course examines the life and music of Ludwig van Beethoven. In the hands of critics, historians, and visual artists of his own time, Beethoven was elevated to the status of a genius, a perception that persists today. Nineteenth-century representations of Beethoven as a towering persona will be compared with modern biographies, recordings, and video-tape productions in order to construct an accurate picture of Beethoven, the creative artist and the man. Students will listen to and discuss works that illustrate the developments in Beethoven's compositional style. Performers will present in-class recitals of Beethoven's music, and attendance at selected Hopkins Center concerts featuring Beethoven's music will be requiredNo prerequisite. Dist: ART; WCult: W. Summers.
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3.00 Credits
09S, 10S: 10A Making Music National: Composers and Cultural Identity. This course will explore nationalism and its impact upon musical culture since the early 19th century. We will ask how music came to be understood as expressive of national identity in specific historical contexts-German and Czech, American and Mexican, Russian and Zionist, Soviet and Maoist-examining the search for national roots in folk music; the staging of nationhood and citizenship in opera; the use or invention of national symbols, legends, and histories; the relationships among the national, the ethnic, and the exotic; and the selling of nationalist music abroad.No prerequisite. Dist: INT; WCult: CI. Paulin.
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