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Course Criteria
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3.00 Credits
Borodin, Balakirev, Cui, Mussorgsky, and Rimsky Korsakov-who inherited a passion for creating "Russian" works from Glinka and Dargomizhsky and passed this passion on in elements of melody, harmony, and rhythm to Stravinsky-consciously and successfully incorporated folk and traditional elements into the traditional genres of art music. This course considers these composers and their "Russianness" to discover what is "Russian" about their music and what impact Russian Orthodox Church music and folk song and dance have had in the development of musical language and style in the 20th century. (Myers, offered alternate
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3.00 Credits
The concert symphony is the type of music most performed by orchestras today. Students in this course study the evolution and ever changing nuances of symphony. They explore the various periods and work their way through the classical period, the romantic period, and the 20th century. (Berta, offered alternate years)
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3.00 Credits
From Gregorian chant and the songs of the troubadours, the beginnings of polyphony, the "new secular style" of the 14th century, and the "sweet" harmonies of the 15th century Burgundian school, through the humanistic currents of the late 15th and 16th centuries, composers created new styles, techniques, and forms, responding to the demand for greater expressivity and more variety. The course surveys tradition and change in music from 600 to 1600 and is based on selected readings, recordings, and scores. (Mye rs, offered every third semester
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3.00 Credits
From the early operas of Monteverdi to the oratorios of Handel and the cantatas of Bach, the Baroque composer aimed to "affect" his listener through powerful musical contrasts and rhetorical passions; Haydn, Mozart, and the young Beethoven, on the other hand, were more interested in projecting formal logic and proportional design in their sonatas, string quartets, symphonies, and other instrumental works. The course surveys tradition and change in Baroque and classical music and is based on selected readings, recordings, and scores. (Berta , offered every third semester)
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3.00 Credits
Most 19th century composers pushed the expressive power of chromatic harmony and thematic unity to the musical extreme. By 1910, most of the musical avant garde no longer found it possible to work within the constraints of the three century old tonal system. New systems and searches for novel sonorities led to the use of natural and electronically generated sounds. Chance happenings were advocated by composers who objected to older music's predictability. The course surveys tradition and change in romantic and modern music and is based on selected readings, recordings, and scores. (Myers, offered every third semester)
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3.00 Credits
?hat opera is properly a musical form of drama, with its own individual dignity and force," informs the content and structure of this course. The central issue of the relationship of words to music and form to meaning and their continuing reinterpretations is examined with respect to solutions offered by Monteverdi, Pergolesi, Gluck, Mozart, Verdi, Wagner, and Berg. Music moves the psyche on several levels simultaneously; it is more holistic than the linearity of verbal syntax can ever be. The ability to follow a score in a rudimentary manner is desirable. (Myers , offered alternate years)
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3.00 Credits
This course studies the development of contemporary styles and techniques in jazz and American popular music of the Western hemisphere since 1900. (D'Angelo, offered annually)
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3.00 Credits
A survey of the development, as an art form, of American musical theater from the European forms in early America to the present Broadway musical, including minstrels, vaudeville, burlesque, revue, comic opera, operetta, and blacks in the theatre. The course culminates with a class production of a musical in concert form. (D'Angelo, offered periodically)
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3.00 Credits
Interest in the performing arts of Asian cultures-music, theatre, and dance-on the part of Europeans can be traced back to 18th century notions of enlightenment and universality and to increased contacts with Asia through trade and colonization. The Exhibition of 1889 introduced European audiences to Indonesian percussion orchestras, melodic intricacies of Indian raga, and the stylized movement of "Siamese" dance. Asian performing arts have unique, valid approaches to the organization of sound and time. Among the repertories studied are the classical music and dance of India, Indonesian gamelan, Chinese Opera, and the theatrical traditions of Japan. (Mye rs, offered alternate year
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3.00 Credits
The ethnic, folk, and traditional musics of the Western continents fall into two groups: music found in cultures and regions having an urban, professional, cultivated "art" tradition; or music of non literate, "primitive" peoples affected marginally by literate cultures. The first helped develop popular styles in the 20th century. The second provides richness in understanding the role music and the other performing arts play in shaping a culture's view of itself and the surrounding world. Among the repertories studied are Navajo ceremonial music, ritual music from the Guinea Coastal area of Africa, Afro American blues and work songs, ballad traditions of Appalachia, Andean music, Caribbean Carnival, and Afro Brazilian dances. (My ers, offered alternate yea
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