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Course Criteria
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3.00 Credits
A study of the basic principles of Schenkerian theory: the Halics; principles of composing-out; middleground and foreground prolongation through arpeggiation, unfolding, linear progressions, register transfers, voice exchange, coupling; diminutions. Concepts illustrated with examples from the tonal literature.
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3.00 Credits
Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges.
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3.00 Credits
Analysis of Western Popular music including pop, rock, soul, electronic dance music, and hip hop through recent approaches. Topics will include the applicability of analytical techniques designed for Western art music, the role of notation, relationship of text and context, and the roles of popular music in identity formation.
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3.00 Credits
The purpose of this project is to teach the student how to write a research proposal. This research proposal is to be used both as the formal dissertation research proposal and to apply for grants.
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3.00 Credits
This course explores the relation between music, myth and indigeneity with particular emphasis on the work of Lévi-Strauss and musical ethnographies from indigenous South America.
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3.00 Credits
Individual projects in composition.
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3.00 Credits
This seminar will explore the role that Alan Lomax and his family played in creating a distinctively American approach to folklore and ethnomusicology. Topics will include the history of Anglo- and African American folk song collecting; the Archive of American Folk Song; the popularization of folk song (Lead Belly, Woody Guthrie, Carl Sandburg, Pete Seeger, Zora Neal Hurston, Mary Elizabeth Barnicle, the recording business and radio, the second folk revival, and folk festivals.); Lomax's stay in the UK, Spain and Italy; the mapping of the world's song styles; the use of micro-cultural studies of the body in song, dance, and speech; and new approaches to the use of film, video, and the computer.
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3.00 Credits
This course will focus on the question of aesthetics in popular music. When scholars tackle popular music as an object of analysis or critique, it is usually thought of in terms of its use as a space of productive if often muted political agency, as active participant in its own commodification or as the able expression of subaltern or aggrieved communities. In this course, however, while touching on those themes, we will think through the aesthetics - both as a theory of beauty as well as a philosophy of art - of popular music. The majority of the readings deal with Anglophone popular music; however, there will be an effort to include English-language texts that deal with popular music from across the globe.
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3.00 Credits
A student may place out of V1002 with a score of 5 on the Theory Placement Examination given on the first day of class. Similarly, a student may place into a higher level of the co-requisite by passing the Ear Training Placement Test, offered on the first day of the V1312 class. The basic elements of music to be studied in the Fundamentals of Western Music course with the aim of developing musicianship include: notation, dictation, sight-singing, transposition, aural recognition of the simpler forms, triad identification, cadence types, and voice-leading in two parts. Undergraduate Theory Faculty.
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1.00 Credits
A student may place into a higher level of this course by passing an examination given on the first day of the class. V1312 is an introduction to basic skills in sight reading. Instruction includes reading rhythms in simple meter, solfege recitation, and sight-singing simple melodies. Lab Required.
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