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Course Criteria
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3.00 Credits
Permission of the instructor required. An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). Teaches proficiency in elementary and advanced MIDI techniques. Challenges some of the assumptions about music built into the MIDI specifications and fosters a creative approach to using MIDI machines.
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1.00 Credits
Designed to improve the student's basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation.
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1.00 Credits
Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation.
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3.00 Credits
"Diatonic" is a two-semester course that constitutes the first year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the second year is Music V3321-3322y; see below). N.B. -All students, without exception, who wish to take Diatonic must pass an entrance examination given on the first day of class in each section. (For a detailed description of the Diatonic entrance exam, and advice on preparing for it, contact the Director of Undergraduate Theory Instruction.) Assigned readings, musical analysis, and compositional exercises, designed to teach the following: (1) analysis and composition of melodies; (2) strict (species) counterpoint in two voices; (3) the idiomatic use of all diatonic chords in major and minor keys, and tonicizations of secondary key areas; (4) principles of figured bass; (5) four-part writing; (6) harmonization of melodies, e.g., chorales; (7) basic principles of musical form. Each semester includes some work in tonal composition, e.g., minuets for piano modeled on examples by Haydn and Mozart. Lab Required.
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3.00 Credits
"Diatonic" is a two-semester course that constitutes the first year of the two-year sequence of courses in music theory required of all music majors and concentrators (the "main theory sequence," of which the second year is Music V3321-3322y; see below). N.B. -All students, without exception, who wish to take Diatonic must pass an entrance examination given on the first day of class in each section. (For a detailed description of the Diatonic entrance exam, and advice on preparing for it, contact the Director of Undergraduate Theory Instruction.) Assigned readings, musical analysis, and compositional exercises, designed to teach the following: (1) analysis and composition of melodies; (2) strict (species) counterpoint in two voices; (3) the idiomatic use of all diatonic chords in major and minor keys, and tonicizations of secondary key areas; (4) principles of figured bass; (5) four-part writing; (6) harmonization of melodies, e.g., chorales; (7) basic principles of musical form. Each semester includes some work in tonal composition, e.g., minuets for piano modeled on examples by Haydn and Mozart. Lab Required.
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3.00 Credits
Prerequisites: One course in music or permission of instructor. This course will examine the diverse ways in which Asian Americans have understood and shaped their musical practices. We will explore the ways in which Asians have been represented via sound, text, and image, and will consider Asian Americans' participation in composed music traditions, jazz, traditional/folk music, diasporic music, improvised music, and popular musics. The course will reflect on readings from musicology, ethnomusicology, and music theory as well as fields outside of music in order to consider gender/sexuality, polyculturalism, and political activism.
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3.00 Credits
A survey of Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works.
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3.00 Credits
A survey of Western music from the Classical era to the present day, focusing on the development of musical style and thought, and on analysis of selected works.
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3.00 Credits
This course approaches the history of musical modernism through the lens of opera. Although we'll be consi dering many of the major stylistic movements of the twentieth century, we'll also be discussing how the sheer stubbornness of operatic tradition complicates narratives of development and progress. We'll be listening to six operas in their entirety: Claude Debussy's Pélleas et Mélisande, Alban Berg's Wozzeck, Igor Stravinsky's Oedipus Rex and The Rake's Progress, Benjamin Britten's The Turn of the Screw, and John Adams' Nixon in China.
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3.00 Credits
Prerequisites: MUSI V3310 or instructor's permission. Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)
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