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102. Introduction to World Music. This course fulfills the Common Core
requirement in the musical or visual arts. Background in music not required.
A selected survey of classical, popular, and folk music traditions from
around the world. The goal is not only to expand our skills as listeners, but
also to redefine what we consider music to be, in the process stimulating a
fresh approach to our own diverse musical traditions. In addition, the role of
music as ritual, aesthetic experience, mode of communication, and artistic
expression is explored. Staff. Autumn, Spring.
103. Introduction to Music: Materials and Design. This course fulfills
the Common Core requirement in the musical or visual arts. Background in music
not required. In this variant of the introductory course in music, students
explore the language of music through coordinated listening, analysis, and
exercises in composition. A study of a wide diversity of musical styles serves
as an incentive for student compositions in those styles. Staff. Winter,
Spring.
121-122. History of Music for Nonmajors. Either course fulfills the
Common Core requirement in the musical or visual arts and may be taken
individually. A two-quarter sequence in the history of Western music from
its origins through the present, emphasizing the evolution of musical style.
Music 121 covers music up to 1750, including the medieval, Renaissance, and
baroque periods; Music 122 covers music from the classical era until the
present. A. Robertson, Winter; L. Zbikowski, Spring.
141-142. Introduction to Music Theory for Nonmajors. These courses may
not be used to satisfy the Common Core requirement in the musical or
visual arts. This two-quarter sequence covers the basic elements of music
theory, including music reading, intervals, chords, meter, and rhythm. The
emphasis is on practical and analytical skills leading to simple melodic and
contrapuntal composition, and a more profound appreciation of music. Staff.
Autumn, Winter.
151-152-153. Harmony. PQ: Ability to read music. A three-quarter
sequence in four-part harmonization of figured basses for students who have
some background in music and are familiar with musical notation. Triads,
seventh chords, and diatonic harmony are covered in the autumn quarter;
sequences, chromatic harmony, and modulation are covered in the winter and
spring quarters. E. Blackwood. Autumn, Winter, Spring.
161. Music, Liturgy, and Art in Sacred Spaces in the Middle Ages (=ArtH 181, GS
Hum 232). PQ: Ability to read music not required. This class
explores the dynamic relationship among music, liturgy, and art in the great
churches of the Middle Ages. Among other topics, the course investigates how
changes in style of cathedral building brought about modifications in musical
style, how the liturgy takes on specific characteristics to mirror the physical
details of these structures, and how all the arts act in concert to express the
philosophies of theologians and other persons active in these churches. A.
Robertson. Autumn.
Go to middle of document 211. The Music of J. S. Bach. PQ: Any 100-level course, or the
ability to read music. An investigation of Bach's compositional technique
with regard to the fugues of the Well-Tempered Clavier, both series. A
variety of fugues are played, discussed, and analyzed, from simple fugues with
one subject to elaborate pieces that present subjects in augmentation,
diminution, contrary motion, or stretto. The effect of different keys on the
harmonic style is dealt with in detail. E. Blackwood. Autumn.
222. The Eighteenth-Century Symphony. PQ: Any 100-level course, or the
ability to read music. In a period that witnessed the birth of some fifteen
thousand symphonies, most of them written for the many small courts all over
Germany and the Austro-Hungarian Empire and many of them better than just
competent, there were three giants who still stand out--Haydn, Mozart, and
Beethoven. The course aims to study their work in the general context of the
developing classical forms, the Enlightenment, and the beginning of public
concerts. Staff. Spring.
225. Music as Text. PQ: Any 100-level course. This course
investigates music's textuality in song, opera, instrumental music, and oral
traditions, and explores how ideas and ideologies are written into, and read
out of, works of Western and world music. The following questions are among
those explored: How does language about music relate to the language of music?
Are words, which describe wordless music, mere supplements or an essential part
of music itself? Is music, as text, part of a larger historical context, or is
it autonomous? B. Hoeckner. Winter.
231/331. Jazz (=AfAfAm 202). PQ: Any 100-level course, or the
ability to read music. This survey examines the history and development of
jazz from its West African roots to the so-called free jazz of the 1960s and
1970s. Representative works in various styles are selected for intensive formal
and stylistic analysis. Traditional forms and genres are traced from the New
Orleans beginnings to their contemporary manifestations in the avant garde. The
resources of the Chicago Jazz Archive in the Regenstein Library provide primary
source materials. R. Wang. Winter.
251. Theory and Analysis I. PQ: Music 153 or equivalent. This course
continues the investigation of harmony and voice-leading begun in Music 153 and
extends it to standard chromatic harmonies (including augmented-sixth chords
and the Neapolitan), exploring these topics through model composition and
analysis. The course also covers the analysis of standard tonal forms,
including sonata form. Staff. Autumn.
252. Theory and Analysis II. PQ: Music 251 or equivalent. This
course ventures further into extended chromatic techniques, preparatory to the
analysis of music of the late nineteenth century, and continues the development
of analytical skills for the study of tonal forms. The course also offers an
introduction to post-tonal theory and analysis. L. Zbikowski.
Winter.
253. Theory and Analysis III. PQ: Music 252 or equivalent. This
course focuses on the theory and analysis of rhythm and meter, in both Western
and non-Western repertoires. Further work in the theory and analysis of
pitch-structure in twentieth-century music is also offered. Staff.
Spring.
261. Introduction to Composition. PQ: Music 142 or 153 or
equivalent. Some of the essential elements of music, such as melody,
rhythm, harmony, and form, are explored through composition in various styles.
A series of closely structured exercises leads the way to integration of the
various elements into larger formal designs. The use of pitched, nonpitched,
tonal, and nontonal materials is encouraged. J. Eaton. Winter.
Go to top of document 262. Advanced Composition. PQ: Music 261 or equivalent. This course
is a continuation of the study of composition undertaken in Music 261. J.
Eaton. Spring.
263-264/363-364. Introduction to Computer Music. PQ: Consent of
instructor. This course provides students with instruction in the concepts
and methods of digital sound synthesis using the technique of frequency
modulation. The course presents the theory of FM synthesis, introduces the
discipline of psychoacoustics as it applies to the perception of electronically
generated sounds, and provides an opportunity to exploit the hardware and
software of the Computer Music Studio for creative musical work. H.
Sandroff. Autumn, Winter.
265/365. Instrumentation and Orchestration. PQ: Open to nonconcentrators
with consent of instructor. The objectives of this course are twofold: (1)
to acquaint students with the instruments used in the standard symphony
orchestra--their capabilities, limitations, and characteristic uses; and (2) to
pinpoint, through analysis of a wide variety of excerpts from orchestral
literature, specific solutions to problems of balance and voicing. Through
selected projects in orchestration, students begin to acquire the tools needed
to score for various instrumental combinations. College students may continue
on to the second quarter of this course (Music 366) with consent of the
instructor. Not offered 1995-96; will be offered 1996-97.
268/368. Studies in Computer Music. PQ: Music 264 or consent of
instructor. This course, for students who have experience with the
equipment of the Computer Music Studio, consists of advanced work in creative
composition at those facilities. Not offered 1995-96; will be offered
1996-97.
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Music Courses
101. Introduction to Western Music. This course fulfills the Common
Core requirement in the musical or visual arts. Background in music not
required. A one-quarter course designed to enrich the listening experience
of students, particularly with respect to the art music of the Western European
and American concert tradition. Students are introduced to the basic elements
of music and the ways that they are integrated to create masterworks in various
styles. Particular emphasis is placed on musical form and on the potential for
music to refer to and interact with aspects of the world outside. Staff.
Autumn, Winter, Spring.
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