The Department of Music aims to broaden the exposure to and enrich the understanding of the various musical traditions of the world. Courses address the materials of tonal music in the Western tradition, the analysis of individual works, the study of composers and genres, non-Western and vernacular repertories, musical composition, critical approaches to music, and the role of music in society. The Bachelor of Arts program in music provides a background both for graduate work in music and for study in other fields. The department also sponsors a number of performance organizations and concert series.

Courses for Nonconcentrators: General Education. Students seeking to meet the general education requirement in musical, visual, and dramatic arts should choose from among the following: Music 101 (Introduction to Western Music), Music 102 (Introduction to World Music), Music 103 (Introduction to Music: Materials and Design), or either quarter of Music 121-122 (Music History for Nonmajors). These courses are open to all students, regardless of previous musical background.

Other Courses for Nonconcentrators. In addition to the general education courses, the department offers a two-quarter Introduction to Music Theory (Music 141-142) for students who have had little or no exposure to reading music. Students who can read music comfortably can take a three-quarter sequence in Harmony (Music 151-152-153). Courses numbered from 200 to 249 are open to students who have passed a course at the 100 level or who have equivalent musical background. In addition, courses designed for the concentration (Music 250 to 299), and certain graduate courses, are open to qualified College students who are not concentrating in music, with consent of the instructor.

B.A. Program. The program for the bachelor's degree with a concentration in music offers a well-balanced selection of practical, historical, and conceptual approaches to music.

All concentrators are required to take at least twelve music courses and participate in a campus performing organization (or comparable musical activity) for at least three quarters. Students should begin their concentration program by taking the three-quarter sequence in Harmony (Music 151-152-153) during their first or second year. The required course in musicianship skills (Music 285) is offered every year and should be taken after the Music 151 to 153 sequence. NOTE: Music 285 is a yearlong course. One quarter's credit (100 units) is granted in the spring quarter only, after successful completion of the year's work. To meet requirements for full-time student status, students must carry at least three additional courses during the autumn and winter quarters.

To develop their musical skills and historical knowledge, students should take the advanced music theory sequence (Music 251-252-253) and Topics in the History of Western Music (Music 271-272-273) during the next two years (another theory course or a course in performance or interpretation may be substituted for Music 253). Students complete their programs by choosing two additional courses: one in ethnomusicology; and one in composition, computer music, or orchestration. With the instructor's consent, undergraduates can take graduate classes; graduate courses can be used to meet concentration requirements by petition to the director of undergraduate studies.

3	Music 151-152-153
3	Music 251, 252, and 253 (or another theory or performance course in place of Music 253)
1	Music 285
3	Music 271-272-273
1	one course in ethnomusicology (any course numbered in the 230s)
1	one course in composition, computer music, or orchestration (any course numbered in the 260s)
-	participation in at least three quarters in a performing organization
12

Advanced Standing. Those students who exhibit a competence in harmony sufficient to place out of Music 151-152-153 or knowledge of music history sufficient to place out of Music 271-272-273 may devise an alternative program with the director of undergraduate studies.

Grading. Courses taken to meet the general education requirement cannot be taken on a P/N basis. Music concentrators must take courses in the concentration for letter grades.

Honors. Students who have a grade point average of at least 3.0 overall and of at least 3.5 in the concentration, and who present a senior essay or composition written in an advanced course or a special tutorial (Music 299) may be recommended for honors. Students seeking honors should speak with the director of undergraduate studies no later than autumn quarter of their senior year.

Musical Performance. The Department of Music is committed to the idea that the study of music is incomplete without some participation in the making of music. Students concentrating in music must participate for at least three quarters in the activities of at least one of the performance organizations on campus, either through the larger ensembles (the Symphony and Chamber Orchestras, the choral ensembles, the Wind Ensemble, the Jazz Ensemble, the Javanese Gamelan, and the New Music Ensemble) or through the Chamber Music Ensembles program. A student may, by petition to the director of undergraduate studies, show evidence of outside musical activity to meet this performance requirement.

Membership in the Department of Music performance organizations is open to qualified students from all areas of the University through competitive auditions held at the beginning of autumn quarter. Most organizations rehearse weekly. For further information, students should consult the brochure "Performance Opportunities at the University of Chicago" or contact Barbara Schubert, director of performing programs.

Symphony Orchestra. The one-hundred-member University Symphony Orchestra presents six concerts per season. Familiar and unusual repertoire from the nineteenth and twentieth centuries is featured. A major performance with the University Chorus every season, the biennial University Concerto Competition, and a regular summer opera production with the Lyric Opera Center for American Artists are highlights of the symphony's activities. Wednesday evening rehearsals. B. Schubert. Summer, Autumn, Winter, Spring.

Chamber Orchestra. The University Chamber Orchestra is a string ensemble that specializes in baroque, early classical, and twentieth-century repertoire. Supplemented by wind players for particular pieces, the group presents three concerts per season. Members often play in the University Symphony as well. Monday evening rehearsals. A. Arnold. Autumn, Winter, Spring.

Wind Ensemble. The University Wind Ensemble performs both symphonic wind ensemble literature and transcriptions of major orchestral repertoire. The group presents one concert each quarter and occasionally performs at informal activities and social events on campus. Monday evening rehearsals. W. Gordon. Autumn, Winter, Spring.

Chorus. The one-hundred-thirty-member University Chorus performs choral literature of the eighteenth, nineteenth, and twentieth centuries, accompanied by keyboard, small instrumental ensembles, or the University Symphony. One major concert per quarter plus supplemental performances on campus and elsewhere in the city make up the season. Tuesday evening rehearsals. R. Von Ellefson. Autumn, Winter, Spring.

Motet Choir. The forty-member University Motet Choir is a select group that specializes in a cappella choral literature of all periods, plus Renaissance and baroque works accompanied by period instruments. The ensemble presents one major concert per quarter on campus, has frequent performances elsewhere in Chicago, and goes on an annual tour. Monday, Wednesday, and Friday noontime rehearsals. R. Von Ellefson. Autumn, Winter, Spring.

Jazz Ensemble. The Jazz Ensemble is an eight- to ten-piece group dedicated to the exploration of small-group improvisation and ensemble performance in traditional jazz styles. The ensemble's repertoire ranges from standards to new compositions written for the group to collaborative works. The group presents one major concert per quarter on campus, as well as supplemental performances on campus and elsewhere in the city. Wednesday evening rehearsals. M. Bowden. Autumn, Winter, Spring.

New Music Ensemble. The University New Music Ensemble performs a wide variety of twentieth-century repertoire, with each of its quarterly concerts including solo and ensemble works for singers and instrumentalists. Experimental music, world premieres, and multimedia programs are an integral part of every season, along with twentieth-century masterworks and compositions by students in the Department of Music. Saturday afternoon rehearsals. B. Schubert. Autumn, Winter, Spring.

Javanese Gamelan Ensemble. The Javanese Gamelan Ensemble is part of the department's expanded offerings in ethnomusicology. The group focuses on authentic performance practice and makes use of numerous opportunities to rehearse and perform with visiting artists from Java and around the United States. The ensemble's performances feature contemporary Indonesian and American compositions in addition to traditional Javanese gamelan pieces. Rehearsals by arrangement. M. Stokes, Administrative Director. Autumn, Winter, Spring.

Chamber Music Ensembles. Chamber Music Ensembles are open to students from all areas of the University and at all levels of proficiency. The Department of Music organizes various ensembles in accordance with players' tastes and skills, and provides opportunities for musical coaching and performance. Master classes with area professionals and visiting artists, as well as coaching sessions, are organized through the chamber music program. Rehearsals by arrangement. I. Levinson. Autumn, Winter, Spring.

Other Campus Activities. A variety of other musical activities is available at the University, including the Gilbert and Sullivan Opera Company, a jazz band and stage band, a brass society, several residence hall recital series, and several student-run theater groups.

101. Introduction to Western Music. This course meets the general education requirement in the musical, visual, and dramatic arts. Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. 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.

102. Introduction to World Music. This course meets the general education requirement in the musical, visual, and dramatic arts. Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. 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, Winter, Spring.

103. Introduction to Music: Materials and Design. This course meets the general education requirement in the musical, visual, and dramatic arts. Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. 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. Autumn, Winter, Spring.

121-122. History of Music for Nonmajors. Either course meets the general education requirement in the musical, visual, and dramatic arts and may be taken individually. Students must confirm enrollment by attending one of the first two sessions of class. 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; R. Kendrick, Spring.

141-142. Introduction to Music Theory for Nonmajors. These courses may not be used to meet the general education requirement in the musical, visual, and dramatic 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. L. Zbikowski, Autumn; T. Christensen, Winter; L. Zbikowski, Spring.

161. Music, Liturgy, and Art in Sacred Spaces in the Middle Ages (=ArtH 196, GS Hum 286, Music 161). PQ: Any 100-level music course or consent of instructor. 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.

221. Opera and Screen (=CMS 283, Music 221). PQ: Any 100-level music course or consent of instructor. This course explores opera of the eighteenth through the twentieth centuries, with special attention to cinematic interpretations. Critical questions it raises include how the conjunction of these two media (staged and filmic) has been negotiated; how a variety of "texts" (verbal, musical, and visual) intersect as opera is realized in film; and how filmed opera attracts and shapes different modes of spectatorship from stage opera. Among the operas considered are Mozart's The Magic Flute and Don Giovanni, Verdi's La Traviata, Bizet's Carmen, and the Brecht/Weill Three Penny Opera. M. Feldman. Autumn.

229/309. Issues in Film Music (=CMS 281/381, Music 229/309). This course explores the role of film music from its origins in silent film, through to its increasingly self-reflexive use in recent cinema (both avant-garde and commercial, and Western and non-Western). We look at the ways music plays a central role both as part of the narrative and as non-diegetic music, how its stylistic diversity contributes its own semiotic universe to the screen, and how it becomes a central qualifying agent in twentieth-century visual culture. B. Hoeckner. Spring.

231/331. Jazz (=AfAfAm 202, Music 231/331). PQ: Any 100-level music 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, and 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. R. Cohn. 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. M. Ptaszynska. Spring.

261. Introduction to Composition. PQ: Music 142 or 153 or equivalent. The student is introduced to some of the basic problems in musical composition through a series of simple exercises. J. Eaton. Spring.

262. Advanced Composition. PQ: Music 261 or equivalent. This course is a continuation of the study of composition undertaken in Music 261. J. Eaton. Winter.

263-264/347-348. Introduction to Computer Music. PQ: Consent of instructor. Rudimentary musical skills required. Technical knowledge not required. Basic Macintosh skill helpful. This two-quarter course of study gives students in any discipline the opportunity to explore the techniques and aesthetics of computer-generated/assisted music production. During the first quarter, students learn the basics of digital synthesis, the Musical Instrument Digital Interface (MIDI), and programming. These concepts and skills are acquired through lecture, demonstration, reading, and a series of production and programming exercises. Students are encouraged to indulge their musical and programming creativity throughout the course. The final project is a creative musical or programming endeavor of the student's choosing. Weekly lab tutorials and individual lab time in the Department's Computer Music Studio are in addition to scheduled class time. Not offered 1999-2000; will be offered 2000-2001.

265/345. Instrumentation and Orchestration I. PQ: Open to nonconcentrators with consent of instructor. This course introduces the fundamental principles of the capabilities of musical instruments and their combinations. Not offered 1999-2000; will be offered 2000-2001.

266/346. Instrumentation and Orchestration II. 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 with a focus on 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. Not offered 1999-2000; will be offered 2000-2001.

268. Sixteenth Century Counterpoint. PQ: Music 153 or equivalent. An introduction to the theory, analysis, and composition of modal counterpoint using texts and examples by sixteenth-century theorists (Zarlino) and composers (Josquin, Lassus, and Palestrina). Techniques include cantus firmus, canon, and modal mixture. Students read sources, analyze passages, and compose (and improvise) counterpoint in two to four parts. R. Kendrick. Spring.

271-272-273. Topics in the History of Western Music. PQ: Music 142 or 153; open to nonconcentrators with consent of instructor. A three-quarter investigation into Western art music, with primary emphasis on the vocal and instrumental repertories of Western Europe and the United States. Music 271 begins with the earliest notated music and considers monophonic liturgical chant and the development of sacred and secular vocal polyphony through the sixteenth century. Music 272 addresses topics in music from 1600 to 1800, including opera, sacred music, the emergence of instrumental genres, the codification of tonality, and the Viennese classicism of Haydn and Mozart. Music 273 treats music since 1800. Topics include the music of Beethoven and his influence on later composers; the rise of public concerts, German opera, programmatic instrumental music, and nationalist trends; the confrontation with modernism; and the impact of technology on the expansion of musical boundaries. Not offered 1999-2000; will be offered 2000-2001.

281. Orchestral Conducting. PQ: Consent of instructor. Credit is granted only in the spring quarter, after successful completion of the year's work. This yearlong course deals with the art, the craft, and the practice of orchestral conducting. The students acquire practical conducting experience through classroom work and through a variety of outside rehearsals and performances. A large assortment of practical and theoretical readings supplement the podium work, and several analytical papers are assigned. B. Schubert. Autumn, Winter, Spring.

285. Musicianship Skills. PQ: Music 153; open only to music concentrators. This is a yearlong course in ear training, keyboard progressions, realization of figured basses at the keyboard, and reading of chamber and orchestral scores. Classes each week consist of one dictation lab (sixty minutes long), and one keyboard lab (thirty minutes long). Credit is granted in the spring quarter only, after successful completion of the year's work. I. Levinson. Spring.

297. Independent Study in Music. PQ: Consent of instructor and director of undergraduate studies. Students are required to submit the College Reading and Research Consent Form. This course is for students who wish to pursue specialized readings in the history or theory of music, or to do advanced work in composition. Staff. Autumn, Winter, Spring.

299. Senior Essay or Composition. PQ: Consent of instructor and director of undergraduate studies. Students are required to submit the College Reading and Research Consent Form. Staff. Autumn, Winter, Spring.