A.B. Music

MUS 103 Introduction to Music LA A listener's introduction to western musical styles from the middle ages to the present. The course is designed for students with no previous musical background and is taught essentially without musical notation. Emphasis is on guided analytic listening to selected works of Bach, Haydn, Mozart, and Beethoven. Two lectures, one class. R. Wegman

MUS 104 When Music Is Made LA An introduction to the fundamental materials of a variety of musics, including Western concert music, jazz, and popular music. Course activities center around interrelated theoretical, compositional, and analytical projects that serve to explore issues of music theory, style, and creativity. Two lectures, two preceptorials. D. Dennehy

MUS 105 Music Theory through Performance and Composition Fall LA An introduction to the procedures, structures, and aesthetics of tonal music. Composing, singing, playing, analysis of music such as 18th-century chorale, and 18th- and 19th-century piano music. Emphasis on fluency in handling tonal materials as a means of achieving a variety of formal and expressive ends. Two lectures, two classes, one session in practical musicianship. D. Dennehy, J. Seo

MUS 106 Music Theory through Performance and Composition Spring LA An introduction to the procedures, structures, and aesthetics of tonal music. Composing, singing, playing, analysis of music such as 18th-century chorale, and 18th- and 19th-century piano music. Emphasis on fluency in handling tonal materials as a means of achieving a variety of formal and expressive ends. Two lectures, two classes, one session in practical musicianship. Prerequisite: ability to read music. D. Dennehy, J. Seo

MUS 205 Species Counterpoint Fall LA An introduction to the principles of voice leading and linear construction through a series of systematic compositional exercises. Two lectures, two classes. Prerequisite: 106 or equivalent. S. Mackey, D. Trueman, J. Seo

MUS 206 Tonal Syntax Spring LA An introduction to the syntactic structure of the music of the 18th and 19th centuries through exercises in analysis and composition. Two lectures, two classes. Prerequisite: 205 or equivalent. S. Mackey, D. Trueman, J. Seo

MUS 210 Beginning Workshop in Musical Composition LA A continuous cycle of creation, discussion, and response based on the creative musical activity of the students. Varieties of kind and style--notated composition, multimedia music, multitracking, and improvisation--are encouraged. Prerequisite: instructor's permission. Two 90-minute classes. S. Mackey, J. Seo

MUS 213 Projects in Instrumental Performance Fall LA Instrumental chamber music class of the standard repertory of the 17th, 18th, 19th, 20th and 21st centuries. Preparation for performance of ensembles. Each ensemble's repertoire will be determined in consultation with the instructors during the first week of classes. Staff

MUS 214 Projects in Vocal Performance LA Guides students in extended projects in performance. Prerequisite: instructor's permission. Staff

MUS 215 Projects in Jazz Performance Fall LA A performance course that focuses on the development of style, concept, and repertoire in the jazz idiom. Students are coached by faculty in extended projects in performance. K. Davis Radley

MUS 216 Techniques of Conducting Fall LA This course will focus on: 1) the development of competency in conducting technique, 2) verbal and non-verbal communication in rehearsal, 3) the study of choral repertoire of various styles and genres, emphasizing analysis and interpretation and 4) the development of good rehearsal strategies. G. Crouch

MUS 220 The Opera (also

MTD 220

MUS 221 Choral Music (also

REL 221

MUS 225 Instrumental Music: The Symphony from Haydn to Stravinsky LA A study of the development of the symphony from its origins in the mid-18th century through the first half of the 20th. Representative works will be chosen for detailed study in the class meetings. Two lectures, one class. Prerequisite: any music course, some musical background, or instructor's permission. S. Burnham, W. Heller

MUS 230 Music in the Middle Ages (also

MED 230

MUS 232 Music in the Renaissance LA Introduction to the history and current scholarship of European music in the period 1400-1600. The principal thread is compositional history; in addition, the course includes extensive coverage of these topics: aesthetics, orality/literacy, improvisation, gender and sexuality. R. Wegman

MUS 234 Music of the Baroque LA An introductory survey of style developments, aesthetic trends affecting music, and principal vocal and instrumental genres (opera, cantata, concerto, sonata, and suite) of the period 1600-1750. Major figures to be considered include Monteverdi, Schütz, Lully, Corelli, Vivaldi, Handel, and J. S. Bach. Two lectures, one preceptorial. Prerequisite: any music course or instructor's permission. W. Heller

MUS 236 Music of the Classical Period LA This course provides a comprehensive introduction to the music of the Viennese Classical period. In addition to becoming familiar with some 20 musical works by Haydn, Mozart, and Beethoven, students will engage the cultural context of this music, including historical, aesthetic, and biographical issues. Includes units on the primary instrumental genres of the Classical style and concludes with a series of in-depth analyses of large-scale works by each composer. Two lectures, one class. Staff

MUS 240 Musical Modernism 1890-1945 LA An introduction to modern music, beginning with its origins in late Romanticism, up to World War II. Composers considered include Mahler, Stravinsky, Debussy, Ravel, and Berg. Topics range from urban centers for modern music (Paris and Vienna), the relationship of musical modernism to contemporary literature and visual arts, music and politics, to the impact of recording technology and cinema on musical arts. Prerequisite: any music course, some classical music background, or instructor's permission. Two lectures, one preceptorial. S. Morrison

MUS 242 Music After Modernism, 1945 to the Present Spring LA European and American music since World War II. Study of many recent approaches to music and their cultural, social, and philosophical bases. Topics include: postwar European avant-garde, American extensions of serialism, technological developments, influences of popular and folk cultures, American avant-garde. Prerequisite: any music course, some musical background, or instructor's permission. Two lectures, one preceptorial. D. Dennehy

MUS 250 Musical Cultures of the World Spring LA Course explores aesthetic principles and social context underlying traditional and popular musics of various world regions, drawing on examples from South Africa, Japan, India, and Indonesia, among other places. Issues explored include conception of melody and rhythm in culture; the impact that language, pedagogical methods, patronage systems, gender, and ethnic or class identity have had on musical composition and performance; and the role of migration, globalization, and politics in the development of musical style. G. Steingo

MUS 251 Music and Film LA An examination of the effect of different compositional practices and different sound technologies on the film viewer. The course will focus on three parameters of film music: music that has a visual point of origin on the screen (diegetic music), music that does not have a visual point of origin on the screen (nondiegetic music, also called background scoring), and music that floats between these two realms. Prerequisite: 103, or 105, or permission of instructor. One three-hour seminar. S. Morrison

MUS 258 Music of Africa (also

AFS 258

MUS 260 Music Traditions in North America (also

AMS 309

MUS 262 Jazz History: Many Sounds, Many Voices (also

AAS 262

MUS 264 Urban Blues and the Golden Age of Rock LA Examines post-World War II blues, rock music mostly of the late sixties and early seventies, and the connections between them. Explores wider musical and extramusical connections. Two lectures, one class. R. Wegman

MUS 301 Special Topics in Contemporary Practice (See DAN 304)

MUS 308 Contemporary Music through Composition and Performance LA An introduction to a variety of 20th-century approaches to composition. Emphasis on understanding different techniques, syntaxes, and musical languages through exercises in compositional emulations and in performance projects of student and studied works, using available performance skills of participants. Prerequisite: 206 or instructor's permission. One three-hour seminar, one preceptorial. S. Mackey, V. Agawu

MUS 309 Topics in Tonal Analysis LA The course will deal closely with a small number of works from the tonal repertoire and will serve as a critical introduction to several pertinent and influential analytical methodologies, including motivic, formal, semiotic, and voice-leading analysis. The focus will be on the musical and aesthetic values that each method either enhances or attenuates. Prerequisite: 206 or instructor's permission. One three-hour seminar. V. Agawu, D. Trueman

MUS 310 Advanced Workshop in Musical Composition LA An opportunity for students who have developed sufficient compositional skills to work on more extended and advanced projects. Three hours per week. S. Mackey, D. Dennehy

MUS 311 Jazz Theory through Improvisation and Composition I LA An exploration of the melodic, harmonic, and rhythmic principles of the bebop paradigm. The course includes analysis of representative works by various jazz masters and will place a strong emphasis on student projects in improvisation and composition. Prerequisites: 105 or permission of instructor. Two 90-minute classes. Staff

MUS 314 Computer and Electronic Music through Programming, Performance, and Composition (also

COS 314

MUS 316 Computer and Electronic Music Composition LA Compositional projects involving computers and synthesizers. Some work may involve interactions between live and electronic sounds. Two 90-minute classes. Prerequisite: 314 or permission of instructor. D. Trueman, J. Snyder

MUS 328 Special Topics in Performance Practice (See THR 330)

MUS 333 Bach and Handel LA The contrasting careers and oeuvres of the two greatest representatives of the late baroque in music will be considered both individually and comparatively. Prerequisite: a year of theory or instructor's permission. W. Heller

MUS 339 Russian Music (also

SLA 311

MUS 430 Topics in History, Analysis, and Interpretation Fall LA Topics chosen from, but not limited to: a group of works by a single composer (Leonin's organa, Monteverdi's madrigals, Brahms's symphonies); a certain genre (19th-century choral works, Hindustani Khayal, contemporary rock, late 16th-century madrigal); a specific theoretical or historical problem (atonal theory, composers' sketches and musical analysis, the origins of opera). One three-hour seminar. Staff

MUS 431 Topics in History, Analysis, and Interpretation Spring LA Topics chosen from, but not limited to: a group of works by a single composer (Leonin's organa, Monteverdi madrigals, Brahms's symphonies); a certain genre (19th-century choral works, Hindustani Khayal, contemporary rock, late 16th-century madrigal); a specific theoretical or historical problem (atonal theory, composers' sketches and musical analysis, the origins of opera). One three-hour seminar. Staff