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Fall semester 2008
Review of Sophomore Writing Skills (THEORY 334), 2 cr. hrs. Prof. Everett
Placement by Transfer Placement Exam.
Advanced Analysis of Tonal Music (THEORY 430), 3 cr. hrs. Prof. Guck
Prerequisite: THEORY 250. In-depth analysis emphasizing elements of structures evident in various important examples, offering a variety of analytical problems; readings on tonal forms.
Analysis of Modernist Music (THEORY 433/533), 3 cr. hrs. Prof. Guck
Graduate students elect THEORY 533.
Prerequisite: THEORY 250 or equivalent.
Primary emphasis is on the development of analytical and aural skills in significant 20th-century musics, using varied repertoire and varied aural and analytical approaches.
Eighteenth-Century Counterpoint (THEORY 442/542), 3 cr. hrs. Prof. Petty
Graduate students elect THEORY 542.
Prerequisite: THEORY 240 and either 250 or 259.
Involves analysis and practice of the craft of counterpoint based on 18th-century repertoire of Western music and scholarly treatises of both that period and the present. A diet of species counterpoint is emphasized in the first half, then varieties of contrapuntal craft of the difficulty of two- and three-part inventions of J. S. Bach.
Orchestration I (THEORY 454), 3 cr. hrs. Prof. Mead
Prerequisite: THEORY 239 and 249, or equivalent (such as 238) with permission of instructor.
Emphasis on original compositions or arrangements for various instruments in string, wind, brass, and percussion families. Also reading and listening assignments. Final project is selecting and orchestrating a short piano composition for chamber orchestra. Undergraduate credit only.
Special Course: Freedom and Fantasy (THEORY 460/560), 3 cr. hrs. Prof. Petty
Graduate students elect THEORY 533.
Prerequisite: THEORY 250 or 259 or permission of the instructor.
This course is devoted to areas of tonal music where special freedom is encouraged in performance or in composition, including the cadenza, the slow introduction, the development section, and the free fantasy. Students will explore techniques for interpreting such passages while practicing the analysis of chromatic tonal music. Repertoire will be drawn from instrumental works of the 18th and 19th centuries.
Schenkerian Theory & Analysis I (THEORY 531), 3 cr. hrs. Prof. Korsyn
Prerequisite: Permission of instructor.
The course teaches the basic techniques of Schenkerian analysis, a method for understanding musical works through analysis using musical notation to represent aural experience. The course emphasizes basic concepts of linear, contrapuntal, and harmonic structure in tonal music; these concepts guide analyses of short compositions and excerpts from longer works. Students learn to express their analytical insights through the preparation of analyses presented in Schenker's style of musical notation.
Teaching Tonal Theory (THEORY 590), 3 cr. hrs. Prof. Fournier
Integration of practical teaching techniques with evaluation of texts and anthologies. Coverage includes fundamentals, harmony, ear training, sight-singing, keyboard harmony, counterpoint, tonal analysis, and various integrated approaches as well as some computer-assisted materials.
Seminar in Theory: New Thoughts about Schoenberg (THEORY 805), 3 cr. hrs. Prof. Mead
Prerequisite: Permission of instructor.
The course takes up the music of Arnold Schoenberg, in particular his post-tonal works including both the twelve-tone repertory and those quasi-tonal works such as the Variations on a Recitative for Organ and the Ode to Napoleon that show evidence of his preoccupation with motivic manipulation. Readings will be drawn from recent works on Schoenberg by Michael Cherlin, Brian Alegant and others, as well as the writings of Babbitt, Lewin, Samet, and Peles, to mention just a few.
Winter semester 2008
Advanced Analysis of Tonal Music (THEORY 430), 3 cr. hrs. Sec. 1 Prof. Guck
Undergraduate students only. Sec. 2 Prof. Wayne Petty
Prerequisite: THEORY 250 or 259.
In-depth analysis emphasizing elements of structures evident in various important examples, offering a variety of analytical problems; readings on tonal forms.
Analysis of Modernist Music (THEORY 433/533), 3 cr. hrs. Sec. 1. Prof. Hubbs
Graduate students elect THEORY 533. Sec. 2. Prof. Satyendra
Prerequisite: THEORY 250 or equivalent.
Primary emphasis is on the development of analytical and aural skills in significant 20th-century music using varied repertoire and varied aural and analytical approaches.
Analytical History of Jazz (THEORY 436/536), 3 cr. hrs. Prof. Dapogny
Graduate students elect THEORY 536.
Prerequisite: 250 or equivalent.
Treats the evolution of jazz in the United States through the 1940s. Aural tradition of music and the creation of musical scores for works available only on record; analysis
of sheet music, autographed scores, first editions, etc., in order to induce theory of the evolution of musical styles in jazz.
Analysis of Eighteenth-Century Contrapuntal Works (THEORY 443/543), 3 cr. hrs. Prof. Korsyn
Graduate students elect THEORY 543.
Prerequisite: 542.
Moving ahead in analysis and practice of craft to sophisticated settings of 18th century contrapuntal forms, especially with the creation of fugues in the styles of
representative composers. Pedagogical treaties of that era as well as contemporary scholarship are dealt with in analytical and creative tasks.
SPECIAL STUDIES: (THEORY 460/560), 3 cr. hrs. Prof. Satyendra
Graduate students elect THEORY 560.
Prerequisite: Permission of instructor.
This interdisciplinary course will be of interest to students who enjoy music, mathematics, and good reading. It will be of special interest to students planning to pursue music theory research. During the semester we will consider the main ideas and analyses in David Lewin’s book, Generalized Musical Intervals and Transformations. This enormously influential book is regarded as a classic by scholars in music philosophy, theory, and analysis. Listening activities will include music by Bach, Mozart, Beethoven, Chopin, Brahms, Wagner, Schoenberg, Bartôk, Webern, and Carter. We also will devote some attention to early music, rock, jazz, and world music. Assignments will involve book and article readings, brief music analyses, and the occasional problem set. At the end of the term each student will write and present an original music analysis that has a mathematical component. The mathematics prerequisites are high-school algebra and some experience in reading proofs.
Analysis of Tonal Music (THEORY 461), 2 cr. hrs. Sec. 1. Prof. Mead / Sec. 2. Prof. Fournier
Remedial review course for graduate students.
Proseminar in the Analysis of Music (THEORY 537), 3 cr. hrs. Prof. Mead
Prerequisite: THEORY 430 or Permission of instructor.
Treats varied repertoire presenting different approaches for analysis. May be repeated for credit.
Advanced Aural Skills (THEORY 551), 3 cr. hrs. Prof. Judith Petty
Graduate Students only.
Prerequisite: permission of instructor
Project in Tonal Composition (THEORY 552), 2 cr. hrs. Prof. Chuck
THEORY MAJORS ONLY.
Creative work to model traditional composition forms, with careful attention to development processes attendant to the common practice period.
The Social Construction of Music Theory: Seminar in Music Theory (THEORY 805), 3 cr. hrs.
Prerequisite: permission of instructor Prof. Fournier
This course is designed to examine music scholarship as a sociological enterprise in which scholars engage with each other not only in their mutual search for the meaning of music works but, more broadly, to determine how those meanings might be attained and described to others in the field. We will proceed from the basic premise that the field, itself, is a social construct that arises from agreements made between scholars on what will constitute the focus of their research and how that research will be performed.
However, our study will not limit itself to the sociology of music theory. We will also examine the impact made upon our work from other social fields that we inhabit – that is, from our “everyday” experience of music as it might be shaped and influenced by listeners with whom we interact in other (i.e., “non-scholarly”) areas of our lives.
This type of study has rarely been undertaken in relation to music scholarship, and so we will draw the bulk of our readings from outside the field. Our quest to understand the “everyday” and “professional” conditions under which theoretical research is performed, and to evaluate how those conditions shape the research that we perform as theorists, will take us into such disciplines as philosophy, sociology, literary theory, and cultural studies. In the first half of the course, we will focus upon work drawn from some of the pioneers in the area of the sociology of knowledge (Max Scheler, Emile Durkheim, Karl Mannheim) and we will subsequently examine readings drawn from scholars who have built upon this earlier work (Peter Berger, Pierre Bourdieu, Paul Feyerabend, Michal Foucault, Ian Hacking, Thomas Kuhn, Bruno Latour, Thomas Luckmann, John Searle), These readings will help us to frame a sociological model through which to re-evaluate how scholarship is performed under the rubic of “music theory.” In the second portion of the course, students will turn a sociological eye towards a selection of representative writings drawn from across the field of music theory.
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