Survey of music as one of the great arts in Western Civilization from the Middle Ages to the present, with emphasis on the more recent centuries. Consideration of basic elements in the language of music, characterizing features of various cultural epochs, and unique contributions of major composers. Illustrations are for voices (solo, choral and operatic) and for instruments (solo, chamber, and orchestral). Recorded examples are interspersed with live performances. Click here to view the syllabus for this course.
An introduction to the study of world music (ethnomusicology) through an examination of both traditional and popular music styles from different music cultures within Africa, the Caribbean, and the Americas, with emphasis on the specific social and cultural backgrounds that have generated and sustained them. Topics will include the study of ethnomusicology, the influences between traditional and popular music, the social status and training of musicians and performers cross-culturally, the world music business, and ongoing processes of musical exchange between musicians from diverse cultural background. Click here to view the syllabus for this course.
This course provides an introduction to jazz music, in which the student will learn about the origins and developments of jazz styles through live demonstrations, audio and video presentations, reading, lectures, discussion and direct, critical listening. The central goal of the course is twofold: to learn how to hear jazz critically - how to hear form, texture, style and language - and to understand the values, meanings and sensibilities of jazz as a social practice. After a brief introductory overview of listening skills, the course will follow the progression of jazz history from ragtime up to present day. Representative musical examples from the listening assignments will be discussed and analyzed in lectures. Readings will focus on the stylistic changes and on the social, cultural and political debates that have arisen during the history of jazz. These will be discussed and analyzed in lectures.
An introduction to the musical elements of popular music, exploring the nature of rhythm, meter, syncopation, form, instrumentation, vocal and instrumental style, and a historical survey of rock, pop and soul musics, tracing their development from roots in blues, jazz, gospel and country music to the music of today. In addition to the "Pop, Rock and Soul" musics of the title, the course covers styles such as rap, reggae, top 40, heavy metal, alternative and punk. Aspects of musical style and personal identity are explored, including the role of African Americans, European Americans and Latino Americans in the development of popular music. No previous musical knowledge or experience is assumed.
Musical rudiments, including notation of pitch and duration; identification and construction of scales, intervals and chords. Principles of succession and simultaneity based on the different qualities of the various intervals. Applications of these principles in tonal music. Ability to read music is not a prerequisite.
Introductory keyboard for beginners in which the fundamentals of piano playing and music reading are presented: scales, key signatures, chords, harmonization, etc. are introduced as they relate to keyboard study. For students with no previous keyboard training.
The basics of singing: breathing, resonance, stage presence and text communication. Students find out how their voices work and how to keep them healthy. Primarily for non-majors and/or beginners. Recommended as preparation for private lessons.
This ensemble will focus on the musics not only from the African continent, but also from the diaspora, including Cuba , Brazil and Haiti . There will be an emphasis on rhythmic development as well as notation and ensemble cohesiveness. We will explore drumming, melodic instruments such as the xylophone and Mbira, and singing. No prior musical experience is necessary. Click here to view the syllabus for this course.
This is the first course in the music major and music minor curricula, and all students will be expected to play an instrument and/or sing in class. We study key signatures, scales, rhythms and meters, and the basics of writing choral music for soprano, alto, tenor and bass. Mandatory attendance. Click here to view the syllabus for this course.
This course, taken concurrently with Theory I, aims at developing skills in understanding and organizing musical sounds, as well as reading, performing, and writing music accurately. Various exercises will be utilized, involving singing, rhythmic and melodic dictation, conducting and keyboard work. In addition to twice weekly classes, students are required to meet once a week with a graduate TA to perform individual audits. Click here to view the syllabus for this course.
Continuation of MUS 215. More advanced chords and techniques; aural and written applications of principles of harmonic progression in tonal music.
Melodic and harmonic dictation, sight singing, rhythmic reading, keyboard harmony and improvisation, in conjunction with and based on materials of MUS 217.
Exploration of works of Beethoven with special attention to his masterworks in each genre. Biographical references as they relate to his music. Examples of his piano sonatas and variations, violin and piano sonatas, chamber music, symphonies, dramatic overtures, vocal dramatic, and song literature.
Emphasizes both language acquisition and music appreciation. Students learn 25 to 30 Chinese songs, including art songs, folk songs and popular songs from the mainland, Taiwan and Hong Kong . Song lyrics serve as main texts and their cultural background and stylistic features are introduced. Students improve diction, voice projection and language expression through singing practice.
In-depth survey of Western art music from c. 800 to 1700. Acquaints students with representative composers and compositions through lectures, score analysis, listening and reading assignments. Explores the social, cultural and historical background of the works studied. For majors, minors and non-majors who have the necessary prerequisites, background and interest may register with consent of instructor.
Second in a three-semester sequence of courses examining the genres, forms, and styles of Western art music, and its place in society. Covers the period from approximately 1700 to 1850. Organized around lectures, reading and listening assignments, and critical and analytical writing. For majors, minors and non-majors who have the necessary prerequisites, background and interest may register with consent of instructor.
In-depth survey of Western art music from 1850 through the present day. Acquaints students with representative composers and compositions through lectures, score analysis, listening and reading assignments. Explores the social and historical background of the works studied. For majors, minors and non-majors who have the necessary prerequisites, background and interest may register with consent of instructor.
Examines central themes and methods in ethnomusicology today, explored through the study of music in several different cultural regions. Focus includes the following topics: the study of musical style and the meaning of music in varying cultural contexts; debates over the impact of technology, colonialism and politics on musical change; the benefits and drawbacks of globalization on local music making; and the category of "world music." Relationship between methodology and musical style is also studied by comparing ethnomusicological approaches with those used for the study of Western art music. Click here to view the syllabus for this course.
As a continuation of MUS 217 and to be taken concurrently with MUS316, this course will involve aural, analytical and written work in advanced techniques of tonal composition, including applied dominants and modulations.
Continues the development of practical skills in ear training, sightsinging, dictation and keyboard harmony in conjunction with and based on materials of MUS 315. Taken concurrently with Theory III (MUS 315).
Continuation of MUS 315, with more advanced techniques involving dissonance and chromaticism, and the study of 20th-century compositional approaches.
Continuation of MUS 316, incorporating more advanced materials for singing, rhythmic training, dictation, and performance.
Gives student understanding of the craft of composition. Styles explored include classical music of 18th, 19th and 20th centuries and some popular songs. Techniques studied include writing different types of melodies and accompaniments and writing in different forms.
This course will examine both traditional and popular music styles from African peoples along with the social and cultural backgrounds that have generated and sustained them. Topics will include the cross-fertilization of African musics with those of the Diaspora, the important links between music and ritual, issues regarding gender division of musical roles, the influence of Christianity and Islam on musical sound and ideas, as well as notions of “roots” consciousness and black solidarity that have influenced the work of many pan-African musicians. Assessment will be based upon written essays over topics from readings and lectures as well as a final paper.
This course will provide an introduction to the study of world music (ethnomusicology) through an examination of both traditional and popular music styles from different Asian cultures, with an emphasis on the specific social and cultural backgrounds that have generated and sustained them. Topics will include the study of ethnomusicology, the influences between traditional and popular music, the social status and training of musicians and performers cross-culturally, the world music business, the influence of Asian music in world music, and world music on Asian music.
Continuation and expansion of materials and techniques presented in MUS 427. May be selected as restricted music major elective with consent of departmental adviser and instructor.
The development of analytical skills used to identify form and musical structure of selected musical examples written in the 19th and 20th centuries. Includes analysis of performance, Schenkerian analysis, and a focus on various 20th-century analytical techniques such as 12-tone set theory.
