There
are no prerequisites for 100– and 200– courses.
101–Introduction
to Music. Basic
materials, forms styles, and aesthetics. Guided listening to masterpieces of
music literature. (No credit if taken after 150.) (Not offered 1999–2000.) 1
unit. Department.
104–World
Music. .Surveys
the musical cultures of eight world areas. Develops musical vocabulary and
listening skills through style description and analysis. Explores relationships
between music and culture through ethnographic case studies. Introduces
traditional vocal and instrumental performance techniques through workshops
taught by native musicians. (Also listed as American-Ethnic Studies 104 and
Anthropology 104.) (Meets the Alternative Perspectives: B requirement; fulfills
only one of the Social Science distribution requirement.) 2 units –
Department.
150–Music
in Western Culture. For
the non-music major. This course will examine the socio-cultural influences on
music from antiquity to modern times. The music of each period will be examined
in terms of its stylistic characteristics, its performance practices and its
function within the society. Selected genres, composers and musical form will be
studied through directed listening sessions. Special attention will be given to
the aesthetic ideas that shaped the music of each period. No credit if taken
after 101. (Meets the Alternative Perspectives: A requirement.) 2 units – D.
Brink.
199–Pre-Theory.
A course designed to develop an understanding of the basic elements of music
through written and aural exercises and analysis. The course will cover the
rudiments of music theory involving melody, rhythm, and harmony. Concentration
on notation and aural recognition of rhythm and meter, key signatures, scales,
and intervals; the construction and connection of basic triads and chords; basic
keyboard and sight singing skills. A course designed to assist students planning
to take Theory I–IV or for students interested in gaining knowledge of the
musician’s basic materials and skills. Cannot be used as a credit toward the
music major. 1 unit – D.Brink.
201–American
Music. A
survey from the time of the Pilgrims to that of Rock and Roll; an examination of
the so-called “cultivated” and “vernacular” traditions with discussion
of some uniquely American dichotomies such as commerce and art, art in a
democracy, and popularity and taste. Music reading ability not necessary. 1 unit
– Department.
204–From Mozart
to Mahler: A History of the Symphony.
No previous musical experience needed. An exploration of the development of the
symphony, beginning with its inception as an amalgamation of various national
characteristics in courtly circles during the middle of the 18th-century. Haydn,
Mozart, and Beethoven elaborated and transformed the genre as it moved into the
19th-century, when it flourished as a dramatic vehicle for large public concerts
during the great age of Romanticism. An analysis of the symphony’s
mid-to-late-19th-century manifestations will examine the continuity of its forms
as well as the myriad innovations that eventually led both to the profound
creations of Mahler and others as well as the ultimate decline of the genre in
the 20th-century. 1 unit – Agee.
205–Jazz.
An
introduction to the history, theory and literature of American jazz music. Jazz
as a primarily Afro-American cultural expression. Traditional African music and
its relation to ragtime and blues. The evolution of jazz from its New Orleans
origins to the present, as traced in the recorded legacy of such key innovators
as Armstrong, Ellington, Parker, Davis, Monk and Coltrane. Guided listening and
collective improvisation. (Also listed as American-Ethnic Studies 205.) (Meets
the Alternative Perspectives: B requirement.) 1 unit – Scott.
206–The
Anthropology of Music. Anthropological
approaches to the study of music. Considers the role and function of music in
culture with regard to musical sound, concepts and behaviors. Explores issues in
musical ethnography, musical areas, music symbolism, music making, and the
Western impact on world music. (Meets the Alternative Perspectives: B
requirement.) (Also listed as Anthropology 206.) (Not offered 1999–2000.) 1
unit – Levine.
207–Opera.
An
introduction to operatic conventions from the origin of opera in the late
Renaissance to the operatic masterworks of the 20th-century. Sociological
elements behind the presentation of opera will be discussed as well as concepts
in staging and production. 1 unit – Agee.
208–Romanticism.
Music
of the 19th-century will be studied with attention given to important musical
forms, genres, individual composers, as well as the relationship between musical
styles and aesthetic ideas. The scope of the course will include musical
literature from the death of Beethoven to the first performance of
Stravinsky’s Sacre du Printemps on
the eve of World War I, with some excursions into other historical periods
showing styles and ideas that are analogous to those of the 19th-century.
Primarily for non-music majors, this course requires no musical background. (Not
offered 1999–2000.) 1 unit – M. Grace.
210–Splendor of
the Baroque. No
previous musical experience needed. A kaleidoscopic introduction to the
passionate and lofty music of the late 16th-, 17th-, and early 18th-centuries.
The course examines the fascinating English developments of the late Renaissance
and early Baroque, the rediscovery of ancient music and the invention of opera,
the flowering of instrumental music across Europe, and the final apotheosis of
the high Baroque in the dramatic spectacle of Handel and the contrapuntal genius
of Bach. (Not offered 1999–2000.) 1 unit – Agee.
211–Miles
Ahead: The Miles Davis Years. This
course traces the remarkable fifty-year career of one of jazz’s most important
innovators. His thinking inspired several distinct stylistic movements in the
music, and he was mentor to many younger players who developed into major voices
under his leadership. Guided listening to several of Miles most important
recordings as well as those of some of his significant,proteges and
investigation of some of the extra-musical issues surrounding his life and
music. (No prerequisite, though 205–”Introduction to Jazz” is
recommended.) 1 unit – Scott.
212–Mozart
and His Age.
A study of Mozart’s life, character and works in the context of 18th-century
Europe. The course will examine each genre of music composed by Mozart and
compare his works with those of his immediate predecessors and contemporaries
such as Handel and Haydn. Mozart’s place in 18th-century society — his
relationships with employers, contemporary musicians and works, family, friends,
and the Masonic movement — will be examined as a context for the study of his
music. No musical background is required. 1 unit – M. Grace.
220–The Gothic
Age in Art and Music. The
relationships among the visual arts, music and intellectual life in Western
Europe during the Middle Ages. The formation of Romanesque art and Gregorian
chant. The development of the Gothic cathedral and French polyphonic music in
the 12th- and 13th-centuries. Italian, French, and English secular innovations
in the late medieval period. (Also listed as Art History 220.) (Not offered
1999–2000.) 1 unit – Agee, Kolarik.
221, 222–Topics
in Ethnomusicology. Special
topics in ethnomusicology, approached through emphasis on a particular musical
area, theoretical issue, genre or repertory, compositional technique, or
instrument. The course is devoted to non-western musical cultures. (Also listed
as Anthropology 221,222.) (Meets the Alternative Perspectives: B requirement.) 1
unit – Department.
224–Jewish
Music.
This interdisciplinary course traces the many musical traditions of the Jewish
world communities in a journey from the ancient Temple singing in biblical times
to the music of individuals such as George Gershwin and Leonard Bernstein.
Included will be a comparative study of the three major religions of the Western
world exploring their respective voices and musical interaction. Sociology,
literature, religion, and history, as well as issues of ethnicity, cultural
unity and self expression will be engaged in this multicultural search for
musical identity. Also listed as Religion 224. 1 unit – Ben-Amots.
225–Wagner’s
“Ring.”
An exploration of the romantic operas, the music-dramas, and the aesthetic
principles of Richard Wagner, with special emphasis on The Ring of the Nibelung. Excellent production of the Ring
music-dramas (The Rhine Gold, The Valkyrie,
Siegfried, Twilight of the Gods) will be viewed on videotape and laserdisc. (January
half-block.) (Not offered 1999–2000.) 1/2 unit – Agee.
226–Music at
the Computer. This
course will introduce the incredible new opportunities of the digital sound in
all three categories of composition, performance, and listening. In the Music
Department’s computer music lab we will explore a range of possibilities that
combine music, multimedia, computers and the Internet. Students will be able to
experiment with sound and composition, create their own World Wide Web Site and
participate in an exciting class project. An atmosphere of experimentation and
discovery will allow students to create, print, playback and record music. (No
credit if taken after 200 taught in the Summer Session.) (January half-block.) Prerequisite:
consent of instructor. 1/2 unit – Ben-Amots.
227,
228–Topics in Music. Particular
aspects in music, approached through emphasis on a form, period, composer(s),
area or medium.
Block 1–8.
Cornerstone Arts Seminar in Music.
Facilitates the unique opportunity for students to experiment and create
original music in direct collaboration with dance and visual arts students while
developing their own musical language. As part of the course we will study and
analyze 20th
century compositional masterpieces of a cross-disciplinary nature. This extended
format course will meet regularly 2–3 times a block. It will include an
ongoing performance/ rehearsal experimentation and will conclude with a major
end-of-the year concert. Extended format, fall-spring semesters. No
prerequisites. 1 unit. Ben-Amots.
Block 8.
We’ve Got Rhythm. Study of rhythm for musicians from all
backgrounds. Emphasis on learning and polishing rhythmic performance skills,
from basic concepts of pulse and meter through complex additive and polyrhythmic
processes. Rhythmic analysis of music from various world traditions. Music
reading ability not required. No prerequisite. 1 unit – Scott.
229–The
Operas of Verdi. An
introduction to the great dramatic stage works of Giuseppe Verdi (1813–1901).
This course will begin with an examination of the classical italianate operatic
line as seen in the masterworks of Mozart, Rossini, Donizetti, and Bellini. Out
of this tradition Verdi formed his first great success, Nabucco, and he subsequently transformed the genre with his great
“Romantic trilogy”, Rigoletto, Il
trovatore, and La traviata. Verdi’s
later experiments and his final creations, Aïda,
Otello, and Falstaff eventually
moved beyond Romanticism into a post-Romantic sensibility. All of these works
will be viewed in productions on videotape and laserdisc. (January half-block.) 1/2 unit – Agee.
230–Women
in Music. Women
as composers, performers, teachers, conductors, and patrons of music from the
medieval period to the present. Contribution of women to American music. The
changing role of women in musical life and culture. (Meets the Alternative
Perspectives: B requirement.) (Also listed as Women’s Studies 230.) (Not
offered 1999–2000.) 1 unit – Department.
290–American
Indian Music. Explores
American Indian history, culture, society, religion, ritual, aesthetic
expression, and contemporary issues through the domain of music. Develops
ability to identify, describe, and analyze various American Indian music;
considers diverse styles and performance contexts. Addresses traditional as well
as new music. (Also listed as Anthropology 290.) (Meets the Alternative
Perspectives: B requirement.) 1 unit – Levine.
291–Southwest
American Indian Music. Music
and culture of Southwest American Indians, with emphasis on Pueblo and
Athabascan peoples. Considers origin narratives, cosmology, ritual drama, dance,
and other aesthetic modes as related to Southwest Indian musical performance.
Addresses traditional as well as new music. (Also listed as Anthropology 291.)
(Meets the Alternative Perspectives: B requirement.) (Not offered 1999–2000.)
1 unit – Levine.
294–Latino
Musics of the United States. Explores
the role of music in the expression of ethnicity and ethnic identity among
Latino peoples of the United States. Various musical styles and genres performed
by New Mexicans, Texas-Mexicans, Native Americans, Puerto Rican Americans, and
Cuban Americans are considered. Traditional and popular Latino musics are
examined within their cultural and historical contexts. (Also listed as
American-Ethnic Studies 294 and Anthropology 294.) (Meets the Alternative
Perspectives: B requirement.) (Not offered 1999–2000.)1 unit – Levine.
295–Indonesian
Music. Surveys
Indonesian history, culture, society, religion, and aesthetic values through
music. Students become familiar with a variety of Indonesian musical
repertories, styles, and performance contexts, including court traditions of
Java, Sunda, and Bali and village traditions throughout the Indonesian
archipelago. Traditional as well as new music are discussed. (Also listed as
Anthropology 295 and Asian Studies 295.) (Meets the Alternative Perspectives: B
requirement.) 1 unit – Gold, Lasmawan.
301–Composition.
Practical
guidance in the composition of original music, with reference to 20th century
music theory and compositional methods. Students will be able to concentrate on
both the creative and the analytical aspects of contemporary composition.
Prerequisite: consent of Instructor. 1 unit – Ben-Amots.
315–Music
History I. Music
of the Ancient World, Middle Ages, Renaissance, and Baroque. Forms, techniques,
media, and aesthetic elements as fundamentals of style. An examination of music
and music theory from classical antiquity through the middle of the
18th-century, including the diffusion of early Christian chant, the rise of
mainstream sacred polyphony in Paris during the twelfth and thirteenth
centuries, the spread of sacred and secular forms during the late Middle Ages,
the influence of English style on the French-Flemish composers who would
dominate sacred musical style in the fifteenth and early sixteenth centuries,
the appearance of important Italian composers in the late Renaissance, the
national manifestations of Renaissance and early Baroque secular forms, and the
international High Baroque style of Vivaldi, Bach, Handel, and Rameau. Prerequisite:
Some musical experience as a performer, with knowledge of scales, intervals,
and fundamentals of music, and consent of instructor. (Meets the Alternative
Perspective: A requirement when taken in combination with 316 in the same
academic year.) 1 unit – Agee.
316–Music
History II. Music
of the Classical and Romantic periods, and the 20th-century until 1945. Forms,
techniques, media, and aesthetic elements as foundations of style. Music of the
Classical era concentrating on the works of Haydn, Mozart, and Beethoven,
studied in the context of the age of Enlightenment and the freedom of the
composer from patronage systems. The emergence of a romantic ideal in
19th-century music with special focus on Schubert, Schumann, Chopin, Liszt,
Berlioz, Brahms, Verdi, Wagner, nationalistic composers in Russia, and Mahler.
The languages of 20th-century music as a part of rapid cultural change including
the music of Debussy, Stravinsky, Schonberg, Webern, Berg, and Bartok. Prerequisite: Some musical experience as a performer, with
knowledge of scales, intervals, and fundamentals of music, and consent of
instructor. (Meets the Alternative Perspectives: A requirement when taken in
combination with 315 in the same academic year.) 1 unit – M. Grace.
(Note:
Music History I and II do not have to be taken in sequence and credit is given
for each course completed.)
325–Conducting
(Instrumental). Conducting
techniques and rehearsal preparation from the standpoint of the practical
musician. Some experience in conducting of school ensembles and preparation of
material for performance. Prerequisite:
consent of instructor. (Not offered. 1999–2000.) 1 unit – Department.
325–Conducting
(Choral). Basic
conducting and rehearsal techniques; interpretation in light of performance
practices of various historical periods. Some outside reading required. Taught
as an extended format course and must be taken for a full year. Prerequisite:
consent of Instructor. 1 unit – Department
342–Music
Education in the Elementary Grades. Basic
principles. Aims, activities, practices, materials in the first six grades.
Regular observation included. Prerequisite:
consent of instructor. Taught as an extended format course and must be taken for
a full year. (Also listed as Education 342.) 1 unit – Anderson.
391–Theory
I: Introduction to Counterpoint. Fundamentals
of counterpoint, with emphasis on two-part species; ear-training and
sight-singing and basic keyword work. Prerequisite:
199 or consent of Instructor. 1 unit – Agee.
392–Theory
II: Introduction to Diatonic Harmony. Approaches
to traditional harmonic practice and the music of the Common-Practice Period;
keyboard harmony, ear-training and sight-singing. Prerequisite: 391. 1 unit – Ben-Amots.
393–
Comparative Music Theory. Explores
musical thought and process in non-western cultures, with emphasis on Native
North America, Indonesia, and India; traditional notation and sight-singing
systems, ear-training, melodic and rhythmic dictation, formal analysis. Prerequisite:
392. (Meets the Alternative Perspectives: B requirement.) 1 unit – Levine.
399–Experimental
Music. Study
and practical work in the “American Experimental Tradition” of Ives, Cowell,
Cage, Partch and Young, and their international contemporaries and disciples.
Primary focus on the development of new acoustic sound sources, including
extended instrumental and vocal techniques, instrument design and building. Some
attention also to compositional and performance issues. Prerequisite:
150 or 391. 1 unit – Scott.
401,
402–Readings. Specialized
concentration in fields appropriate to the needs of the individual student,
under the direction of the music faculty. May be taken by non-music majors. Prerequisite:
consent of Instructor. (May meet the Alternative Perspectives: B requirement.) 1
unit – Department.
411–Theory
III: Advanced Diatonic Harmony. Expanded
harmonic practice and introduction to the elements of formal analysis; keyboard
harmony, ear-training and sight-singing. Prerequisite:
392. 1 unit – Agee.
412–Theory
IV: Chromatic Harmony. Harmonic
practices of the late 19th-century; elementary instrumentation and
score-reading; keyboard harmony, ear-training, and sight-singing. Prerequisite:
411. 1 unit – Ben-Amots.
425–Orchestration
A study of the ranges, capabilities and characteristics of orchestra
instruments. An examination of orchestration techniques with emphasis on the
historical development of the orchestra. Prerequisite:
301 or 412. 1 unit – Ben-Amots.
428–Formal
Analysis.
Detailed investigation of formal models employed in tonal music such as fugue,
simple part forms, and sonata form. Concepts of form in 20th-century music. Prerequisite:
412. (Not offered 1999–2000.) 1 unit – Ben-Amots.
430–Composition.
Practical
guidance in the composition of original music, with reference to 20th-century
compositional procedures. Prerequisite:
consent of Instructor. May be taken more than once for credit. (Not offered
1999–2000.) 1 unit – Ben-Amots.
435–Senior
Project. Advanced
work on the senior project in music, such as a written thesis, a senior recital,
or a major composition. This course may be taken by any music major of senior
standing with the consent of the department. Only seniors who have completed the
senior project will be considered for departmental honors upon graduation
(overall performance in course work and the quality of the senior project will
be used to determine honors status). Prerequisite: consent of
department. 1 block unit or 1 unit as
extended format – Department.