MUSIC

376.111

RUDIMENTS OF MUSIC THEORY AND MUSICIANSHIP (3) (2) Osowski/Hardaway Limit 15  per section   This course introduces written and aural music fundamentals including notation, scales, intervals, chords, rhythm, meter and sight-singing. Composition of melodies and short pieces as well as listening projects will be undertaken. 
Course does not count towards the completion of the minor

Sec. 01

02

MTW 10

MTW 11

376.211

MUSIC THEORY AND MUSICIANSHIP I (3) Kang Hardaway Prereq: Qualifying examination or Rudiments of Music Theory and Musicianship.   Limit 15 Introduction to basic principles of tonal music through listening, analysis and music making.  Students study melody, harmony, voice leading, figured bass and dissonance treatment, and will also undertake short composition projects.  Sec.02 added 12/16/05

Sec. 01

02

MTW 12

MTW 12

376.212

MUSIC THEORY AND MUSICIANSHIP II (3) Osowski Prereq: Music Theory and Musicianship I. Limit 15   This course continues the written and aural work of the previous course but focuses on chromatic harmony while continuing the study of melody, counterpoint and figured bass. 

Sec. 01

MTW 11

376.213

MUSIC THEORY AND MUSICIANSHIP III (3) Osowski Prereq: Music Theory & Musicianship II. Limit 15     Continuation of written and aural work of the previous two semesters. Projects in four-voice writing from figured bass and counterpoint in two and three voices are completed, using as models a variety of styles and composers. Students study simple binary, rounded binary and ternary forms, and compose a short work in a tonal idiom. 

Sec. 01

MTW 12

376.242 (H)

INTRODUCTION TO POPULAR MUSIC  (3) Katz   Limit 20 per section A survey of the stylistic features and social contexts of American popular music since the 1950s. Secs. 05 & 06 added 12/16/05

Lec.

Sec. 01

02

03

04

05

06

MT 3

W 3

W 4

Th 3

Th 4

W 3

W 4

376.502

INDEPENDENT STUDY Course added 12/15/05

TBA

090.350 (H)

IN SEARCH OF THE ABSOLUTE (3) Celenza Limit 15   During the Enlightenment, instrumental music was generally described as a “pleasant noise” below language.  In the 19th century, the romantic metaphysics of art declared it a communicative force above language.  Perceptions of Beethoven had much to do with this shift in aesthetic paradigm.  This course explores the changing image of Beethoven in the 19th and 20th centuries and in so doing traces the genesis of “absolute music” as presented in the works of writers and philosophers from Friedrich Schlegel and E.T.A. Hoffmann to Theodor Adorno and Carl Dahlhaus.  English with reading section in German.

Cross-listed with German

Sec. 01

F 1-3

Plus discussion hour TBA