Professor: L. Garcia-Renart
CRN: 92516
Distribution: F
Time: Tu F 1:30 pm - 3:00 pm BLM 117
Exploring the elements of music-making through analysis, compositions, and performance.
Professor: T. Barker
CRN: 92517
Distribution: F
Time: M 10:30 am - 12:30 pm BLM 117
An introductory course in Jazz Harmony that will help to identify and understand chords and chord progressions that are most commonly used in Jazz.
Professor: F. Hammond
CRN: 92518
Distribution: A/D
Time: Tu 1:30 pm - 3:30 pm OLIN 104
Cross-listed: Italian Studies
Study of
four
operas include: Cosi fan tutte, Falstaff, Gianni Schicchi and Barber of Seville. We read carefully
the
four libretti and view video versions of these operas. Frequent oral and written assignments. For
intermediate or advanced students, or consent of the instructor.
Professor: T. Barker
CRN: 92519
Distribution: B
Time: Th 10:30 am - 12:30 pm BLM 117
Cross-listed: MES
Cross-listed:
MES
This course is designed for music lovers and readers of literature. We will explore literary texts
(short stories, novels, plays) that have a jazz theme, with the goal of scrutinizing the synergy of
two great American art forms--literature and jazz--in the 20th century. Our reading list will
include James Baldwin, Langston Hughes, Ann Petry, Toni Morrison, Maya Angelou, Donald
Bathelme, Ralph Ellison and others. Two papers will be expected as well as participation in class
discussion.
Professor: Kyle Gann
CRN: 92671
Distribution: A/C
Time: M W 1:20 pm - 2:40 pm OLIN 104
One figure still stands out as the archetypal composer: Ludwig Van Beethoven, who represents not only the end of the great contrapuntal tradition, but also the beginning of the modern era, the era of music as commercially valuable entertainment. As such, his music epitomizes issues of populism versus elitism that we still argue about today. This course will examine Beethoven's life, his world, and especially his music: the inheritance of high Viennese classicism in his early period; the populist myth of the hero embodied in his French-revolution-inspired middle period; and the turn away from subjectivity toward transcendence in the unparalleled works of his late period. The course is open to both music majors and non-majors.
Professor: Kyle Gann
CRN: 92817
Distribution: A/C
Time: Tu 10:30 am - 11:50 am Blum 117
Th 10:30 am - 11:50 am Blum Hall
The ancient musical technique of counterpoint seems of questionable relevance today. And yet, its premise - that human attention is riveted when a unified impression is created via maximum variety - is a fertile psychological principle relevant to many fields. Overall, this course will follow classical species counterpoint as outlined by the eminent Knud Jeppesen, based on the style of Palestrina. However, we will also examine the freer styles of earlier composers such as Josquin and Ockeghem, and generalize from contrapuntal concepts to such derivatives as the dissonant counterpoint of Charles Seeger and others. Basic knowledge of musical terminology (intervals, cadences) is a prerequisite.
Professor: Kyle Gann
CRN: 92815
Distribution: A/C
Time: M 3:30 pm - 4:50 pm Blum Hall
W 10:30 am - 11:50 am Blum Hall
Sonata form is so distant from today's musical aesthetics that we have to approach it as ethnomusicologists, enquiring into the mind of a foreign culture. And yet, it was also the basis of the most successfully entertaining body of instrumental music ever made, and may hold secrets we can still benefit from. This course will examine sonata forms from Scarlatti through Schubert - revealing, meanwhile, the nature of European musical logic, and offering a critical examination of European concepts of musical continuity. The primary aim will be to compose movements in sonata form, to try to get inside the mind of the classical-era composer. The course is basically an approach to second-year music theory, and is open to those who have had first-year theory or the equivalent.
Professor: R. Teitelbaum
CRN: 92520
Distribution: F
Time: Tu 3:30 pm - 5:30 pm BLM HALL
Cross-listed: Integrated Arts
Beginning
with the radical innovations of such revolutionary figures as Charles Ives, Henry Cowell and
Edgar
Varese early in the twentieth century, the experimental music tradition in the United States and
elsewhere will be examined. In addition to studying the body of work this tradition has produced,
as
well as discussing its aesthetic and philosophic underpinnings, students will be encouraged to
actively
realize and perform works by the composers and artists studied. Examples of some possible
performance projects: Ives' quartertone pieces, Cowell's piano music, graphic scores by Feldman.
Brown and Cardew, chance and intermediate scores of Cage, live electronic pieces by Tudor,
Lucier
or Behrman; realization of a Nancarrow player piano score on Disklavier, event pieces by Fluxus,
Paik and Kusogi, meditations piece by Oliveros, phase pieces of Steve Reich, notated and text
pieces
by Rzewski, game pieces by Wolff and Zorn, etc. This course is intended to provide a prefatory
foundation for Electronic Music Workshop. Course open to First-Year students who have some
background in the subject.
Professor: F. Hammond
CRN: 92521
Distribution: A
Time: Th 10:30 am - 12:30 pm OLIN 104
This course will attempt to present a better-balanced picture of twentieth-century music be examining more than the Sacred Monsters, Stravinsky and the Second Viennese School. Time and stamina permitting, we will also listen to music of the German craftsmen, the Nationalists, Les deux and Les Six, the post- and post-post- Romantics, electronic and aleatorial music, performance art, American music, and the Bard School. Guest lecturers will supply some of the inadequacies of the instructor. For music majors or with the consent of the instructor.
Professor: T. Barker
CRN: 92522
Distribution: F
Time: M 1:30 pm - 3:00 pm BLM 117 W 1:30 pm - 3:00 pm BLM HALL
Cross-listed: American Studies,
MES
This
is a continuation of the spring course. This course, which employs a cultural approach, is also
designed to look at the social climate surrounding the music to examine its effects on the music
from
1958 to the mid-sixties. Emphasis will be on artists and composers such as Cecil Taylor, Ornette
Coleman, Art Blakey, Thelonious Monk, John Coltrane, Miles Davis Max Roach, Eric Dolphy,
Charles Mingus, and Horace Silver. Illustrated with recordings, film and videos.
Professor: L. Botstein/M. Mandarano
CRN: 92670
Distribution: A/C
Time: M 9:30 am - 12:00 pm OLIN 104
This course will explore a number of orchestral works that have been chosen because they are being performed by the American Chamber Symphony Orchestra. The purpose of the course is to introduce students to the skills of score reading, analysis, and interpretation. In addition to the regular class sessions, students will be expected to attend rehearsals and performances. The works to be included and the dates of rehearsals and concerts will be announced at a later date. Registration for the course is limited, and permission of the instructor is required. Although this course is designed primarily for music majors, it is also for non-majors with a serious intent.