MUS 134 Fundamentals of Music II

Professor: Kyle Gann

CRN: 12403

Time: Tu Fri 1:20 pm - 2:40 pm Blum 117

Continuation of Fundamentals I; introduction to harmony, various seventh chords, secondary dominants, basics of modulation, four-part writing and voice-leading. End result: ability to write a hymn, song, or brief movement of tonal music. Fundamentals I or equivalent (knowledge of scales and keys) is a prerequisite.

MUS 172 Jazz Harmony II

Professor: Thurman Barker

CRN: 12404

Time: Mon 10:30 am - 12:30 pm Blum 117

This is a continuation in Jazz Harmony, that will help to identify and understand chords and chord progressions that are most commonly used in Jazz.

MUS 212 Jazz in Literature II

Professor: Thurman Barker

CRN: 12405

Time: Th 10:30 am - 12:30 pm Blum Hall

This is a continuation course in Jazz in Literature designed for music lovers and readers of literature. This study group 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.

MUS 216 The Arithmetic of Listening

Professor: Kyle Gann

CRN: 12406

Time: Tu Th 10:30 am - 11:50 am Blum 117

An introduction to the overtone series and the history of tuning. Learn how tuning shapes the course of a culture's music; trace the parallel development of music and the number series back 2500 years to the teachings of Pythagoras; hear how Bach's and Beethoven's music sounded in its original tunings; learn how to discriminate the pitch subtleties that differentiate Indian music, Balinese music, and even the blues from our conventional European tuning; discover the possible uses of music in meditation; most importantly, sensitize yourself to aspects of listenings that we 20th century Westerners have been trained to filter out. Learn to hear what is actually there, not just what you think is there! Final project in this class may take the form of a tuning-based analysis of either European (pre-20th century) or world music; design and/or construction of a musical instrument; or a performance of original work involving alternate tunings. Basic ability to read music is strongly recommended for this course, though it may be compensated for by a background in mathematics or acoustics.

MUS 224 Principalities I: Music and Arts in a Renaissance

Professor: Frederick Hammond

CRN: 12407

Time: Th 10:30 am - 12:30 pm OLIN 104

Cross-listed: Italian Studies
"Principalities" is to be offered as a succession of seminars, each focussed on a Renaissance principality--Mantua, Ferrara, Urbino, and perhaps others--to consider its music, drama, literature, painting, sculpture, decorative arts, and architecture, as well as its political, economic, and social organization. Machiavelli's The Prince and Castiglione's The Courtier will be read in each semester in order to establish a base for discussion. Other readings will be specific to the principality.

MUS 227 World Music: Past, Present & Future

Professor: Richard Teitelbaum

CRN: 12408

Time: Wed 1:30 pm - 4:00 pm Blum 117

Almost a century has passed since Henry Cowell first began to explore non-Western musics, employ the fruits of those studies in his compositions, and teach them to others through his pathbreaking "Music of the World's Peoples" courses. Since then, "world music" has been transformed from a rare and exotic area of study to the mainstream of today's multicultural musical life. Composers as diverse as Cage, Stockhausen and Xenakis; La Monte Young, Terry Riley, Steve Reich and Phil Glass; John Coltrane, David Byrne, Toru Takemitsu, Yuji Takahashi, Lois Vierk and John Zorn have absorbed non-western musical sources through extensive studies and collaborations, and produced a body of work that makes multicultural music one of the principal directions of music today. This course will examine the traditional musics that influenced these and other composers, principally from both the ancient and contemporary cultures of Indonesia, India, Japan, Korea, China, the Middle East and Africa, and explore their compositional transformations in the hands of recent and current composers from Cowell to the present and beyond. In addition to extensive listening and reading assignments, students will be encouraged to attend live events in the New York City area, and to experiment with multicultural creative projects of their own devising.

MUS 255 Analysis of the Classics of Modernism

Professor: Kyle Gann

CRN: 12126

Time: Wed 1:20 pm - 2:40 pm OLIN 104
Fri 10:30 am - 11:50 am OLIN 104

The half-century from 1910 to 1960 saw an explosion of dissonance, complexity, and apparent musical chaos. And yet, beneath the surface it was also an era of unprecedented intricacy of structure and musical systematization. The liberation of dissonance and dissolution of melody left composers insecure, and they often compensated by creating systems of tremendous rigor not always apparent to the listener. This course will analyze in depth several works that changed the way we think about composing, and which pioneered the growth of an atonal musical language. Explore the cinematographic intercutting of Stravinsky's Le Sacre du Printemps; the ironic Bach appropriations of Ives's Three Places in new England; the elegant mathematical proportioning of Bartok's Music for Strings, Percussion, and Celeste; the delicate symmetries of Webern's Symphonie Op. 21; the total organization of Stockhausen's Gruppen; and the compelling multi tempo climaxes of Nancarrow's Study No. 36. Intended for music majors, but other strongly motivated students are welcome. Prerequisite: Fundamentals of Music or the equivalent (ability to analyze tonal harmony).

MUS 308 Music of Johann Sebastian Bach

Professor: Frederick Hammond

CRN: 12409

Time: Tu 1:30 pm - 3:30 pm OLIN 104

An examination of the life and work of J.S. Bach in its historical and musical context. The course is intended for music majors. We will consider the performance practice of Baroque music, and students are encouraged to participate in classroom performance.

MUS 331 Jazz: The Freedom Principle I

Professor: Thurman Barker

CRN: 12410

Time: Mon 1:30 pm - 3:00 pm Blum 117
Wed 1:30 pm - 3:00 pm Blum Hall

Cross-listed: American Studies, MES
A jazz study of the cross-pollination between Post-Bop in the late fifties and Free Jazz. The 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, films, and videos.