HIST-WEST MUS: MID AGE-BAROQUE
Prerequisites: MUSI UN2318 - MUSI UN2319. May be taken before or concurrently with this course. Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Giuseppe Gerbino
CULPA: 12
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- 3 points
ADVANCED COMPOSITION I
Composition in more extended forms. Study of advanced techniques of contemporary composition. Readings of student works.
- MW 10:10 a.m.-11:25 a.m.
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Instructor:
Finola Merivale
Info - 3 points
EAR-TRAINING III
Sight-singing techniques of modulating diatonic melodies in simple, compound, or irregular meters that involve complex rhythmic patterns. Emphasis is placed on four-part harmonic dictation of modulating phrases.
- MW 12:10 p.m.-1 p.m.
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Instructor:
Peter M Susser
CULPA: 20
Info
- 1 points
EAR-TRAINING IV
Techniques of musicianship at the intermediate level, stressing the importance of musical nuances in sight-singing. Emphasis is placed on chromatically inflected four-part harmonic dictation.
- TR 12:10 p.m.-1 p.m.
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Instructor:
Peter M Susser
CULPA: 20
Info
- 1 points
MUSICS OF INDIA & WEST ASIA
A topical approach to the concepts and practices of music in relation to other arts in the development of Asian civilizations.
- MW 6:10 p.m.-7:25 p.m.
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Instructor:
Daniel Ferguson
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Instructor:
Noah D Rosen
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Instructor:
George H Murer
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Instructor:
Hicham Chami
CULPA: 2 Info - 3 points
MUSIC THEORY III
Intermediate analysis and composition in a variety of tonal idioms. A one-hour weekly lab is required, to be scheduled at the beginning of the term. Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Joseph P Dubiel
CULPA: 3 Info - 3 points
MUSIC THEORY IV
Intermediate analysis and composition in a variety of tonal and extended tonal idioms. A one-hour weekly lab is required, to be scheduled at the beginning of the term. Course to be taken in conjunction with the Ear-Training sequence, up through Ear-Training IV.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Cheng W Lim
Info - 3 points
TOPICS IN MUSIC & SOCIETY
This course seeks to approach the study of music and society by comparatively studying repertories from different parts of the world, how the history of ideas and methods of studying such repertoires shaped them, the practices that constitute them and the ways they are understood and used by different peoples. Central to this course is the interrelationship between the constitution of a repertoire and the history of the construction of knowledge about it.
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
Ruth Opara
Info - 3 points
HONORS RESEARCH
Prerequisites: a formal proposal to be submitted and approved prior to registration; see the director of undergraduate studies for details. A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Zosha Di Castri
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Instructor:
Julia Doe
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Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Kevin Fellezs
CULPA: 4
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Instructor:
Aaron A Fox
CULPA: 7
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Instructor:
Bradford G Garton
CULPA: 14
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Instructor:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
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Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
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Instructor:
Magdalena Baczewska
CULPA: 4
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Instructor:
Peter M Susser
CULPA: 20
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Instructor:
Christopher J Washburne
CULPA: 31
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Instructor:
Knar Abrahamyan
Info - 2-3 points
SUPERVISED INDEPENDENT STUDY
Prerequisites: approval prior to registration; see the director of undergraduate studies for details. A creative/scholarly project conducted under faculty supervision.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Zosha Di Castri
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Instructor:
Julia Doe
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Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Aaron A Fox
CULPA: 7
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Instructor:
Kevin Fellezs
CULPA: 4
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Instructor:
Bradford G Garton
CULPA: 14
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Instructor:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
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Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Magdalena Baczewska
CULPA: 4
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Instructor:
Peter M Susser
CULPA: 20
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Instructor:
Christopher J Washburne
CULPA: 31
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Instructor:
Knar Abrahamyan
Info - 2-3 points
MEDIEVAL MUSIC DRAMA
In this seminar we will study examples of music drama from the tenth century to the fourteenth, taking into account both the
manuscript sources and methodological questions raised by performative works at the intersection of literature, music, and ritual.
- F 1 p.m.-3 p.m.
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Instructor:
Susan Boynton
CULPA: 18 Info - 3 points
ANALYSIS OF TONAL MUSIC
Detailed analysis of selected tonal compositions. This course, for advanced undergraduates and beginning graduates, is intended to develop understanding of tonal compositions and of theoretical concepts that apply to them, through study of specific works in various forms and styles.
- W 2:10 p.m.-4 p.m.
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Instructor:
Joseph P Dubiel
CULPA: 3 Info - 3 points
Topics in Sound Studies
Sound studies is a burgeoning interdisciplinary field that explores the question of how does listening to sound, beyond having a phone conversation or listening to your favorite tunes, influence culture, knowledge, and society by initiating dialogues across musicology, philosophy, cultural studies, disability studies, race and gender studies, and science and technology studies. In this course, students will examine three interrelated debates within the field: 1. the role of sound in understanding and uncovering historical and cultural knowledge; 2. the function of sound in the invention of media and technologies that have transformed listening culture; 3. the capacity of sound to shape social perceptions of race and gender. Reading texts that have revolutionized the way we think about sound, students will learn how sound and listening participated in historical and contemporary meaning-making.
- M 2:10 p.m.-4 p.m.
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Instructor:
Knar Abrahamyan
Info - 3 points
JAZZ TRANSCRIPTION & ANALYSIS
Prerequisites: the instructors permission. A progressive course in transcribing, proceeding from single lines to full scale sections and ensembles. Stylistic analysis based on new and previously published transcriptions.
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Ole Mathisen
Wikipedia Info - 3 points
INSTRUMENTATION
Prerequisites: extensive musical background. Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as 20th century instrumentation and its advancement. Additional sessions with live orchestral demonstrations are included as part of the course.
- TR 1:10 p.m.-2:25 p.m.
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Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
- 3 points
RECORDED SOUND
Prerequisites: The instructors permission. As music moves into the 21st century, we find ourselves surrounded by an ever-evolving landscape of technological capability. The world of music, and the music industry itself, is changing rapidly, and with that change comes the opening – and closing – of doorways of possibility. What does this shift mean for today’s practicing artist or composer? With big label recording studios signing and nurturing fewer and fewer artists, it seems certain that, today, musicians who want to record and distribute their music need to be able to do much of the recording and production work on their own. But where does one go to learn how to do this – to learn not only the “how to” part of music production, but the historical underpinnings and the development of the music production industry as well? How does one develop a comprehensive framework within which they can place their own artistic efforts? How does one learn to understand what they hear, re-create what they like and develop their own style? This class, “Recorded Sound,” aims to be the answer. It’s goal is to teach artists how to listen critically to music from across history and genres in order to identify the production techniques that they hear, and reproduce those elements using modern technology so they can be incorporated into the artist’s own musical works.
- M 1:10 p.m.-4 p.m.
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Instructor:
David Adamcyk
CULPA: 1 Info - 3 points
SUPERVISED INDEPENDENT STUDY
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Anna Meadors
Info - 1-3 points
PROSEMINAR-HISTORICL MUSICOLGY
Introduction to Historical Musicology: the history of the discipline, major areas of research, source materials, and methodological problems.
- T 2:10 p.m.-4 p.m.
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
- 3 points
Practicum in Music Composition
This course provides an opportunity for students in the Music Department’s Composition DMA program to engage in off-campus practicum or internships in music composition for academic credit that will count towards the requirements for the degree.
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Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
- 1 points
MUSIC SINCE 1900
Prerequisites: the instructor's permission. Investigation and analysis of styles and techniques of music since 1900, carried out in part through individual projects. (Prior to Spring 2008, the course was titled 20-Century Styles and Techniques.)
- R 10:10 a.m.-noon
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Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
- 3 points
PROSEMINAR-ETHNOMUSICOLOGY I
Introduction to Ethnomusicology: the history of the discipline and the evolution of theories and methods. G6412, Proseminar in Ethnomusicology II: Contemporary Ethnography is offered Fall 2012.
- R 4:10 p.m.-6 p.m.
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Instructor:
Alessandra M Ciucci
CULPA: 1 Info - 3 points
INTERACTIVE SOUND & VIDEO
Prerequisites: the instructors permission. In this year-long sequence students gain familiarity with the materials used in electroacoustic music and the techniques and equipment that are employed to transform and organize these materials into compositions. Individual projects are assigned.
- M 4:10 p.m.-6 p.m.
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Instructor:
Seth Cluett
h-index: 4 Info - 3 points
SOUND: ADVANCED TOPICS I
This class explores advanced topics relating to the production of music by computer. Although programming experience is not a prerequisite, various programming techniques are enlisted to investigate interface design, algorithmic composition, computer analysis and processing of digital audio, and the use of computer music in contexts such as VR/AR applications. Check with the instructor for the particular focus of the class in an upcoming semester. Some familiarity with computer music hardware/software is expected. Permission of instructor is required to enroll.
- W 6:10 p.m.-8 p.m.
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Instructor:
Bradford G Garton
CULPA: 14
Info
- 3 points
INDIV PROJECTS IN MUSICOLOGY
INDIV PROJECT IN MUSICOLOGY
Sec. 1: Ethnomusicology; Sec. 2: Historical Musicology; Sec. 3: Music Theory; Sec. 4: Music Cognition; Sec. 5: Music Philosophy.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Julia Doe
Info -
Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Giuseppe Gerbino
CULPA: 12
Info
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Instructor:
Knar Abrahamyan
Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Christopher J Washburne
CULPA: 31
Info
- 3 points
SEM IN MUSIC COMPOSITION I
Individual projects in composition.
- W 3:10 p.m.-5 p.m.
- 3 points
Music Beyond 12 Tone Temperament II
This class is intended for students to develop composing skills for creating music “between the keys” (or “outside the keys”) of a traditionally tuned piano or organ. We will be analyzing relevant works and techniques of the present and of the past. Students compose and perform/present their own music influenced by these works and techniques. We will start with “just intonation” and with music independent from Western traditions. Students are free to enroll for “Music beyond 12 tone temperament II” before “Music beyond 12 tone temperament I”. Knowledge of the harmonic row’s intonation, at least until the 17th partial, is mandatory.
- T 4:10 p.m.-6 p.m.
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Instructor:
Georg Friedrich Haas
Info - 3 points
SEM-ETHNOMUSICLGY:FLD MTHDS I
- T 12:10 p.m.-2 p.m.
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Instructor:
Kevin Fellezs
CULPA: 4
Info
- 3 points
Dissertation Proposal Seminar I
Individual work with an adviser to develop a topic and proposal for the Ph.D. dissertation.
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Instructor:
Susan Boynton
CULPA: 18 Info -
Instructor:
Alessandra M Ciucci
CULPA: 1 Info -
Instructor:
Julia Doe
Info -
Instructor:
Joseph P Dubiel
CULPA: 3 Info -
Instructor:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Giuseppe Gerbino
CULPA: 12
Info
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Instructor:
Knar Abrahamyan
Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
George Lewis
CULPA: 10
Wikipedia
h-index: 18
Info
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Christopher J Washburne
CULPA: 31
Info
- 3 points