INTRODUCTION TO DIGITAL MUSIC
An introduction to the potential of digital sound synthesis and signal processing. Teaches proficiency in elementary and advanced digital audio techniques. This course aims to challenge some of the tacet assumptions about music that are built into the design of various user interfaces and hardware and fosters a creative approach to using digital audio workstation software and equipment. Permission of Instructor required to enroll. Music Majors have priority for enrollment.
- TR 1:10 p.m.-2:25 p.m.
- MW 11:40 a.m.-12:55 p.m.
- F 1:10 p.m.-4 p.m.
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Instructor:
Anna Meadors
Info - 3 points
History and Practice of Electronic Music
History & Practice of Ele
This course will provide a critical survey of the development of electronic and computer music and sound from around the globe. From early experiments and precursors in the late 19th century through to modern-day experimental and popular music practices, this course aims to trace the development of technologies used in the production of electronic and computer derived sound and music alongside the economic, cultural, and social forces that contribute to the development of audiences. The course will focus intently on listening through a series of curated playlists in an effort to unpack style and genre distinctions. Readings and listening examples will be paired with small, hands-on assignments, that demonstrate the effect of music making tools on the process and structure of musical genres and styles ranging from the experimental practices of musique concrete, drone, and harsh noise to the mainstream practices of dub, techno, vaporwave, hyperpop, and hip hop and more.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Seth Cluett
h-index: 4 Info - 3 points
EAR-TRAINING I
Designed to improve the students basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation.
- TR 12:10 p.m.-1 p.m.
- MW 12:10 p.m.-1 p.m.
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Instructor:
Mary Asti
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Instructor:
Ramin Amir Arjomand
CULPA: 8
Info
- 1 points
EAR-TRAINING II
Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation.
- TR 12:10 p.m.-1 p.m.
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Instructor:
Michael Joviala
Info - 1 points
MUSIC THEORY I
Elementary analysis and composition in a variety of modal and 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:
Peter M Susser
CULPA: 20
Info
- 3 points
MUSIC THEORY II
Elementary 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.
- MW 1:10 p.m.-2:25 p.m.
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Instructor:
Cheng W Lim
Info - 3 points
SCHUBERT'S ROMANTIC CYCLES
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- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
- 3 points
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:
Russell J O'Rourke
Info - 3 points
Bach Interpretation for Performers
Bach Inter for Performers
This course will explore the music of Johann Sebastian Bach from the perspective of performance. Attention will be given to Baroque dance forms and the social significance of dance in the 18th century, the art of rhetoric as a driving force for convincing delivery, an exploration of period instruments, and the study of elements of style such as articulation and ornamentation. The course consists of lectures, discussions, guided listening, score analysis, reading assignments, and performance projects. Aside from Bach’s scores, we will examine three key 17th- and 18th-century vocal and instrumental treatises, and a wide array of literature on rhetorical style and performance practice. Upon successful completion of the course, students will gain a deeper understanding of
interpreting the music of J.S. Bach and Baroque music in general, both as listeners and as performers.
- MW 2:40 p.m.-3:55 p.m.
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Instructor:
Magdalena Baczewska
CULPA: 4
Info
- 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:
Zosha Di Castri
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 10:10 a.m.-11:25 a.m.
- MW 5:40 p.m.-6:55 p.m.
- TR 10:10 a.m.-11:25 a.m.
- TR 5:40 p.m.-6:55 p.m.
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Instructor:
Thomas T Wetmore
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Instructor:
Nandini R Banerjee-Datta
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.
- MW 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:
Kevin Fellezs
CULPA: 4
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Instructor:
Aaron A Fox
CULPA: 7
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Instructor:
Walter M Frisch
CULPA: 17
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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:
Marcos Balter
Wikipedia Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Benjamin A Steege
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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
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Instructor:
Ruth Opara
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
Info -
Instructor:
Julia Doe
Info -
Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Walter M Frisch
CULPA: 17
Info
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Instructor:
Bradford G Garton
CULPA: 14
Info
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Instructor:
Giuseppe Gerbino
CULPA: 12
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Instructor:
Georg Friedrich Haas
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Instructor:
Marcos Balter
Wikipedia Info -
Instructor:
Mariusz Kozak
CULPA: 4 h-index: 5 Info -
Instructor:
Jeffrey Milarsky
CULPA: 6
Wikipedia
Info
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Instructor:
Seth Cluett
h-index: 4 Info -
Instructor:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Benjamin A Steege
Info -
Instructor:
Magdalena Baczewska
CULPA: 4
Info
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Instructor:
Peter M Susser
CULPA: 20
Info
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Instructor:
Christopher J Washburne
CULPA: 31
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Instructor:
Knar Abrahamyan
Info -
Instructor:
Ruth Opara
Info - 2-3 points
Critical Approaches to Opera Studies
Why opera now? In what ways can a 400-year-old art form speak to the needs of contemporary society? This seminar provides an introduction to critical opera studies: we will analyze a broad range of lyric repertory (spanning from Monteverdi to Saariaho) while interrogating the debates these works have generated, both historically and in the present day. Topics to be considered include: operatic institutions and conventions; gender and voice; theories of “text” and liveness; modernist staging; the troubling legacies of Empire and exoticism; and the intersections of opera and multimedia (opera on/as film, opera in HD, site-specific opera). Wherever possible, this course will incorporate live performance in New York, engaging the Metropolitan Opera as well as institutions for “indie” opera and new music. While completion of Music Humanities is a suggested pre-requisite, this class welcomes interdisciplinary perspectives. Individual assignments may be tailored to accommodate student interests and backgrounds outside of the field of music.
SONGS OF THE TROUBADOURS
This interdisciplinary seminar approaches the songs of the troubadours as poetic and musical traditions. Together we will develop methods for analysis and interpretation, situate the songs within literary and social history, and address broad issues such as the nature of performance, the interplay between oral transmission and writing, the origins of troubadour poetry,
fin’amor
, and gender. Students will learn to analyze the poetic and musical structure of the songs and to transcribe and edit them from medieval manuscripts. Weekly assignments in Paden’s
Introduction to Old Occitan
will familiarize students with the language of the texts; one hour a week will be devoted texts using Paden’s book. Students from all departments are welcome.
- F 1 p.m.-3 p.m.
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Instructor:
Susan Boynton
CULPA: 18 Info - 4 points
Theory and Analysis of Jazz and Improvis
Theory & Anal of Jazz & I
What are the traditional definitions of jazz and how do they apply to improvised music in the twenty-first century? This course aims to communicate reliable methods and processes useful when dissecting and evaluating jazz performances and jazz compositions. Students will engage with traditional and fundamental jazz improvisation theory, then extrapolate new modalities reflective of the music happening today; including categorizing music on gradations from minimally to fully improvisational, tonal to harmonically abstract, rhythmically rigid to free, and sonically acoustic to fully synthesized. The class will explore and differentiate between “new complexity” classical compositions and virtuosic free form improvisation, compare US jazz to versions happening in other countries, and to recognize how world music influences affect improvisational tonal systems and improvisational traits.
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Ole Mathisen
Wikipedia Info - 3 points
Music and Fashion
Fashion has been integral to musical performance practices, and music continues to influence fashion. As a result, specific music genres and practitioners are linked to particular fashion trends and movements that represent their persona and appearance. In various cultures around the world, music and fashion play a significant role in marking identity, as practitioners’ cultural heritage impacts the choice of costumes they wear during performances in different spaces and times. Spread through live performances and mass-mediated technology, consumers and fans of these practitioners also adopt and integrate these fashion trends into their everyday styles. This class explores Some of the questions: How does fashion become a visual representation of specific music cultures, subcultures, genres, movements, and artists? How does fashion reflect, influence, inspire, evolve, spread, sustain, represent, affect, and communicate musical ideas? To answer these questions, musical fashion icons such as Beyoncé, Prince, Rihanna, Lady Gaga, and David Bowie, and genres like Hip Hop, rock, Opera, K-pop, Afrobeats, and other global genres are examined through written scholarships, analysis of music performances and costumes, and their appearances in events and everyday life. This class explores how fashion trends influence sounds and vice versa, how they mark identity through music, embody symbolic sounds, and attract music consumers and fans who perpetuate these trends.
- T 12:10 p.m.-2 p.m.
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Instructor:
Ruth Opara
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.
- W 1:10 p.m.-4 p.m.
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Instructor:
David Adamcyk
CULPA: 1 Info -
Instructor:
Danielle R Dobkin
Info - 3 points
Sound: Foundations
SOUND: FOUNDATIONS
This foundational course in sound will begin by exploring how listening happens as well the tools necessary capture and present that listening. Through hands-on experimentation and demonstration, this seminar will examine both the technical and semiotic use of sound as amaterial within creative practice. Fundamental studio techniques will be explored including soldering for building cables, microphones, and loudspeakers. We will also explore the building blocks of analog and digital processes for the creation of sound, including microphones (types, patterns, and placement), basic synthesis, and techniques for recording, mixing, editing, and mastering. Through creative projects that implement these skills we will learn by doing. We will study theories of sound and listening that determine or are determined by technology, from the physical and social dimensions of the sounds we use to create, language (sound as a symbol or object), acoustics (sound in space), acousmatics (sound without a visual reference), and psycho-acoustics (sound as cognitive process). This class assumes no prior knowledge or technical skill. Some reading will be assigned and we will look and listen to a lot of work, students are encouraged to participate actively in discussions.
- M 2:10 p.m.-4 p.m.
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Instructor:
Seth Cluett
h-index: 4 Info - 3 points
Analytical Perspectives in New Music
Analytical Persp in New M
This course will explore plausible analytical responses to a selection of diverse sonic works from the past five decades, with emphasis on works that expand or challenge existing analytical methodologies and assumptions. The goal of this course is not to offer strict analytical models or standard procedures, but to foster analytical conversations that are pertinent to their subjects while broadening the understanding of what music analysis as it relates to new music can offer.
- R 10:10 a.m.-noon
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Instructor:
Marcos Balter
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.
- 1 points
PROSEMINAR IN MUSIC THEORY
Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges.
- R 12:10 p.m.-2 p.m.
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Instructor:
Knar Abrahamyan
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:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Walter M Frisch
CULPA: 17
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:
Elaine Sisman
CULPA: 13
Wikipedia
Info
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Instructor:
Benjamin A Steege
Info -
Instructor:
Christopher J Washburne
CULPA: 31
Info
- 3 points
INDIV PROJECTS 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:
Ruth Opara
Info - 3 points
SEM-HISTROCL MUSICLGY-BAROQUE
- W 10:10 a.m.-noon
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Instructor:
Giuseppe Gerbino
CULPA: 12
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 I
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 quartertones and with music independent from Western traditions.
- T 4:10 p.m.-6 p.m.
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Instructor:
Georg Friedrich Haas
Info - 3 points
SEMINAR IN MUSIC THEORY
A study of the meanings and cultural significance of music and music theory; integration of music theory with areas outside of music, such as aesthetics, literary criticism, cognitive psychology, sociology of music, semiotics, phenomenology, theories of narrative, hierarchy theory, and linguistics.
- M 2:10 p.m.-4 p.m.
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Instructor:
Benjamin A Steege
Info - 3 points
M. PHIL SEMINAR
Dissertation Proposal Sem
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:
Kevin Fellezs
CULPA: 4
Info
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Instructor:
Aaron A Fox
CULPA: 7
Info
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Instructor:
Walter M Frisch
CULPA: 17
Info
- 3 points