Spring Courses 2005
Note: Details listed on this web page are up-to-date.
They may differ from those in the Course Offerings Directory, and are subject to change. Most classes are held in Old Cabell Hall (OCH).
They may differ from those in the Course Offerings Directory, and are subject to change. Most classes are held in Old Cabell Hall (OCH).
MUSI 101: Introduction to Musical Literature
TBA, Instructor Permission
3 credits
TR 11:00-12:15, Wilson 402
A survey of the musical literatures that make up the common listening experience of contemporary Americans, with an emphasis on "classical" European or Eurocentric music from the Middle Ages to the present, and a range of African-American musics. The course will consider how musical choices reflect or create our cultural identities, including our attitudes toward gender, ethnicity, social relationships, and ideas of the sacred. Elements of musical perception will be taught as necessary to understand each style. Lectures, journals, midterm and final.
MUSI 131: Basic Musical Skills
Mary Simonson
3 credits
MWF, 10:0010:50, OCH 107
Prerequisite: No previous knowledge of music is required. This course is not open to students already qualified to elect MUSI 231 or 331.
This course begins by establishing a basic competency in reading and writing musical notation, and subsequently examines principles of melody, and the construction and progression of chords. The class will study rhythm, melody and harmony in selected single pieces, including some popular songs.
MUSI 131: Basic Musical Skills
Kevin Parks
3 credits
MWF, 9:00-9:50, OCH 107
Prerequisite: No previous knowledge of music is required. This course is not open to students already qualified to elect MUSI 231 or 331.
This course begins by establishing a basic competency in reading and writing musical notation, and subsequently examines principles of melody, and the construction and progression of chords. The class will study rhythm, melody and harmony in selected single pieces, including some popular songs.
MUSI 208: American Roots Music
Richard Will
3 credits
TR 11:00-12:15, WIL 301
What is "roots music"? We will study several kinds of music linked to this term, including blues, country music, Appalachian folk music, gospel, and bluegrass. We will see how the music originates and develops, and how it is used (by historians, social reformers, Hollywood filmmakers, and others) to define American identity.
MUSI 209: African Music
Heather Maxwell
3 credits
MW 14:00-1515, MRY 209
Explores the world of African music through a critical survey of styles, institutions, performance, and important artists. Attention to issues of identity, politics, society, and music business & technology. Specific topics announced in advance.
Prerequisite: No previous knowledge of music required.
MUSI 210: Introduction to Indian Music and Culture through Film
Natalie Sarrazin
3 credits
TR 2:00-3:15, MRY 209
In this course, students will be introduced to South Asian music and musical traditions as well as other aspects of South Asian culture through the medium of film. Students will learn about a range of musical styles, genres and performance practices as well as general cultural information about Indian society and religion. Based on the perspective that music and performances are unique expressions of South Asian culture, we will focus on the ways in which music and music performances are represented in Indian cinema and look at what those representations might mean. Students will also be exposed to the Bollywood film industry and how it addresses particular social issues and uses music and traditional forms to portray and depict life in India.
Music 211: Music in Everyday Life
Michelle Kisliuk
3 credits
TR 11:00-12:15, OCH 107
No prerequisites.
What is the soundscape of our quotidian (everyday) experience? How does it condition our consciousness, and what implicit cultural messages circulate within our ever-changing daily soundtracks? This course focuses our attention on music we usually take for granted. A close look at how music works in our everyday lives can offer a new awareness of our ongoing experience, open us to choices we never thought we had, and get us wondering about the depths of aesthetic experience.
Students enrolling in this course will challenge their creative and intelletual imagination in order to think profoundly about questions such as: Under what circumstances do you make your own music? Why do some people sing in the shower and nowhere else? Do you sing with your family or your friends, or tap a rhythm quietly to yourself? How does the background music in your favorite clothing store affect what you buy, and, more importantly, how does it affect how you think oabout yourself in the world? What are socioaesthetic and sociopolitical ramifications and implications when all Starbucks Coffee shops play particular compilations of exotic "world music"? What do children's songs and games, camp songs, scout songs, snippets of radio hits, offer us as we grow up? What drives our choices of popular music and our listening and consuming practices? The course requires faithful attendance, participation, imagination, and full preparation of reading and field assignments. Assignments will include one short "Everyday LifeSounds Autobiography" and one midterm essay (7-10 pages double spaced), as well as weekly responses to the readings and discussions (some of these will be in the form of written responses to readings, others in the form of quick quizzes). There will be a final exam.
MUSI 212: History of Jazz
Scott DeVeaux
3 credits
MW 1-1:50, Wilson 402
No previous knowledge of music is required. This course meets the Non-western perspectives requirement. This course is a survey of the history of jazz from its beginnings around 1900 through the stylistic changes and trends of the 20th century. Important instrumental performers, vocalists, composers, and arrangers are listened to and discussed.
Students are required to enroll also in one section listed below. All rooms are in Old Cabell Hall:
| 1000-1050 | F | OCH S008 | Goldin-Perschbacher, Shana |
| 1200-1250 | F | MRY 110 | Goldin-Perschbacher, Shana |
| 1100-1150 | R | OCH 113 | Ludwig, Loren |
| 0930-1020 | R | OCH S008 | Bidgood, Lee |
| 1300-1350 | F | OCH S008 | Robbins, Allison |
| 1300-1350 | F | OCH 113 | Bishop, Michael |
| 1200-1250 | F | OCH B012 | Bidgood, Lee |
| 930-1020 | R | OCH B012 | Robbins, Allison |
| 0900-0950 | F | OCH S008 | Goldin-Perschbacher, Shana |
| 1100-1150 | R | OCH S008 | Bidgood, Lee |
| 1200-1250 | F | OCH S008 | Robbins, Allison |
| 1230-1320 | R | OCH 113 | Ludwig, Loren |
| 1200-1250 | F | OCH 113 | Bishop, Michael |
| 0930-1020 | R | OCH 113 | Ludwig, Loren |
| 0900-0950 | F | OCH 113 | Bishop, Michael |
MUSI 230B: Keyboard Skills
Elizabeth Lindau
2 credits
MWF 10:1050, OCH 113
[No Description]
MUSI 230C: Fretboard Harmony
Michael Rosensky
2 credits
MWF 11-11:50am, OCH B012
The level of this course will vary from semester to semester depending on the guitar experience of students who enroll. Students should contact me (Mike Rosensky--mlr5q) during pre-registration letting me know of their interest in the course and of their intent to show up for the first class of the semester when the level and the make-up of the class will ultimately be determined. In Fretboard Harmony we will take a theory-based approach to understanding how musical materials (scales, arpeggios, chord voicings) "fit" on the guitar. The majority of class meeting time is spent with guitars in hand "drilling" new material. Practice methods will be explored, with an emphasis on learning how to practice effectively and efficiently. The class is fairly intensive and students should be prepared to practice daily in order to keep up with the material.
MUSI 303: Studies in 19th century Music
Elizabeth Hudson
3 credits
TR 9:30-10:45, OCH 107
Prerequisite: MUSI 331, or instructor permission.
A study of the development of a Germanic ideal of serious music across the nineteenth-century, the values behind the ideal, and the effect of that ideal on music-making and music composition in Europe and America. Note: Meets Second Writing Requirement
MUSI 304: 20th Century Symphonic Music
Carl Roscott
3 credits
TR 14:00-15:15, OCH 107
Prerequisite: MUSI 331 or permission of instructor.
A study of significant works from the 20th century symphonic repertoire, including works by Mahler, Stravinsky, Schoenberg, Prokofiev, Shostakovich, Berg, Webern, Bartok, Hindemith and others. Must be able to read music, as there is score reading and study required.
MUSI 305: 20th century Music
Fred Maus
3 credits
MWF 13:00-13:50, OCH 107
Prerequisite: the ability to read music, or any three-credit course in music, or permission of the instructor.
A study of the musical heritage of the past century, including European art music, popular music, and folk musics of various kinds, as seen through historical, critical and ethnographic approaches.
MUSI 307: Worlds of Music
Natalie Sarrazin
3 credits
TR 12:30-13:45, OCH 107
Exploration of world musical cultures through music-making, movement, listening, and case studies. Emphasis is on understanding musical perspectives outside of the west, including musical concepts, tuning systems, performance genres, and aesthetics. Other perspectives include the interconnections between musical structure and social structure, the individual artists' perspectives in music-making, and connections between style, community, and identity.
Music 309: Performance in Africa
Michelle Kisliuk
4 credits
TR 15:30-16:20, OCH 107
Prerequisite: Audition for UVA Drumming and Dance Ensemble.
Lab: MUSI 369 (0 credits)
Note: Students in 309 enroll via ISIS in 309 only, and NOT in 369 as well.
Informal auditions are held the first day of class.
Recommended: Music major, previous experience in Music 369 or similar course, and/or 3rd year standing.
This course explores performance in Africa through reading, discussion, audio and video examples, and hands-on practice. The course meets together with Music 369 (African Drumming and Dance Ensemble), but is a full academic course.* Students in Music 309 are automatically part of the current semester's UVA African Drumming and Dance Ensemble (by audition). Your role in the Ensemble as learner and performer is crucial to your overall work in the course (also see description for Music 369).
We will explore African musical/dance styles, their sociomusical circumstances and processes, as well as performed resistances and responses to the colonial and post/neo-colonial encounter. In addition, we will address the politics and processes involved in translating performance practices from one cultural context to another. Readings and discussions will focus heavily on topics and issues related to the two main music/dance traditions that we are learning to perform this semester. The course will explore both "traditional" and "popular" styles, leading us to question those categories.
Attendance at all class meetings is required. Careful reading and preparation for discussion is required. Students will keep response journal (submitted to the class email list every other week.) Every other week each student will also choose at least one recording from the music library (via the web catalogue) to listen to and respond to in their email journal.
MUSI 311, Introduction to Music Research
Jeffrey Decker
1 credit
W, 1300-1350, WIL 308
Prerequisite: MUSI 331.
The first course required for all music majors. The student is introduced to the use of the Music Library and reference works in the field of music.
MUSI 332: Theory II
Michael Puri
MWF 10:00-10:50, OCH B012
3 credits
Prerequisite: ability to read music, and familiarity with basic concepts of pitch intervals and scales.
Co-requisite: MUSI 333A,B, and C (formerly numbered 333-335) except for students who have already passed the exit test for MUSI 333C. See explanation and class times below.
The course focuses on concepts and notation related to scales and modes, harmony, meter, form, counterpoint, and style.
MUSI 333 A, B, and C
These lab courses give practical experience with many aspects of musical perception and performance, such as accurate vocal production of pitch, musical memory, identification of intervals and rhythmic patterns, and uses of notation in dictation and sight-singing. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course.
Courses may be repeated for credit, but each course may be counted toward the major only once. MUSI 333A, B, and C are co-requisites for MUSI 331, 332, and 431. This means that students pre-registering in the latter courses must also pre-register in MUSI 333A, B, or C unless they have already taken the highest level course and have been passed out of further co-requisite requirements.
Students interested in taking Musicianship but not Theory are encouraged to register for MUSI 333A, B, or C as space permits. Such students may not pre-register. They should plan to register by adding in Fall after taking a placement exam.
MUSI 333A, Musicianship I
Kyoko Kobayashi
1 credit
MW 1100-11:50, OCH 107
Prerequisite: permission of instructor (please see information above).
MUSI 333B, Musicianship II
David Cosper
1 credit
WF 1100-11:50, OCH 113
Prerequisite: passing score on the exit test for MUSI 333A.
(Please see information above.)
MUSI 333C, Musicianship III
Michael Slon
1 credit
MF 1100-11:50, OCH B018
Prerequisite: passing score on the exit test for MUSI 333B (please see information above).
MUSI 334: Basso Continuo Playing
Paul Walker
3 credits
MW 1400-1515, OCH 113
Basso Continuo Playing, is an academic course covering the history, theory, and practice of thoroughbass in the Baroque era. Students must have facility in playing keyboard or classical guitar; previous experience on harpsichord, organ, or lute is not necessary. MUSI 331 (Theory I) is also a prerequisite and MUSI 332 (Theory II) a prerequisite or co-requisite.
The course load will include reading, some written work, and plenty of actual playing (from figures) with other musicians. All students will also be expected to perform in some sort of concert setting some of the pieces they learn.
MUSI 338: Introduction to Composition
Stephan Prock
3 credits
TR 1230-1345, OCH B012
In this class we will study compositional techniques of mid to late twentieth-century Euro-American "art music" and explore how students may employ those techniques to create their own music. Through examining how the parameters of musical construction-rhythm, melody, harmony, texture, timbre, gesture-interact and combine to give rise to particular styles, students will learn to compose music using a wide range of twentieth-century idioms. In addition to weekly composition exercises, students will write two extended works for performance: one to be presented in mid-semester, the other at the end of the semester. While presenting/performing student work in class and in public, we will think about how performance styles and venues may open up creative possibilities and also how they may limit and/or channel the musical imagination.
The course will include a survey of relevant music along with in-depth analysis of select works. Students will encounter music by composers such as John Adams, Laurie Anderson, John Cage, George Crumb, Morton Feldman, Bernard Herrmann, György Ligeti, Witold Lutoslawsi, Olivier Messiaen, Pauline Oliveros and Terry Riley. Ultimately, students will be conversant with major compositional trends and techniques of the last half-century and competent in the creation of medium-length works demonstrating their creative engagement with them.
MUSI 339 Introduction to Music and Computers
Judith Shatin
3 credits
MW, 1400-1515, OCH B012
Lab: TBA.
Prerequisite: permission needed from instructor.
Introductory studies in music technology including digital audio, MIDI, recording, composition/sound design, and an introduction to the history and aesthetics of computer music.
MUSI 351-358, Applied Music Lessons**
(0.5 2 credits)
** You cannot register for these lessons through ISIS. See this music department webpage for more information: www.virginia.edu/music/appliedlessons.html. Registration information is also posted outside the music office at the start of each semester.
MUSI 351: VOICE
Stephanie Nakasian
Pamela Beasley
Dawn Thompson
Edmund Najera
Louisa Panou
MUSI 352: PIANO
Barbara Moore
Mary K. Ernst
Content Sablinsky
Mimi Tung
Bob Hallahan (Jazz Piano)
MUSI 353: HARPSICHORD or ORGAN
Paul Walker
MUSI 354: STRINGS
Hasse Borup (Violin)
Amy Leung (Cello)
Constance Gee (Viola)
Peter Spaar (Doublebass/Jazz)
MUSI 355: WOODWINDS
Nancy Garlick (Clarinet)
Alan Cox (Flute)
Scott Perry (Oboe & English Horn)
Ibby Roberts (Bassoon)
MUSI 356: BRASS
Jeff Decker (Saxophone/Jazz Studies)
John D'earth (Jazz Trumpet, Jazz Improv)
Haim Avitsur (Trombone)
Paul Neebe (Trumpet)
Dwight Purvis (Horn)
Barry Slayton (Tuba)
MUSI 357: PERCUSSION
Robert Jospé (Jazz Drum)
Eric Stassen
Nitin Tripathi (Tabla)
MUSI 358: HARP & GUITAR
Anastasia Jellison (Harp)
Michael Rosensky (Jazz and Classical Guitar)
Gregory Howard (Chapman Stick)
MUSI 360: Jazz Ensemble
1-2 credits
John D'earth
TR, 7:30-9:30pm, OCH B018
Prerequisite: Permission of the instructor by audition.
The Jazz Ensemble, with John D'earth as musical director, consists of a big band and a small combo, performing a repertory ranging from the Swing Era of the 1930's to modern jazz-rock arrangements. Opportunities for solo improvisation as well as sectional playing are available. Students already participating in the Jazz Ensemble are requested to pre-register for the class. Musicians wishing to audition should pre-register and sign up for an audition time during the registration period. If they are not selected in the auditions, they may drop the course.
MUSI 361: Symphony Orchestra - Strings
Carl Roskott
2 credits
M, 5:30 - 7:00, OCH 101
and
W, 7:30 - 10:00, OCH 101
Prerequisite: Permission of the instructor by audition. Information about auditions is on the music website.
Performance of works from both the standard and the contemporary repertoire. (The orchestra presents a full subscription concert season of five pairs of concerts and an annual children's concert.)
Sections:
MUSI 361A Orchestra String-bass
1730-1900 M OCH B012 Spaar, Peter
MUSI 361B Orchestra String-cello
1730-1900 M OCH 113 Leung, Amy
MUSI 361C Orchestra String-viola
1730-1900 M OCH S008 Gee, Constance Whitman
MUSI 361D Orchestra String-violin
1730-1900 M OCH 107 Borup, Hasse
MUSI 361: Symphony Orchestra - Winds
Carl Roskott
2 credits
W, 7:30 - 10:00pm, OCH 101
Prerequisite: Permission of the instructor by audition. Information about auditions is on the music website.
Performance of works from both the standard and the contemporary repertoire. (The orchestra presents a full subscription concert season of five pairs of concerts and an annual children's concert.)
MUSI 361F Orchestra Wind-bassoon
TBA Roberts, Elizabeth
MUSI 361G Orchestra Wind-clarinet
TBA Garlick, Nancy
MUSI 361H Orchestra Wind-flute
TBA Cox, Alan
MUSI 361J Orchestra Wind-horn
TBA Purvis, Dwight
MUSI 361K Orchestra Wind-oboe
TBA Perry, Scott
MUSI 361L Orchestra Wind-percussion
TBA Stassen, Eric
MUSI 361M Orchestra Wind-trombone
TBA Avitsur, Haim
MUSI 361N Orchestra Wind-trumpet
TBA Neebe, Paul
MUSI 362, Wind Ensemble
William Pease
1-2 credits
MW 1200-1:50, OCH 101
Prerequisite: Permission of the instructor by audition.
Performance of works from both the standard and the contemporary repertoire.
MUSI 363: Chamber Ensembles
1-2 credits
Prerequisite: Permission of the instructor by audition. Ensembles listed below.
Woodwind Ensemble
Ibby Roberts
W, 9:30-11:00
Explore, rehearse and perform woodwind quintets, including both standard and more obscure works. Focus on developing chamber music playing skills, learning the tendencies of the woodwind instruments, developing musicianship, and enjoying making and sharing music!
Brass Ensemble
Dwight Purvis
T, 1530-1720, OCH 101
Trombone Ensemble
Haim Avitsur
W, 14:00-15:30
The course gives students an opportunity to perform works that push the limits of 21st century trombone technique while focusing on aesthetic elements such as balance, blend, intonation, timbre and style.
Flute Ensemble
Alan Cox
T, 12:30-14:00, OCH B018
Prerequisite: Instructor's permission by audition
This course will consist of the study and performance of music for 2 to 5 flutes. Focus will be on improving ensemble skills, musicality, and understanding of various musical styles. Performances will be at the discretion of the instructor. Please contact amc7s@virginia.edu to schedule an audition.
Double Reed Ensemble
Scott Perry
W, 5:00-6:00, Rm.
Clarinet Choir
Nancy Garlick
M, 5:00-6:30,
Exploration of repertoire from past four centuries with emphasis on improving intonation and musicality in ensemble playing.
Woodwind Quintet
Ibby Roberts
R 1900-2030,
Explore, rehearse and perform woodwind quintets, including both standard and more obscure works. Focus on developing chamber music playing skills, learning the tendencies of the woodwind instruments, developing musicianship, and enjoying making and sharing music!
Horn Ensemble
Dwight Purvis
T, 17:00-1900, OCH 101
Jazz Chamber Ensemble
Pete Spaar
TR 17:00 19:00, OCH B018
Prerequisite: Instructor permission required.
Brass Quintet
Paul Neebe
W, 1700 - 1830
Jazz Improvisation Workshop
John D'earth
TR 5:30-7:00, OCH B012
Prerequisite: Instructor permission required.
The Jazz Improvisation Workshop is open to musicians with prior jazz experience at the discretion of the instructor. Come to first class meeting.
MUSI 364: Chamber Choir Music
1 credit
Hasse Borup
Or
Michael Slon
F, 1300-1530, OCH 107
MUSI 365: University Singers
2 credits
Michael Slon
MW 3:30-5:30pm, OCH 101
Prerequisite: Permission of the instructor by audition.
The University Singers is a select SATB ensemble performing a wide variety of accompanied and a cappella choral music. The group is open to all University students by audition. Auditions are held at the beginning of each semester.
MUSI 366, Opera Workshop
1-2 credits
M, 7:00 - 10:00pm, OCH 107
Louisa Panou-Takahashi
Prerequisite: Permission of the instructor by audition.
Applied acting in operatic and musical theater scenes is the heart of the Workshop learning experience. The scenes, or entire work, will be chosen from current operatic and musical theater repertory and will be sung in the original language, with a few exceptions. All singers will be asked to alternate, singing lead and secondary parts, as well as chorus. Individual coaching, choreography and many opportunities for solo singing for all. Outreach program.
MUSI 367 A,B & C, Early Music Ensemble
1-2 credits
Paul Walker
Times TBA, OCH 113
Prerequisite: Permission of the instructor by audition.
Study and performance of Medieval, Renaissance, and Baroque music on instruments appropriate to each period. Students are taught to perform on recorders, viols, and other authentic instruments. Singers are also encouraged to audition.
MUSI 368, New Music Ensemble
1-2 credits
Stephan Prock
Days/Times TBA
Prerequisite: Permission of the instructor by audition.
Performance of contemporary art music with an emphasis on instrumental and vocal music.
Music 369: African Drumming and Dance
Michelle Kisliuk
2 credits
TR 5:15-7:15, OCH 107
This course may be repeated for credit.
This is a practical, hands-on course focusing on several music/dance forms from West Africa (Ghana, Togo) and Central Africa (BaAka pygmies and Bagandou farmers), with the intention of performing informally throughout the semester and formally, with guest artists, at the end of the semester. We will give special attention to developing tight ensemble dynamics, aural musicianship, and a polymetric sensibility. Concentration, practice, high attention, interaction, and faithful,/prompt attendance are required of each class member. Each member is also respectfully expected to help prepare the classroom (move chairs, sweep, set up drums/sticks) and to restore the space to classroom style at the end of each meeting.
MUSI 369C: Afro Pop Ensemble
Heather Maxwell
2 credits
MW 1530-1730pm, OCH 107
Prerequisites: Permission of Instructor.
This small, eight-ten piece ensemble will learn to appreciate and perform a wide range of Afro-pop music. The repertoire will draw from great West African classics such as "Water No Get Enemy" and "Ya Pon Sah," from South African mbqanga tunes ("Pata Pata", "Malaika") and soukouss from Cameroun. Other tunes will draw on newer kinds of African Jazz that are currently "hot" in New York and other major American, African, and European cities. The objective of the course is to acquire practical experience and familiarity with Afro-Pop. Through performance, students will develop critical insight into African concepts of improvisation, music aesthetics, performance ethics, and verbal and nonverbal communicative forms and messages. They will also have the opportunity to work with visiting professional African Afro-Pop musicians.
Especially encouraged to audition are singers, percussionists (hand drum and drumset), electric bassists, pianists (keyboard), guitarists, and brass players. The ensemble meets twice a week and will perform a concert at the end of the semester.
MUSI 394: Independent Study
TBA
1-3 credits
Prerequisite: Permission of the instructor.
MUSI 409a: Music in Islam
Natalie Sarrazin
3 credits
TR 1530-1645, OCH B012
This course is designed to introduce students to the musical thought and performance practices of Islamic music in Middle East and South Asian regions. The course will cover early Arabic sources of music, as well as the influence of Arabic music in other regions.
This course will begin by examining the cultural construction of music and sound in Islam, including an exploration of its religious use, terminology and philosophy. We will also address and discuss what makes music "admissible" or "inadmissible." This course will then explore Mosque music and will concentrate on music and rituals of the Sufi orders, and will cover musics such as dhikr, Qawwali, and Mevlevi. Musical genres will be examined in terms of its social context and function as well as its musical, poetic, and philosophical components.
MUSI 426: Song and Society in W. Africa
Heather Maxwell
TR 1230-1345, MRY 113
[No Description]
MUSI 433: Advanced Musicianship
Michael Slon
3 credits
MF 1200-1250, OCH S008
Prerequisite: Passing score on the exit test for MUSI 335.
Sight singing of chromatic, atonal, 12-tone, and bebop melodies. Introduction to keyboard harmony, score reading, transcription, and improvisation.
MUSI 472: Instrumental Conducting II
Carl Roscott
3 credits
TR 11:00-12:15, OCH B012
Studies the theory and practice of conducting, score analysis, and rehearsal technique. Prerequisite: MUSI 332 and instructor permission.
MUSI 493, Independent Study
1-3 credits
Prerequisite: Instructor permission
MUSI 494, Independent Study
1-3 credits
Prerequisite: Instructor permission
MUSI 594, Independent Study
1-3 credits
Prerequisite: Instructor permission.
MUSI 702: Representing the 18th Century
Richard Will
3 credits
R 2-4:30, OCH S008
What does 18th-century music mean today? We shall contrast recent academic with pop-cultural (primarily cinematic) representations, focussing on issues of subjectivity, political ideology, and social morality. Our interpretation and critique will be informed by close reading of examples from operatic, religious, and instrumental music.
MUSI 712: Studies in Jazz
Scott Deveaux
3 credits
T 1400-1630, OCH S008
[No Description]
MUSI 732: Analysis of Art Song
Michael Puri
3 credits
M 1400-1630, OCH S008
Uses analytical approaches drawn from tonal, rhythmic, transformational, and post-tonal theory to consider music/text relations in Western classical art song from 1800 to 1950, spanning repertoire from Schubert to Poulenc. Regular activities include comparative listening to recent and historical performances, critical perusal of the most current musicological and theoretical literature, executing focused analytical tasks, and writing longer analytical essays.
MUSI 738: Composition
Judith Shatin
W 3:30-6:00, OCH B012
Cap 10
Graduate Seminar in Composition, will focus on compositional design for acoustic and digital media. We will study the music and writings of composers such as Benjaim Broening, Kyle Gann, John Gibson, Paul Lansky, Katherine Norman, Melisa Hui, Alvin Lucier. We will also focus on aesthetics of electroacoustic music. Assignments will include compositional projects and a seminar paper.
MUSI 782: Composition
3 credits
Prerequisite: Instructor permission.
MUSI 782: Independent Studies in Composition
3 credits
Prerequisite: Instructor permission.
MUSI 882: Advanced Composition
3 credits
Prerequisite: Instructor permission.
MUSI 884: Advanced Computer Music Composition
3 credits
Prerequisite: Instructor permission.
MUSI 892: Supervised Research
3 credits
Prerequisite: Instructor permission.
MUSI 894: Independent Study
1-3 credits
Prerequisite: Instructor permission.
MUSI 896: Thesis
1-6 credits
MUSI 898 Non-topical Research
1-12 credits
MUSI 992: Supervised Research
3 credits
MUSI 994: Independent Research
3 credits
MUSI 998: Non-topical Research
3-12 credits
