Note:Non-Music majors must receive approval from the appropriate Department Chair before registering for any music courses. EXCEPTION: Courses specifically indicated for Non-Music majors.
509 - 513. Seminar in
Stylistic Analysis (2-3 s.h.)
Analysis and discussion of twentieth century music. Seminar subject areas include Bartok's theory and practice, the mixed ensemble, current trends, modern opera, new consonance, Hindemith, Stravinsky, and American Neo-classicism, serialists, and others.
0240. Theory and Composition:Harmonic
Review (2 s.h.)
Review course for graduate students unable to meet standards of the diagnostic test. Student's average must be no lower than "B-" to receive credit for the course; graduate credit will not be granted.
0253. Remedial Studies
in Music History (1-3 s.h.)
Designed as remedial study in music history for graduate students. May be taken by undergraduate music majors with approval of the adviser and instructor. Individual tutoring to suit the needs of each student.
0340. Remedial Counterpoint (2
Review course for graduate students unable to meet standards of the diagnostic tests. Student's average must be no lower than "B-" to receive credit for the course; graduate credit will not be granted.
0496. Latin American
Music Ensemble (1 s.h.)
For vocalists and instrumentalists. Ability to read music is helpful, but not absolutely necessary. Students learn to perform a diversity of musical genres from Cuba, Mexico and other parts of Spanish-speaking Latin America.
0508. Seminar in Theoretical
Analysis (3 s.h.)
Investigation of theoretical and analytical problems in music, including theories of Heinrich Schenker and others as pertinent to particular faculty concerns.
0514. Canon and Fugue (2
Prerequisite: Counterpoint 343, or equivalent.
The development of technique in imitative style and an ability to construct phrase and sectional forms in canonic and fugal style.
0516. Computer Synthesis (3
Certain musical applications of digital computers including digital recording, digital sound synthesis, digital control of analog devices such as synthesizers, speech synthesis, and various applications for the music scholar. Fortran, Scortran, and Basic programming.
0540. Seminar in Composition (3
Prerequisite: permission of instructor.
For students enrolled in M.M. and D.M.A. programs in composition. Guidance toward realization of individual creative concepts in music and critical evaluation of the results.
0541. Composing Music
for Films (3 s.h.)
Students use MIDI equipment and software to compose music for synchronization to film and video. Vocabulary and technology of film production, and an understanding of the function of music in documentary and experimental film and video are taught. Includes lab component to develop sequencing skills and work with synchronized video tape.
0556. Twentieth Century
Performance Practice (3 s.h.)
Open to graduate performers and composers. Includes student and faculty readings and taping of student compositions, coaching of performances, and special projects approved by the instructor.
0557. Computer Music
Studio (2 s.h.)
Extensive compositional activity with studio equipment; original and tape compositions, with or without external sound sources, film or television backgrounds, theater music, possible computer synthesis of musical sound.
0599. Continuing Registration
Status (1 s.h.)
For matriculated graduate students in History, Theory, or Composition who were last enrolled more than one year ago and who must be registered to complete outstanding degree requirements. For credit or no credit only; does not count toward degree.
0614. Musical Instrument
Digital Interface (3 s.h.)
A detailed study of the hardware and software used to connect digital music devices and personal computers. Experiments with MIDI application programs including real-time sequential control of digital synthesis devices.
0700. Research in Music (3
Survey of primary reference tools, monumental editions and collected works, periodicals, histories, theoretical treatises, iconography, organology, and other bibliographic materials. Term paper written under supervision.
0716. Introduction to
Ethnomusicology (3 s.h.)
An overview of the history of ethnomusicology rather than an introduction to the specific musical practices of various countries. Focuses on the origins of the discipline at the turn of the twentieth century, various interests of ethnomusicologists over the years, and internal debates within the field about their relative importance. Attention to anthropology and cultural studies on ethnomusicology since the 1970s and its growing interdisciplinary orientation.
0718. Singing on Record (2-3
A survey of the most notable recorded vocal performances. Emphasis is on vocal categories, repertoire, the operatic career, changing vocal styles, performance traditions and vocal practices throughout the decades.
0726. Music in the Romantic
Period I. (3 s.h.)
An examination of music from the first half of the 19th century in the context of new social conditions, literary Romanticism, bourgeois audiences, and the changing role of the artist.
0732. Seminar in the
German Lied (3 s.h.)
Study of selected lieder and lieder cycles of the major composers of this genre. Analysis of both text and music and the changing relationships between voice and keyboard parts. Classroom performances when possible.
0740. Johann Sebastian
Bach (3 s.h.)
Study of selected compositions from the organ works, the cantatas, and the solo and concerted instrumental works, with special concentration on one of these areas.
0745. Traditional and
Popular Music of Latin America (3
Introduction to the complex cultural history of Mexico, the Caribbean, and South America, and to their traditional and commercial music genres. Attention given to the African diaspora in various countries, as well as to other genres of indigenous, European, and mixed origins.
0750. Studies in Performance
Practice (3 s.h.)
An exploration of major issues surrounding the performance of instrumental and vocal music from 1600 to the early 20th century. Through the study of historical treatises and tutors, modern secondary literature, recordings, and the music itself, this seminar seeks to broaden the range of performance options available to contemporary performers interested in creating historically informed interpretations.
0754. Music of the Caribbean (3
Introduction to the complex cultural history of the Caribbean, as well as to its traditional and commercial music genres. Open to all graduate students regardless of major, with the permission of the instructor.
0755. Music of Franz
Liszt (3 s.h.)
Overview of works in the various genres in which Liszt wrote (i.e., keyboard, symphonic, and vocal); the manner in which he approached compostion and performance; the reliability of published editions, and Liszt's legacy as disseminated by his students.
0772. Symphonic Literature (3
This class focuses on the late 19th-century symphonic repertoire, both symphony and symphonic poem, 1850-1910. After an introduction that covers the tonal language of the period, the course discusses Liszt and his symphonic developments, the works of Bruckner and Brahms among others, and culminates in the music of second generation post-Wagnerian symphonists such as Mahler and Strauss.
0965. Doctoral Seminar
Analysis, Interpretation, and Performance (3
An inquiry in broad context and across media, into some fundamental issues of performance. Analysis, readings, discussions, performance, and critique. Doctoral students only; master's with permission.
0999. Doctor of Musical
Arts Dissertation (1-6 s.h.)
Limited to candidates in Composition for the Doctor of Musical Arts degree. Continuous registration in the fall and spring semesters required until the final project has been completed and accepted by the Graduate Committee.