Fall 2012 Courses

 

UNDERGRADUATE COURSES

MUSI 10100: Introduction to Western Art Music

Michelle Urberg

TR 9:00 a.m. - 10:20 a.m., LC 901

This one-quarter course is designed to enrich the listening experience of students, particularly with respect to the art music of the Western European and American concert tradition. Students are introduced to the basic elements of music and the ways that they are integrated to create works in various styles. Particular emphasis is placed on musical form and on the potential for music to refer to and interact with aspects of the world outside.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 10200: Introduction to World Music

Travis Jackson, Rehanna Kheshgi

This course is a selected survey of classical, popular, and folk music traditions from around the world. The goals are not only to expand our skills as listeners but also to redefine what we consider music to be and, in the process, stimulate a fresh approach to our own diverse musical traditions. In addition, the role of music as ritual, aesthetic experience, mode of communication, and artistic expression is explored.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 10300: Introduction to Music: Materials and Design

Andres Aleman Carrizco

MW 1:30 p.m. - 2:50 p.m., LC 901

In this variant of the introductory course in music, students explore the language of music through coordinated listening, analysis, and exercises in composition. A study of a wide diversity of musical styles serves as an incentive for student compositions in those styles.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 10400: Introduction to Music: Analysis and Criticism

Steven Rings

TR 10:30 a.m. - 11:50 a.m., LC 901

This course aims to develop students' analytical and critical tools by focusing on a select group of works drawn from the Western European and American concert tradition. The texts for the course are recordings. Through listening, written assignments, and class discussion, we explore topics such as compositional strategy, conditions of musical performance, interactions between music and text, and the relationship between music and ideology as they are manifested in complete compositions.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 15100-15200-15300: Harmony and Voice Leading

This three-quarter sequence serves as an introduction to the materials and structure of Western tonal music. The first quarter focuses on fundamentals: scale types, keys, basic harmonic structures, voice-leading and two-voice counterpoint. The second quarter explores extensions of harmonic syntax, the basics of classical form, further work with counterpoint, and nondiatonic seventh chords. The third quarter undertakes the study of modulation, sequences, and additional analysis of classical forms. Musicianship labs in ear training and keyboard skills required.

MUSI 15100: Harmony and Voice Leading

Stefan Caris Love

MWF 10:30 a.m. - 11:20 a.m., GoH 402

Prerequisite(s): Ability to read music

MUSI 23700: Music of South Asia

Kaley Mason

TR 10:30 a.m. - 11:50 a.m., GoH 205

This course examines the music of South Asia as an aesthetic domain with both unity and particularity in the region. The unity of the North and South Indian classical traditions is treated historically and analytically, with special emphasis placed on correlating their musical and mythological aspects. The classical traditions are contrasted with regional, tribal, and folk music with respect to fundamental conceptualizations of music and the roles it plays in society. In addition, the repertories of Pakistan, Afghanistan, and Sri Lanka, as well as states and nations bordering the region, are covered. Music is also considered as a component of myth, religion, popular culture, and the confrontation with modernity.

Prerequisite(s): Any 10000-level music course or consent of instructor

MUSI 23800: Rock

Travis Jackson

MW 1:30 p.m. - 2:50 p.m., GoH 402

This course considers some critical accounts of the music industry, of subcultures, and of mass media aesthetics; some historical dimensions of rock (e.g., circum-Atlantic, global circulation of blues-derived popular forms); and some analytical approaches deriving from the main theoretical traditions of Western art music, psychoanalysis, semiotics, and ethnography—as applied to, for example, rhythm and meter, repetition, tonality, and voice. Students are also encouraged, through readings and listening, to contextualize rock within a broad field of popular/vernacular music making in the twentieth century.

Prerequisite(s): Any 10000-level music course or consent of instructor

MUSI 25506: The String Quartet

Easley Blackwood

TR 1:30 p.m. - 2:50 p.m., GoH 205

The course will consist of a detailed study of the string quartet repertoire from the first published quartets, Haydn's Op.9 in 1762, to Carter's Fifth in 1995. Aside from the well-known quartets of Mozart, Beethoven, and Bartók, attention will be given to composers whose quartets are not well known, for example, Tchaikovsky, Strauss, and Reger. Harmonic and formal analysis will be included. It should be possible to cover about 45 quartets during the quarter.

MUSI 26300-26400: Introduction to Computer Music

This two-quarter course of study gives students in any discipline the opportunity to explore the techniques and aesthetics of computer-generated/assisted music production. During the first quarter, students learn the basics of digital synthesis, the Musical Instrument Digital Interface (MIDI), and programming. These concepts and skills are acquired through lecture, demonstration, reading, and a series of production and programming exercises. Weekly lab tutorials and individual lab time in the department’s computer music studio are in addition to scheduled class time.

MUSI 26300: Introduction to Computer Music

Howard Sandroff

W 10:30 a.m. - 1:20 p.m., GoH 205

Prerequisite(s): Consent of instructor. Rudimentary musical skills (but not technical knowledge) required.
Note(s): Basic Macintosh skills helpful.

MUSI 27100-27200-27300: Topics in the History of Western Music

This sequence is a three-quarter investigation into Western art music, with primary emphasis on the vocal and instrumental repertories of Western Europe and the United States.

MUSI 27100: Topics in the History of Western Music

Anne Walters Robertson

MW 3:00 p.m. - 4:20 p.m., GoH 402

MUSI 27100 begins with the earliest notated music and considers monophonic liturgical chant and the development of sacred and secular vocal polyphony through the sixteenth century.

Prerequisite(s): MUSI 14200 or 15300. Open to nonmajors with consent of instructor.

MUSI 28500: Musicianship Skills

Fusun Koksal

F 1:30 p.m. - 2:20 p.m., JRL 264

This is a yearlong course in ear training, keyboard progressions, realization of figured basses at the keyboard, and reading of chamber and orchestral scores. Classes each week consist of one dictation lab (sixty minutes long) and one keyboard lab (thirty minutes long).

Prerequisite(s): MUSI 15300. Open only to students who are majoring in music.
Note(s): 100 units credit is granted only after successful completion of the year's work.

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GRADUATE/UNDERGRADUATE COURSES

MUSI 33800: Ethnographic Methods

Kaley Mason

W 1:30 p.m. – 4:20 p.m., JRL 264

This proseminar is designed to equip graduate students with methodological and epistemological tools for doing ethnographic fieldwork in expressive cultural contexts. Topics are divided into three stages, beginning with a prefield introduction to research design, politics, and ethics, followed by an infield focus on skill sets and media for participating in, observing, and documenting art worlds in everyday life, and ending with a postfield emphasis on relationships, rights, responsibilities, and representational strategies. In class we discuss readings from anthropology, ethnomusicology, sociology, and folklore along with individual work in progress. In addition to clarifying concepts and methods related to ethnographic inquiry, we also reflect on the kind of knowledge we craft, the people whom this knowledge concerns and serves, the protocols for its use, and how our individual subject locations—our differences of gender, sexual orientation, class, race, ethnicity, faith, generation, and nationality—shape the interpretive process.

MUSI 37000: The Musical Language of Olivier Messiaen

Marta Ptaszynska

MW 3:00 p.m. – 4:20 p.m., GoH 205

This course deals in depth with the analysis of the musical language of the composer Olivier Messiaen, one of the most innovative and inspiring composers of the 20th century. It is designed especially for composers, in order to acquaint them with the most important and crucial techniques of the new language of the 20th century. The most fascinating techniques of Messiaen’s music—including his rhythmic concepts, melodic designs, and harmonic structuring—will be of great interest not only for composers, but particularly for theory students occupied with the subjects of new music.

The main focus will be on the analysis of the composer’s most important and representative works, including Quatre Etudes de rhythme, Quator pour le fine du temps, Couleurs de la cite celeste, Reveil des oiseaux, Turanqualila Symphonie, Des canyons aux etoiles, and some scenes from his opera Saint Francois d’Assise.

MUSI 38000: Orchestral Conducting

Barbara Schubert

TTh 1:30 p.m. – 4:20 p.m., LC 703

This year-long course provides an introduction to the art, the craft, and the practice of orchestral conducting. The course is targeted particularly toward graduate students in Music Composition, and toward experienced musicians familiar with the basic orchestral repertoire as well as the fundamental procedures of orchestral playing. Ideally, all students enrolled in the course should have had several years’ experience playing in a symphony orchestra or other musical ensemble. Proficiency in sight-reading and ear-training, as well as basic keyboard skills, are prerequisites for the course, but will not be specifically included in the curriculum.

Through a combination of classroom work and extra ensemble sessions, the student will gain significant practical experience in conducting. Weekly classroom sessions will incorporate singing, keyboard work, and instrumental participation by class members and guest musicians. Important technical exercises will be assigned every week, as well as modest reading selections. Periodic ensemble sessions will involve small groups of eight to twelve players, and occasionally as many as twenty or thirty players. Several short papers and classroom presentations will be assigned each quarter, in conjunction with the background readings and classroom work. In all, the goal is to develop an understanding and appreciation of the serious responsibilities and the creative possibilities linked to the conductor’s role, as well as to promote a basic proficiency in the craft of conducting.

The overall work load of the course is commensurate with a one-third course load per quarter. Students receive course credit only upon completion of the entire year’s work. Students should register for the course in all three quarters; they will receive an ‘R’ in autumn and winter, and a final grade in the spring.

MUSI 37100: History of Music Theory I

Thomas Christensen

M 9:30 a.m. – 12:20 p.m., JRL 264

In this pro-seminar we will survey some major themes that emerge in pre-modern music theory (antiquity to about 1700). Among the topics we will study are the nature and classification of mode, classical canonics (interval theory), rhythm and mensuration, discant and contrapunctus theory, tuning and temperament, and the “periphery” of music theory: musica humana, magic, and the emergence of modern science. (These latter topics will indeed help us critically scrutinize just what we might mean by “music theory” when considered historically.)

Emphasis will always be on the reading and exegesis of primary texts. (For this purpose, knowledge of Latin is always helpful, although all readings will be in English.) But some secondary material will also help guide us. In particular, I invite you to secure ahead of time a copy of the Cambridge History of Western Music Theory that I edited in 2002. While the focus of the course will be upon empirical problems of Medieval and Renaissance music theory, I also hope we can pause to consider a myriad of interrelated disciplinary problems regarding institutional underpinnings of these writings, rhetorical strategies, questions of authorial agency, and codicological issues of textual compilation and reception.

In lieu of any major research paper due at the end of the quarter, students will be expected to submit a number of shorter response essays, a review article, and/or textual analyses. In addition, there will be at least one short oral presentation on some assigned topic during one of the classes. Finally, there may be a take home “exam” at the end of the quarter.

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GRADUATE COURSES

MUSI 41500: Dissertation Proposal Seminar

Lawrence Zbikowski

Autumn 2012 through Spring 2013

The purpose of this seminar is to assist students (typically in their third year) in crafting a dissertation proposal, gaining critical feedback from their peers, and honing compelling research projects. The meeting schedule of the seminar will be flexible: beginning in the fourth week of Autumn term, we will meet about once every two weeks; it may be, however, that we pick up the tempo a bit during Winter term, such that during Spring term we can slow it down a bit to allow students more time to work with their advisors on the formulation of their research projects.

Once I know the schedule of the Department workshops I will schedule the meetings of the DPS to avoid conflicts with classes, workshops and other events, and distribute an initial assignment for reading and discussion.

Participants will include students in Ethnomusicology and History/Theory who are writing dissertation proposals, as well as Composition students working on a Minor Field Paper.

MUSI 43812: Bob Dylan as Musician

Steven Rings

F 9:30 a.m. – 12:20 p.m., JRL 264

Bob Dylan has been the subject of vigorous academic study for over four decades. Countless seminars, books, and articles have puzzled over his words and analyzed his role as a central figure in the 1960s counterculture. But for all of the attention lavished on Dylan the literary and cultural figure, Dylan the musician has been largely ignored. This is perhaps not surprising: Dylan’s words have always seemed ripe for close reading and high-flown interpretation, while his rough-edged, often shambolic music seemingly resists such attention. His song lyrics moreover provide multiple legible connections to his role as a countercultural icon, while the music’s role in that regard, while patent, has been harder to theorize. Still, studying words at the expense of sounds is an inapt approach to an individual who once stated: “the only thing I’ve ever known how to do [is] sing and play. I’m a musician that’s all.” As Dylan enters his sixth decade of incessant performing, composing, and recording, it is high time to develop a scholarly approach to Bob Dylan as a musician.

The course will develop critical and analytical approaches to a range of issues in Dylan’s musical practice. These include matters of voice, prosody and melody, song structure, genre, repetition and variation, musical borrowing, and questions of authorship. We will also explore the ways in which these matters of musical “poetics” are heavily (and multiply) mediated by the social (for example, by the complex class and racial dynamics of the folk revival in the early 60s). In addition to reading a wide range of literature on Dylan and on the study of popular music more generally, we will undertake collective projects in transcription, spectrographic analysis, and comparative study of live and recorded performances.

Coursework includes weekly readings, analytical assignments, and a seminar paper.

MUSI 44312: The Vocal Music of Rossini

Philip Gossett

W 9:30 a.m. – 12:20 p.m., JRL 264

All work on nineteenth-century music begins with editions of that music. One cannot hope to do serious analytical work or cultural study of the music without a knowledge of the techniques used by nineteenth-century editors or those who today prepare “critical editions” of this repertory. The seminar will examine in general terms the relationship between editions and performance, as well as the specific methods of preparation of editions of the music of nineteenth-century composers, both in the German tradition and the Italian and French traditions.

We will concentrate on the works I am responsible for publishing as general editor of The Works of Giuseppe Verdi (a publication of The University of Chicago Press and G. Ricordi of Milan) and Works of Gioachino Rossini (a publication of Bärenreiter-Verlag of Kassel, Germany). As a group we will work in particular on the next volume to appear in the edition of the works of Rossini being published by Bärenreiter, his vocal music through his move to Paris in 1855. The volume, for which I have been collecting published and manuscript materials for several years now, will include BOTH the pieces he wrote to specific texts (such as “Odia la pastorella” or “Sur les flots inconstans”) and pieces he wrote to his favorite album-leaf text, “Mi lagnerò tacendo,” verses by Metastasio that he set to music many times. In each case we will be required to sort through the multiple printed editions and/or manuscripts of each piece and to decide what we will print in the main text of the volume, what we must print as an Appendix, and what information we can give in Critical Notes alone. Members of the class will have the opportunity to work on individual pieces from the volume. Participating in the seminar also will be my co-editor of the volume, Dr. Patricia B. Brauner, who recently retired from her position as Managing Editor of the Rossini edition.

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