Theory

This course focuses on the tonal language of nineteenth-century European composers, including Schubert, Chopin, Brahms, and Wagner. Students confront analytical problems posed by these and other composers' increasing uses of chromaticism and extended forms through traditional (classical) models of tonal harmony and form, as well as alternative approaches specifically tailored to this repertory. We will also address the ways in which these analytical perspectives might impinge on or influence matters of performance; students with a performance background will be invited to propose a final project that involves both performance and analysis.

The third quarter undertakes the study of modulation, sequences, and additional analysis of classical forms. Musicianship labs in ear training and keyboard skills required.

The third quarter undertakes the study of modulation, sequences, and additional analysis of classical forms. Musicianship labs in ear training and keyboard skills required.

This course will meet asynchronously; attendance at any scheduled lectures and tutorials is completely optional and will have no bearing upon the student’s grade. Lectures will be given live and scheduled at times that accommodate the majority of students’ schedules. They may be attended via Zoom, but they will be recorded and made available for viewing at each student’s leisure. Further optional tutorials will be scheduled at student’s best convenience. Once again, attendance is not compulsory and will have no bearing upon the course grade.

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.

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.

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.

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.)

This course focuses on the knowledge necessary to improvise over the chord changes of standard jazz tunes. We cover basic terminology and chord symbols, scale-to-chord relationships, connection devices, and turn-around patterns. For the more experienced improviser, we explore alternate chord changes, tritone substitutions, and ornamentations. Using techniques gained in class, students write their own solos on a jazz tune and transcribe solos from recordings. All instruments are welcome, and students should write to the instructor prior to the first class to let them know their instrument.