The second quarter explores extensions of harmonic syntax, the basics of classical form, further work with counterpoint, and nondiatonic seventh chords. Musicianship labs in ear training and keyboard skills required.
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 explores topics in the history of music theory from the seventeenth through twentieth centuries (with excursions into the sixteenth and twenty-first centuries as necessary). We will focus on a range of topics, including: scientific empiricism and music theory, musical rhetoric, the transition from modal to tonal thinking, the partimento tradition, harmonic theory in the eighteenth and nineteenth centuries, theories of modulation and tonality, theories of form, theories of musical rhythm, hermeneutic and semiotic approaches to musical analysis. Although secondary literature on these topics will be an important part of the assigned readings, our focus will be on primary sources. Not all of these have been translated, and so a reading knowledge of French and German will be useful. (Of course, secondary sources may be in either of these languages as well.) In additional to doing the readings and participating in class discussion, students will make a short presentation on conceptual material relevant to the course and complete two brief analysis assignments. There will be a final exam similar in design to the theory essay exams given during comprehensives.
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.
MUSI 15300 or equivalent
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.
