300-level course has MUTH 232 as its prerequisite; some 400-level
courses have specific 300-level courses as their prerequisites.
A student who wishes to take a 300-level course concurrently with
MUTH 232, or who wishes to take a 400-level course without the
specified 300-level prerequisite, must secure the consent of both
the instructor and the Division Director; such consent will be
given only under exceptional circumstances (this applies to all
students, including transfer and graduate students).
in Composition 3 hours
species approach to strict counterpoint, designed to acquaint
students with fundamental voice-leading techniques of music from
the 16th through the 19th century. The course explores the foundations
of counterpoint, through the five species; students study contrapuntal
techniques through two- and three-part written exercises, class
discussion, and two-part dictation. Students examine passages
from the literature to ascertain the relationship of strict counterpoint
MUTH 232. Consent: Consent of instructor required. Enrollment
1 MUTH-325-01 TuTh 1:30-2:20 Mr. Marvin
2 MUTH-325-01 MWF 10:00-10:50 Mr. Cadwallader
Music of J.S. Bach 3 hours
analytical course on the music of J.S. Bach, with reference to
music of his contemporaries as appropriate. Genres to be investigated
include the chorale and chorale prelude for organ; the canon,
invention, and fugue; prelude, fantasy, and passacaglia; suite
movements; the Baroque concerto; and the Baroque trio sonata.
The latter portion of the semester will focus on expanded and
transformed examples of these compositional techniques as found
in the various solo, duo, and choral movements of Bach's cantatas.
Prerequisites: MUTH 232. Consent: Consent of instructor
required. Enrollment Limit: 20.
2 MUTH-330-01 MWF 1:30-2:20 Mr. Mast
and Analysis 3 hours
course developing techniques of analysis that apply to standard
tonal forms. Structural principles underlying the binary, ternary,
rondo, and sonata forms (including the concerto) are studied in
detail. Prerequisites: MUTH 232. Consent: Consent
of instructor required. Enrollment Limit: 20. Not open
to students who have taken MUTH 343 (String Quartet) or 345 (Mozart).
2 MUTH-340-01 MWF 1:30-2:20 Mr. Alegant
String Quartet 3 hours
course in 18th- and early 19th-century musical form, as manifested
in the string quartets of Haydn, Mozart, Beethoven, and Schubert.
All standard forms except concerto are studied, including binary,
ternary, minuet and trio, sonata, and rondo; however, the emphasis
is upon sonata-based compositions. Class participation and five
short analytical papers are required. Prerequisites: MUTH
232. Consent: Consent of instructor required. Enrollment
Limit: 20. Not open to students who have taken MUTH 340 (Form
and Analysis) or 345 (Mozart).
1 MUTH-343-01 MWF 10:00-10:50 Mr. Darcy
Music of Mozart 3 hours
of the Twentieth Century 3 hours
panoramic survey of the music of Europe and the United States
from 1900 to 1950. Class discussion will focus on compositional
styles and techniques. Prerequisites: MUTH 232. Consent:
Consent of instructor required. Enrollment Limit: 20.
1 MUTH-370-01 TuTh 1:30-2:45 Ms. Rogers
in Contemporary Music 3 hours
course in which certain aspects of Western musical thought from
WW I to the present are examined. Included will be a comparison
of two contrasting modes of musical behavior: music that evolved
out of an orientation toward the rational-mathematical/technological
("Modernism"); and music directed by those forces we speak of
as irrational or intuitive ("Postmodernism"). Representative works
will be studied in score, and pieces employing the techniques
under examination will be written and performed. Prerequisites:
MUTH 232. Consent: Consent of instructor required. Enrollment
2 MUTH-374-01 TuTh 11:00-12:15 Mr. Coleman
Project in Theory: Reading 3 hours
readings in theoretical literature under the supervision of a
Consent of instructor required. Consent from Division Director
required for those with junior status. Enrollment Limit:
Open only to Music Theory majors with senior or junior status.
1 MUTH-410-01 To be arranged Staff
2 MUTH-410-01 To be arranged Staff
Project in Theory: Thesis 3 hours
major analysis project carried out under the supervision of a
project supervisor. Prerequisites: MUTH 410. Consent:
Consent of instructor required. Approval of continuation in the
Music Theory major from the Division Director is also required.
Enrollment Limit: Open only to Music Theory majors.
1 MUTH-411-01 To be arranged Staff
2 MUTH-411-01 To be arranged Staff
and Performance 3 hours
course focuses on the analysis and performance of tonal and non-tonal
music. Selected compositions from the Baroque to the present are
vehicles through which students will learn concepts and explore
the ways in which analysis informs the act of performance. Students
will learn all of the selected works as well as two works of their
own choosing that shall be the subjects for small- and large-scale
projects. Daily preparation involves listening, analysis, score
reading, and in-class discussion. Students will on occasion be
asked to perform in class, and to read articles or chapters from
books. The final project will include a paper and a lecture/ performance.
Enrollment Limit: 16.
1 MUTH-415-01 MWF 1:30-2:20 Mr. Alegant
Beethoven 3 hours
examination, from various analytical viewpoints, of two late Beethoven
works: the Hammerklavier Sonata, Op. 106, and the String
Quartet, Op. 135. A term paper dealing with certain specific
compositional procedures characteristic of late Beethoven in required.
Prerequisites: MUTH 340, 343, or 345. Consent: Consent
of instructor required. Enrollment Limit: 20.
1 MUTH-442-01 TuTh 8:35-9:50 Mr. Hoffmann
Classic/Romantic Piano Concerto 3 hours
to Schenkerian Analysis 3 hours
of the Romantic Era 3 hours
Romantic Symphony 3 hours
analytical study of selected symphonies by 19th-century composers,
including Schubert, Schumann, Brahms, Bruckner, and Mahler. Particular
attention will be given to the concept of "sonata deformation,"
whereby composers deform the 18th-century sonata paradigm for
particular expressive purposes. Class participation and two large
analytical papers are required. Prerequisites: MUTH 340,
343, or 345. Consent: Consent of instructor required. Enrollment
1 MUTH-452-01 MWF 9:00-9:50 Mr. Darcy
Ring Cycle 3 hours
and his Contemporaries 3 hours
of Stravinsky 3 hours
this course, students will study the music of Igor Stravinsky
from a primarily analytical viewpoint. Through in-depth analysis
of selected pieces from each of Stravinsky's three main compositional
periods (Russian, neoclassical, and serial) and through readings
in the music-theoretical literature, students will explore how
the music works and what makes it distinctly "Stravinskian." Stylistic
differences among the compositional periods will be explored,
as will significant compositional techniques that served Stravinsky
throughout his career. Analytical examination will lead to discussions
of performance issues and comparisons of performances (including
any presented by Conservatory ensembles). In addition to studying
selected works in detail, students will become acquainted with
numerous other works by Stravinsky to increase familiarity with
his music and encourage recognition of compositional traits in
a variety of contexts. Analytical exploration of Stravinsky's
music will be enriched through investigation of relevant aspects
of the composer's artistic and personal histories. Students will
read a variety of sources, including texts attributed to Stravinsky
and excerpts from recent historical research.
for the course will include: (1) preparation for class discussion
requiring listening, reading, and musical analysis; (2) written
assignments in the form of brief analyses of musical excerpts
and short essays on musical issues or assigned readings; (3) listening
exams evaluating acquaintance with a broad spectrum of Stravinsky's
works; and (4) a final project consisting of an analytical paper
and a 20-minute class presentation on the same topic.
2 MUTH-475-01 TuTh 1:30-2:20 Ms. Rogers
of Schoenberg 3 hours
study of the method of 12-tone composition: its evolution from
timbral serialism (opus 16, no. 3), "working with tones" (opus
23), to the sophisticated row manipulations of the late dodecaphonic
works. The Variations for Orchestra, opus 31 and the String Trio,
opus 45, will be analyzed in detail. A single, comprehensive analytical
paper, based on a composition of Schoenberg, is required. Prerequisites:
MUTH 370 or 374. Consent: Consent of instructor required.
Enrollment Limit: 20.
2 MUTH-477-01 TuTh 8:35-9:50 Mr. Hoffmann