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Music
Theory
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A series
of tests is used to determine initial placement in a music theory
course (Music Theory Placement Tests 1-4) and an aural skills course
(Aural Skills and Sight-Singing Placement Tests 1-3). These tests
may be taken only once, to determine initial placement in course
sequences. Some courses in the Music Theory Division are consent
courses; students obtain consent from the Divisional Secretary (not
the instructor).
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Music
Skills Courses
All
students enrolled in the Conservatory (including Double-Degree
and Transfer students), as well as College Music Majors and students
enrolled in the College of Arts and Sciences who wish to elect
a course in Aural Skills, are required to take Aural Skills Placement
Test 1, Parts A and B. Depending on the results, a student may
be asked to take Sight-Singing Placement Test 1. Together, these
tests determine whether a student should begin with MUTH 100,
101, or 102. Similarly, Aural Skills and Sight-Singing Placement
Tests 2 and 3 may determine that a student should begin with MUTH
201, 202, or 301. A student who lacks an aural skills placement
test score will not be allowed to pre-register for an aural skills
course, but will be placed on a waiting list.
Because Aural Skills I-IV and Music Theory I-IV are linked, students
must take Aural Skills I concurrently with Music Theory I, Aural
Skills II concurrently with Music Theory II, etc. Under certain
circumstances, a student may be allowed to take Aural Skills IV
and Music Theory IV separately; this requires the permission of
both the appropriate division director and the Music Theory division
director.
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Course
Listings
100. Introduction to Aural Skills 1 hour
First
Semester. Introduction to aural understanding through
singing, movement, writing, dictation, and the rudiments of
music notation. Diatonic major and minor scales and keys,
stepwise movement of soprano and bass, the tonic triad and
its arpeggiation, simple intervals, introduction to rhythm
and meter, treble and bass clefs. Prerequisite: Placement
by Aural Skills Test 1. Consent of instructor required.
Enrollment Limit: 12. Preference given to students for
whom aural skills is a required subject.
Ms.
Rinehart
101. Aural Skills I 1 hour
First
and Second Semester. Development of aural understanding
through singing, conducting, improvisation, and dictation. The
melodic line, simple two-line combinations, rhythmic phrases,
scales and triads, tonic and dominant arpeggiation, diatonic
intervals, simple and compound meters, treble and bass clefs,
cadences, phrases, sentences, and periods. Prerequisite:
MUTH 100 or placement by Aural Skills/Sight-Singing Test 1.
Co-requisite: MUTH 131. Enrollment Limit: 12.
Preference given to students for whom aural skills is a required
subject.
Staff
102. Aural
Skills II 1 hour
First
and Second Semester. A continuation of MUTH 101. The
minor mode, arpeggiation of the subdominant and supertonic triads
and the cadential six-four, tonicization of or modulation to
V in major and III in minor, diatonic sequences, chromatic simple
intervals and diatonic compound intervals, more elaborate divisions
of the beat, less usual meters, polyrhythm, small binary forms,
introduction to the alto clef. Prerequisite: MUTH 101
or placement by Aural Skills/Sight-Singing Test 1. Co-requisite:
MUTH 132. Enrollment Limit: 15. Preference given to students
for whom aural skills is a required subject.
Staff
201. Aural Skills III 1 hour
First
and Second Semester. A continuation of MUTH 102. Three-line
combinations, arpeggiation of all diatonic triads and the leading-tone
seventh chord, major-minor mode mixture, diatonic modulation
to all closely related keys, aural analysis of short pieces,
more complex meters, the tenor clef. Prerequisite: MUTH
102 or placement by Aural Skills/Sight-Singing Test 2. Co-requisite:
MUTH 231. Enrollment Limit: 15. Preference given to students
for whom aural skills is a required subject.
Staff
202. Aural Skills IV 1 hour
First
and Second Semester. A continuation of MUTH 201. Four-line
combinations, chromaticism, Neapolitan and augmented sixth
chords, quintuplets and septuplets, unequal beats, all chromatic
simple and compound intervals from any degree of the scale,
aural analysis of longer pieces, improvisation emphasizing
memorization and sense of form, score reading with at least
two simultaneous C clefs, score memorization. Prerequisite:
MUTH 201 or placement by Aural Skills/Sight-Singing Test 2.
Co-requisite: MUTH 231. Enrollment Limit: 15.
Preference given to student for whom aural skills is a required
subject.
Staff
210. Solfege-Eurhythmics 2 hours
Second
Semester. An approach to sight singing based on pedagogical
principles devised by the Swiss composer, Emile Jaques-Dalcroze.
Emphasis on the development of rhythmic and pitch sensitivity
through exercises using physical movement. Recommended for
students wanting to improve their sight-singing skills and/or
to gain experience with the Dalcroze method. Prerequisites:
MUTH 131 and 101, or the equivalent. Enrollment Limit:
12.
Mr.
Moore
211. Eurhythmics 1 hour
First
Semester. A study of music based on the principles
of Emile Jaques-Dalcroze emphasizing the development, by means
of physical motion, of sensitivity to rhythm, melody, phrasing,
form, etc. Other emphases include the internalization of the
rhythmic sense and the development of precision in ensemble
work and of physical coordination as it applies to the student's
performing medium. Preference given to Conservatory students
and College music majors. Enrollment Limit: 12.
Mr.
Moore
301. Aural Skills V 1 hour
First
and Second Semester. A continuation of MUTH 202. Chromatic
and atonal materials, ametric compositions, more complex polyrhythms
and meter changes, introduction to the soprano clef, score
reading involving transposing instruments. Prerequisite:
MUTH 202 or placement by Aural Skills/Sight-Singing Test 3.
Enrollment Limit: 15. Preference given to students
for whom aural skills is a required subject.
Mr.
Moore
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Music
Theory Courses
All
students enrolled in the Conservatory (including Double-Degree,
Transfer, and Graduate students), as well as College Music Majors
and students enrolled in the College of Arts and Sciences who
wish to elect a course in Music Theory, are required to take
Music Theory Placement Test 1. This test determines whether
a student should begin with MUTH 120 or 131 or should attempt
the next placement test. Similarly, Music Theory Placement Tests
2, 3, and 4 may determine that a student should begin with MUTH
132, 231, or 232. Transfer and graduate students who score high
enough on Music Theory Placement Test 4 will be placed into
a 300-level upper-division course with the consent of the Director
of the Music Theory Division.
Because Music Theory I-IV and Aural Skills I-IV are linked,
students must take Music Theory I concurrently with Aural Skills
I, Music Theory II concurrently with Aural Skills II, etc. Under
certain circumstances, a student may be allowed to take Music
Theory IV and Aural Skills IV separately; this requires the
permission of both the appropriate division director and the
Music Theory division director.
n director and the Music Theory division director.
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Lower-Divison
Courses
120. Introduction
to Music Theory 2 hours
First
and Second Semester. A course in the rudiments of music
including: clefs; notation; transposition; meters and their
signatures; intervals; scales and modes; triads and seventh-chords;
introduction to figured-bass. Written assignments, keyboard
exercises, and classroom aural and singing drills. Prerequisites:
Placement by Music Theory Placement Test 1, and the ability
to read music. Consent of instructor required. Enrollment
Limit: 25. Preference given to students for whom music theory
is a required subject.
Ms.
Rinehart
131. Music Theory I 3 hours
First
and Second Semester. Introduction to counterpoint; tonic,
dominant, leading-tone, subdominant, and supertonic triads;
the dominant-seventh chord (including inversions); and the cadential
six-four chord. Introduction to phrase and period structure.
Analytical, writing, dictation, and keyboard harmony skills
are introduced and developed. Prerequisite: MUTH 120
or a passing score on Music Theory Placement Test 1. Co-requisite:
MUTH 101. Enrollment Limit: 20. Preference given to students
for whom music theory is a required subject.
Staff
132. Music Theory II 3 hours
First
and Second Semester. Continuation of MUTH 131, including
remaining diatonic triads, supertonic- and subdominant-seventh
chords, tonicization of V in major and minor and of III in minor;
special six-three and six-four chord usages; small binary and
ternary forms. Analytical, writing, dictation, and keyboard
harmony skills are developed. Prerequisite: MUTH 131
or a passing score on Music Theory Placement Test 2. Co-requisite:
MUTH 102. Enrollment Limit: 20. Preference given to students
for whom music theory is a required subject.
Staff
231. Music Theory III 3 hours
First
and Second Semester. Continuation of MUTH 132, including
melodic and rhythmic figuration, modal mixture, the diminished-seventh
chord, remaining diatonic seventh chords, applied dominant and
leading-tone chords, and diatonic modulation; introduction to
fugue and sonata form. Analytical, writing, dictation, and keyboard
harmony skills are developed. Prerequisite: MUTH 132
or a passing score on Music Theory Placement Test 3. Co-requisite:
MUTH 201. Enrollment Limit: 20. Preference given to students
for whom music theory is a required subject.
Staff
232. Music Theory IV 3 hours
First
and Second Semester. First module: continuation of MUTH
231 emphasizing chromatic harmony and voice-leading techniques,
including the Neapolitan and augmented-sixth chords, chromatic
mediants and submediants, common-tone chords, augmented triads,
etc. Second module: introduction to techniques of twentieth-century
music. Prerequisite: MUTH 231, or a passing score on
Music Theory Placement Test 4. Co-requisite: MUTH 202.
Enrollment Limit: 20. Preference given to students for
whom music theory is a required subject.
Staff
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Upper-Divison
Courses
Each
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).
325. Counterpoint in Composition 3 hours
Second
Semester. A 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 to free
composition. Prerequisite: MUTH 232. Consent of instructor
required. Enrollment Limit: 15.
Mr.
Marvin
330. The Music of J.S. Bach 3 hours
Next
offered 2003-2004.
340. Form and Analysis 3 hours
First
and Second Semester. A 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. Prerequisite: MUTH
232. Consent of instructor required. Enrollment Limit:
20. Not open to students who have taken MUTH 343 (String Quartet)
or 345 (Mozart).
Mr.
Lubben, Mr. Brown
343. The String Quartet 3 hours
Next
offered 2003-2004.
345. The Music of Mozart 3 hours
First
Semester. A course in 18th-century musical form, as manifested
in the music of Mozart. All the standard forms are studied,
including binary, ternary, minuet and trio, sonata, rondo and
concerto; however, the emphasis is upon sonata-based compositions.
Class participation and five short analytical papers are required.
Prerequisite: MUTH 232. Consent of instructor required.
Enrollment Limit: 20. Not open to students who have taken
MUTH 340 (Form) or 343 (String Quartet).
Mr.
Darcy
370. Music of the Twentieth Century 3 hours
First
and Second Semester. A panoramic survey of the music
of Europe and the United States from 1900 to 1950. Class discussion
will focus on compositional styles and techniques. Prerequisite:
MUTH 232. Consent of instructor required. Enrollment
Limit: 20.
Ms.
Leydon, Mr. Alegant
374. Trends in Contemporary Music 3 hours
Second
Semester. A 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. Prerequisite:
MUTH 232. Consent of instructor required. Enrollment
Limit: 20.
Mr.
Coleman
375. Music of Stravinsky 3 hours
Second
Semester. An analytical course on the music of Igor
Stravinsky. Analysis, listening, and study of theoretical
and historical writings will highlight stylistic changes while
revealing the consistent use of significant compositional
techniques recognized as Stravinskian trademarks. Work for
the course includes regular preparation for class discussion,
written analyses, a class presentation, and a listening exam.
Prerequisite: MUTH 232. Consent of instructor required.
Enrollment Limit: 20.
Ms.
Rogers
410. Senior Project in Theory: Reading 3 hours
First
and Second Semester. Extensive readings in theoretical
literature under the supervision of a project supervisor.
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.
Staff
411. Senior Project in Theory: Thesis 3 hours
First
and Second Semester. A major analysis project carried
out under the supervision of a project supervisor. Prerequisite:
MUTH 410. 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.
Staff
415. Analysis and Performance 3 hours
First
Semester. The 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.
Mr.
Alegant
442. Late Beethoven 3 hours
Second
Semester. The 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. Prerequisite:
MUTH 340, 343, or 345. Consent of instructor required.
Enrollment Limit: 20.
Mr.
Hoffmann
444. The Classic/Romantic Piano Concerto 3 hours
Next
offered 2003-2004.
448. Introduction to Schenkerian Analysis 3 hours
First
Semester. An introduction of the theories of Heinrich
Schenker through analysis, reading, lectures, and class discussion.
The main sources are Oswald Jonas' Introduction and
Schenker's Five Graphic Music Analyses. Music analyzed
is principally from works by composers of the 18h and 19th
centuries. Prerequisites: MUTH 232. A course in form
(MUTH 340, 343, or 345) or counterpoint (especially MUTH 323)
is strongly recommended. Consent of instructor required.
Enrollment Limit: 20.
Mr.
Cadwallader
450. Music of the Romantic Era 3 hours
First
Semester. The music dealt with will include late
works by Beethoven and Schubert, and shorter pieces (possibly
individual movements) by Brahms, Wagner, and Mahler. The
course will involve analysis of the music and one or more
analytical papers. Prerequisite: MUTH 340, 343, or
345. Consent of instructor required. Enrollment
Limit: 20.
Mr.
Hoffmann
452. The Romantic Symphony 3 hours
Next
offered 2004-2005.
460. Wagner's Ring Cycle 3 hours
Next
offered 2004-2005.
471. Debussy and his Contemporaries 3 hours
Next
offered 2003-2004.
477. Music of Schoenberg 3 hours
Next
offered 2003-2004.
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