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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). Music Skills Courses All students 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 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 be placed on a waiting list until their testing has been completed. Because Aural Skills I-IV and Music Theory I-IV are linked, students must take Aural Skills I (MUTH 101) concurrently with Music Theory I (MUTH 130 or 131), Aural Skills II (MUTH 102) concurrently with Music Theory II (MUTH 132), 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. 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: Placement by Aural Skills/Sight-Singing Test 1. Co-requisite: MUTH 130 or 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 130 or 131 and MUTH 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
All students 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 130 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 (MUTH 130 or 131) concurrently with Aural Skills I (MUTH 101), Music Theory II (MUTH 132) concurrently with Aural Skills II (MUTH 102), 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. Lower-Division Courses 120. Introduction to Music Theory 2 hours 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. Ms. Rinehart 130. Intensive Music Theory I 3 hours First Semester. Intensive review of the rudiments of music including: clefs, notation, meters and their signatures; key signatures, scales, intervals, triads, and seventh chords. Introduction to counterpoint; tonic, dominant, leading-tone, subdominant, and supertonic triads; the dominant-seventh chords (including inversions); and the cadential six-four chord. Introduction to phrase and period structure. Meets five days per week. Prerequisite: Placement by Music Theory Placement Test 1. Co-requisite: MUTH 101. Enrollment Limit: 20. Preference given to students for whom music theory is a required subject. Mr. Alegant, Mr. Cadwallader, 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: Placement by 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 130 or 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 130 or 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
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. Cox 340. Form and Analysis 3 hours First 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). Ms. Rifkin 342. Rhythmic Theory 3 hours Second Semester. The course introduces several topics in contemporary rhythmic theory and develops students' skills in techniques of rhythmic analysis and performance. The first module focuses on metric hierarchy in tonal music. Students are introduced to the distinction between grouping and meter, the concept of hypermeter, metric dissonance/resolution, and the relation between metric and tonal hierarchies. Emphasis is placed on practical analytical skills that are applied to pieces from the standard tonal repertoire. Each student completes an analysis project focusing on a piece that s/he is preparing for performance. The second module focuses on non-hierarchical metric structures. Students are introduced to irregular pulses, stable polymeters, phase shifts, mensural theories, and simple mathematical models. Emphasis is placed on both analytical and performance skills. Each student completes an analysis/performance project focusing on pieces drawn from African, Latin-American, or twentieth-century/contemporary repertoires. Prerequisites: MUTH 232 and MUTH 202. Consent of the instructor required. Enrollment Limit: 15. Mr. Lubben 343. The String Quartet 3 hours Second Semester. A 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 of the instructor required. Enrollment Limit: 20. Not open to students who have taken MUTH 340 (Form and Analysis) or 345 (Mozart). Mr. Darcy 345. The Music of Mozart 3 hours Next offered 2004-2005. 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. Rogers, Ms. Leydon 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 Next offered 2004-2005. 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 Next offered 2004-2005. 448. Introduction to Schenkerian Analysis 3 hours Next offered 2004-2005. 450. Music of the Romantic Era 3 hours Second 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. 477. Music of Schoenberg 3 hours First Semester. A 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, op-us 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. Prerequisite: MUTH 370 or 374. Consent of instructor required. Enrollment Limit: 20. Mr. Hoffmann |
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