Music Program Classes

Fall 2001 Classes at the the Graduate Center

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Music 7000
Bibliography and Research Techniques
Tu, 10-1p, Rm. 3389, 3 credits, Prof. Atlas [60087]
An introduction to what "musicologists" (using that term in its broadest sense) do, this by doing some of the things that some of them do: editing, archival research, sketch studies, codicology, analysis-criticism, book reviewing, etc. A survey of the chief musicological reference tools, journals, histories, etc. Discussion of one or two of the "hotter" topics. A series of short papers and semester-long projects.

Music 71200
Ethnomusicology: Bibliography, Discography, & Documentation
F, 10-1pm, Rm. 3491, 3 credits, Prof. Blum [60088]
The proseminar focuses on problems of coordinating several types of sources in ethnomusicological research. Assignments include a number of exercises and two major projects: a survey of the state of research in one area, and a detailed proposal for a monograph or dissertation. Required of students concentrating in ethnomusicology.

Music 74100
Proseminar in Theory/Analysis: Introduction to Post-tonal Theory
F, 10am-1pm, Rm. 1564, 3 credits, Prof. Lambert [60090]
A survey of basic approaches to post-tonal theory and analysis. The course will focus on music by Webern, Schoenberg, Stravinsky, and others, and on secondary literature by Babbit, Forte, Rahn, Lewin, and others. NOTE - This course is limited to 15, Ph.D. and DMA students at the Graduate School only; NOT open for any permit or non-matriculated students.

Music 76002
Proseminar in Music History: Topics in the Renaissance
(Co-requisite: U81202 - Performance Workshop: Renaissance)
M, 4-6pm, Rm. 3491, 2 credits, Prof. Slavin [60092]
This course will survey some central issues occupying scholars of Renaissance music (including the use of the term "Renaissance"). We will begin by learning the notation of Renaissance polyphony, which will give rise to questions about our historical relationship with music of five centuries ago. Thereafter we will examine three central repertories of music (the French courtly song of the late 15th century; music written for the Catholic church in the late 15th and early 16th centuries; and the 16th-century Italian madrigal), considering how the music was performed and preserved; who listened to it and supported it; how it was constructed; and the intellectual preoccupations and social position of its composers and performers.

Music 81202
Performance Workshop: Renaissance
M, 7:30-9:30pm, Rm. 3491, 2 credits, Prof. Stone [60103]
Note: This course is required of all students in Music 76002 and open to anyone who wishes to take it independently or participate without registering. Works studied in Music 76002 will be performed, from photocopies of 15th- and 16th-century sources, and performance issues will be explored through experimentation. Notational principles will be explained; prior knowledge of Renaissance notation is not required.

Music 81504
Performance Practice: Classical & Early Romantic
Th, 10am-1pm, Rm. 3491, 3 credits, Prof. Erickson [60104]
Study of the traditions of performance practices from 1750-1830, with special emphasis on Mozart and Beethoven. Considerations will be given to the theoretical and practical documents; the development of instruments and related implications for performance practice; questions of tempo, ornamentation, music and dance; and the role of improvisation. Class performances will play a major role in the course.

Music 82000
Analysis for Performers
W, 2-5pm, Room 3389, 3 credits, Prof. Graziano [60105]
Analysis of various works in tonal and post-tonal styles, with emphasis on those aspects (harmonic, melodic, melodic, structural, rhythmic and thematic) that influence performance decisions. Students will prepare works for analysis and performance in class. This course is intended for and required of all students in the DMA Program.

Seminar in Ethnomusicology: Topics in Non-Western Popular Music
M, 2-5pm, Room 3389, 3 credits, Prof. Manuel [60106]
A study of selected non-Western popular music cultures, from the perspective of relevant theoretical approaches, including themes of urbanization, uses of mass media, globalization, modernization, hegemony and resistance, gender, and formal analysis.

Music 83700
Ethnomusicology: Analysis of Rhythm
M, 10-1pm, Rm. 3491, 3 credits, Prof. Blum [60107]
This seminar evaluates several approaches to transcription and analysis with respect to the underlying conceptions of rhythm and form. Assignments include exercises in transcription and analysis as well as readings in rhythmic theory (e.g., Messiaen, Brailoiu, Yeston, Hasty) and the analytic literature on specific musical practices (including Western music of the twentieth century). Each student will make an analytic study of one small repertoire.

Music 85900
Seminar in Theory/Analysis: Advanced Schenkerian Analysis
W, 2-5p, Rm. 3491, 3 credits, Prof. Rothstein [60108]
An advanced course in the theory and practice of Schenkerian analysis. Close readings of Schenker's theoretical and analytical writings, plus a few readings from the secondary literature, will supplement intensive work in analysis. An oral presentation and several written assignments will be required. Prerequisite: Intermediate Schenkerian Analysis or consent of the instructor. A reading knowledge of German is desirable but not required.

Music 86800
Seminar in Music History: Brelioz and the French Operatic Tradition, 1770's-1860's
W, 10am-2pm, Room 3389, 3 credits, Prof. Saloman, [60110]
Hector Berlioz's critical perspectives on past and contemporary operatic developments in Paris will be explored. Musical, dramatic, and aesthetic aspects of operas by Gluck, Le Suer, Mehul, Cherubini, Spontini, Rossini, Halevy, Meyerbeer, and Auber, as well as by Beethoven and Weber as received in Paris, will be considered independently and in relation to particular dramatic works, writings, and criticism by Berlioz. A reading knowledge of French is desirable but not essential.

Music 86900
Seminar in Music History: Gender/Sexuality/Music
Tu, 10am-1pm, Rm. 3491, 3 credits, Prof. Hisama [60112]
An interdisciplinary examination of the ways that issues of gender and sexuality have informed composition, musicology, music theory, and analysis. We will consider a variety of music including Western classical music and popular music in order to investigate how performing musicians, composers, audiences, scholars, critics, and others have consciously or unconsciously understood music to be gendered. This seminar explores and builds upon previous efforts to theorize music using gender as a unit of analysis. Readings by Cusick, McClary, Tick, and others. Enrollment in the seminar will be limited to fifteen students.

Music 87000
Seminar in Music History: Creative Copies & the Anxiety of Influence
Tu, 2-5pm, Rm. 3491, 3 credits, Prof. Kramer [60114]

Music 89200
Composers' Seminar
Th, 2-5pm, Rm. 3491, 3 credits, Prof. Olan [60118]

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