Music Program Classes
Fall 2002 Classes offered at the Graduate Center
Note: In addition to these courses, Graduate Center students can request permission to
take courses at other CUNY campuses.
|
Monday |
Tuesday |
Wednesday |
Thursday |
Friday |
10am-
1pm |
Music 71200
Research Techniques in Ethnomusicology
Prof. Blum
3 cr., rm. 3491
Music 82501
History of Music Theory
Prof. Deford
3 cr., rm. 3389
|
Music
74500
Schenker I
Prof. Burstein
3 cr., rm. 3491
|
Music
83200
Cross-Cultural Studies of Composition
Prof. Blum
3 cr., rm. 3491
|
Music
81502
Baroque Perfomance Practice
Prof. Erickson
3 cr., rm. 3491
|
|
2pm-
5pm |
Music
88400
Music of the Hispanic Caribbean
Prof. Manuel
3 cr., rm. 3491 |
Music
70000
Bibliography
Prof. Atlas
3 cr., rm. 3389
Music 86700
Beethoven Inside- Out
Prof. Kramer
3 cr., rm. 3491
|
Music
85700
Rhythm in Tonal Music
Prof. Rothstein
3 cr., rm. 3491
Music 86100
American Orchestral Music
Prof. Graziano
3 cr., rm. 3389
|
Music
89100
Composers Seminar
Prof. Saylor
3 cr., rm. 3491 |
|
70000 Bibliography and
Research Techniques Tues 2-5 Prof. Allan Atlas 3 cr., rm 3389
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.
71200 Research Techniques in Ethnomusicology Mon
10-1 Prof. Stephen Blum 3 cr., rm 3491
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.
74500 Proseminar in Theory/Analysis: Introduction
to Schenkerian Analysis Tues 10-1 Prof.
L. Poundie Burstein 3 cr., rm 3491
An introduction to the practice of Schenkerian analysis, including discussion of its
notation, terminology, and techniques. Assignments will involve intensive analyses of
works and excerpts of works from the Western tonal repertoire. Students entering the class
should have a strong background in harmony and counterpoint. 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).
81001 Studio Tutorial (Room and Campus TBA) Staff 3 cr.
81002 Studio Tutorial (Room and Campus TBA) Staff 3 cr.
81003 Studio Tutorial (Room and Campus TBA) Staff 3 cr.
81004 Studio Tutorial (Room and Campus TBA) Staff 3 cr.
81101 Ensemble (Room and Campus TBA) Staff 1 cr.
81102 Ensemble (Room and Campus TBA) Staff 1 cr.
81103 Ensemble (Room and Campus TBA) Staff 1 cr.
81104 Ensemble (Room and Campus TBA) Staff 1 cr.
81502 Performance
Practice: Baroque Thurs 10-1 Prof. Raymond Erickson 3 cr., rm. 3491
This course, intended for performers, will approach various issues in Baroque performance
practice primarily through the music of J.S.Bach. Issues to be dealt with include: Baroque
instruments and vocal and instrumental technique, dances and dance music, national styles,
ornamentation, and continuo playing.
8250 History of Music Theory
I Mon 10-1 Prof. Ruth DeFord 3 cr., rm. 3389
This course focuses on three broad issues in music theory from ancient times to ca. 1600:
(1) concepts of pitch, including interval measurement, tuning systems, musica ficta, and
the chromatic and enharmonic genera; (2) theories of counterpoint; and (3) mode. It
emphasizes conflicting opinions, both among early theorists and among their modern
interpreters, with the objective of discovering the (often unstated) assumptions that
underlie these conflicts. Relationships of theory to composition and performance practice
are also considered.
83200 Seminar in Ethnomusicology: Cross-cultural
Studies of Musical Composition Wed 10-1 Prof. Stephen Blum 3 cr.,
rm. 3491
This seminar examines attitudes toward composing and toward interpretation of existing
compositions in societies of various types. Among the topics treated are (1) the
structuring of rituals, (2) compound musical forms in Asia and Africa, (3) nationalist
projects in Europe and the Americas.
85700 Seminar in Theory/Analysis: Rhythm in Tonal Music Wed 2-5 Prof. William Rothstein
3 cr., rm. 3491
This seminar will examine several theoretical traditions that seek to explain the nature
of rhythmic and metric processes in tonal music. Following a brief survey of 18th- and
19th-century rhythmic theories, attention will focus on theorists writing after 1900.
Theoretical concepts will be applied to analysis. Participants will determine
what insights might be gained from each theoretical perspective, and why it remains
difficult for theorists to arrive at a consensus regarding rhythmic phenomena.
Prerequisite: One semester of hands-on study of Schenkerian
analysis, or permission of instructor. A reading knowledge of German is preferred
but not required.
NOTE: This seminar does NOT count as Schenker 3. Schenker 3 is
now a separate course, offered every other fall (once every four semesters).
86100 Seminar in Music History: American Orchestral Music, 1790-1990 Wed 2-5 Prof. John
Graziano 3 cr., rm. 3389
A detailed survey of symphonic music in the United States from the end of the eighteenth
century to the end of the twentieth century. We will explore the types of music written
through the latter part of the nineteenth century, by composers such as Hommann, Heinrich,
Fry, Stoepel, and Bristow, as well as the composers of the second New England School,
including Beach, Chadwick, Parker, Paine, and Foote, and New York composer Edward
MacDowell. The survey of twentieth century composers includes those active during the
first half of the century (Griffes, Carpenter, Copland, Harris, etc.), as well as those
associated with new trends in the last half (Foss, Glass, Adams, DelTredici, Torke, etc.).
Two major papers and class presentations are required.
86700 Seminar in Music History: After
Enlightenment: Beethoven Inside-Out Tues 2-5 Prof. Richard Kramer 3
cr., rm. 3491
Commonly read as testaments of the Revolution and its aftermath, Beethoven's music
interrogates Enlightenment aesthetics in convoluted, deeply personal confessionals.
We study these convolutions in such works as the Bonn cantatas; some early songs; the
Sonata "quasi una fantasia"in C-sharp minor ("Moonlight"); Leonore/Fidelio;
the Incidental Music for Goethe's Egmont; the String Quartet in F minor (Opus
95); some folksong settings; the Missa solemnis; some later songs; the Ninth Symphony; the
String Quartet in B-flat, Opus 130. Topics will be amplified in a range of readings,
of Beethoven's time and ours, from the perspectives of critic, historian,biographer,
theorist.
88400 Regional Studies: Music
of the Hispanic Caribbean Mon 2-5 Prof. Peter Manuel 3 cr., rm. 3491
89000 Independent Study and Composition Tutorial (Room and
Campus TBA) Staff 1-12cr.
89100 Composers Seminar
Thurs 2-5 Prof. Bruce Saylor 3 cr., rm. 3491
90000 Dissertation Supervision (Room and Campus TBA) Staff 1cr.
Click here to see the list of Spring 2002
classes.
Click here to see the list of Fall 2001 classes at
the Graduate Center.
The complete Fall 2002 schedule may also be found at https://banner.gc.cuny.edu/schedule_range.htm.
Music Programs • The Graduate Center,
CUNY
365 Fifth Avenue • New York, New York 10016-4309
(212) 817-8590 • music@gc.cuny.edu
