Music Program Classes
Classes offered at the Graduate Center
in FALL 2006
Note: In addition to these courses, Graduate Center students
can request permission to take courses at other
CUNY campuses.
Click here for Spring 2006 classes.
Music 71200
Research
Techniques in Ethnomusicology
Prof. Blum
Mondays 10am-1pm Room 3491
This proseminar focuses on problems of coordinating several types of sources
in ethnomusicological research. Assignments include a number of exercises
and a survey of the state of research in one area.
Music 74500
Introduction to Schenkerian Analysis
Prof. Anson-Cartwright
Wednesdays 10am-1pm Room 3491
The course provides a practical introduction to Schenker’s theory of
structural levels, with an emphasis on graphic
analysis through weekly assignments. Readings from Schenker’s writings
and from Allen Cadwallader & David Gagne’s book, Analysis of Tonal
Music, will be assigned.
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.
Music
82000
Analysis for Performers
Prof. Carey
Tuesdays 2-5pm Room 3491
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.
Music
82501 History of Theory 1
Prof. Erickson
Mondays 2-5pm
Room 3389
This course focuses on several broad issues in music theory from ancient
times to ca. 1600: (1) the ancient Greek theory of harmonics and its
continuing influence in the medieval and Renaissance periods; (2) modal
theory from the ninth century to Zarlino; (3) the theory of organum from
the Enchiriadis treatises
to Notre Dame; (4) Renaissance counterpoint and the challenge presented
by Vincenzo Galilei. Students will have substantial weekly readings of
texts in translation and will submit a final paper of 15-20 pages.
Music
83100
Seminar in Ethnomusicology: Women and Music
Prof. Hampton
Wednesdays 2-5pm Room 3389
Music 84200
Current Trends in Music Theory
Prof. Straus
Fridays 10am-1pm
Room 3491
A survey of recent developments in the field of Music Theory.
Topics may include transformation theory, neo-Riemannian theory,
Klumpenhouwer networks, atonal voice leading, embodiment, theoretical
approaches to jazz, rock, pop, non-Western, and early music, recent
theories of tonal form, semiotics, chromatic harmony, gender and
sexuality, analysis and performance, and perception and cognition. The
course will feature guest lectures from within and outside CUNY.
Music
85300
Seminar in Theory/Analysis: Rhythm in Tonal Music
Prof. Rothstein
Wednesdays 2-5pm
Room 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.
Music
86000
Seminar in Music History: The Movie Musical
Prof. Graziano
Thursdays 2-5pm
Room 3491
An examination of movie musicals and
movies with music from 1928 through the 1990s. We will survey the
different genres seen on film, including the musical short and animated
musicals, and analyze the structure of original book musicals, those
adapted from Broadway, and movies with music, and the music that is
heard as the underscore and as part of the musical. There will be two
papers and several class presentations required. Limited to 15 students.
Music 86500
Seminar in Music History: The Poetic Imagination: Schubert, Schumann and the
Beginnings of Romanticism
Prof. Kramer
Thursdays 10am-1pm
Room 3491
For Schubert and Schumann, born a few years apart, the
breach was huge. For each, the poem is the thing, igniting the musical
image. We shall examine the Romantic temperament as self-conscious,
self-fulfilling phenomenon. We shall explore the grand cycles, and the
idea of cycle itself: Schubert’s Schöne Müllerin, Winterreise,
and the two cycles within Schwanengesang, one by Rellstab, the
other by Heine; Schumann’s Liederkreis (Eichendorff), Opus 39,
Dichterliebe (Heine), and Frauenliebe und -Leben (Chamisso);
and the poetry of Goethe, Schiller, Hölty, Novalis and others. We shall
investigate works of other genres: sonata, fantasy, opera, symphony.
Readings will include the great contemporary critics (E. T. A. Hoffmann,
the Schlegels, Schumann himself) and recent critical studies by Daverio,
Rosen, L. Kramer, B. Hoeckner, among others. (Knowledge of German
helpful but not required.)
Music
88500
Composers Seminar
Prof. Del Tredici
Thursdays 4-7pm Room 3491
THEA 86000
Kurt
Weill and his Collaborators
Prof. David Savran
Tuesdays 2-5pm Theatre Department (see
http://web.gc.cuny.edu/theatre/courses/f2006.html for details).
Among writers of music theatre in the twentieth
century, Kurt Weill (1900-1950) had the most wide-ranging and formidable
group of collaborators, including many of the most important
playwrights, directors, and actors working on both sides of the
Atlantic. Emigrating from Berlin to Paris to New York, Weill transformed
himself from a leftist, cosmopolitan modernist into a proudly American
innovator and populist who helped refashion the Broadway stage. More
than the work of any other composer, Weill’s brings into focus virtually
all the challenges facing the progressive artist during the first half
of the twentieth century, including questions of political engagement,
the appropriation of popular genres and styles, the relationship between
avant-gardism and high modernism, and emigration and exile. This course
will center on these themes while tracing Weill’s collaborations with
Bertolt Brecht, Georg Kaiser, Max Reinhardt, Lotte Lenya, Maxwell
Anderson, Moss Hart, Ira Gershwin, Gertrude Lawrence, Elmer Rice,
Langston Hughes, Elia Kazan, and others. Works to be studied include
The Threepenny Opera, The Rise and Fall of the City of Mahagonny,
Der Jasager (He Who Says Yes), Der Lindberghflug (The
Lindbergh Flight), Johnny Johnson, Lady in the Dark,
Street Scene, and Lost in the Stars. Written assignments
will include four response papers and a 15-page final research paper.
Given the archives of the Kurt Weill Foundation for Music in New York
City, this course aims to provide an opportunity for students to develop
publishable scholarship.
Classes of previous semesters:
Spring 2005,
Fall 2004, Spring 2004, Fall
2003, Spring
2003, Fall 2002,
Spring 2002, Fall
2001.
Music Programs • The Graduate Center,
CUNY
365 Fifth Avenue • New York, New York 10016-4309
(212) 817-8590 • music@gc.cuny.edu
