Music Program Classes
Preview of Spring 2003 Classes offered at the Other CUNY campuses B=Brooklyn College,
C=City College, H=Hunter College, Q= Queens College.
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Hunter College
MUS 700
Bibliography and Research Technique M 6:10-9:00, Rm. 407 Prof.
Carolyn Guzski
MUS 740.62 Analysis
of Popular Music T 6:10-9:00 Prof. Mark Spicer
MUS 760.67 The
Motet from the Middle Ages to the Counter-Reformation T 6:10-9:00 Prof.
Ruth DeFord
Queens College
MUS 72602 Electronic
Music Studio II M 4:30-7:20, Rm. 302, 3cr, Prof. Hubert Howe
Studio-based electronic music, a continuation of Music 726.1, which may be taken by
students who have not taken 726.1 or who have no previous experience with electronic
music. The course covers sampling, sequencing, music notation software, and some
computer-based audio applications. Assignments include designing a sampler program,
creating a sequence (performance), computer-printed scores and the composition of an
original electronic music work.
MUS 74600 Atonal
Music Th 4:30-7:20, Rm 351, 3cr, Prof. Joseph Straus
MUS 76400 Advanced Orchestration W 4:30-7:20, Rm 310, 3cr, Prof.
Jeff Nichols
MUS 76800
A History Survey M,Th 3-4:15, Rm 351, 2cr, Prof.
Raymond Erickson
MUS 77702 Baroque Performance Practice M 4:30-7:20, Rm 226,
3cr, Prof. Raymond Erickson
MUS 78500 20th Century W 4:30-7:20, Rm 351, 3cr, Prof. Hubert Howe
Music in the latter half of the twentieth century, mainly since World War II. The
course will cover Copland, Sessions, Carter, Messiaen, Boulez, Stockhausen, Berio, Ligeti,
Xenakis and others. Students must give a report on a lesser-known composer, whose work
will also be included in the course.
MUS 79802 Advanced Solfege & Score Reading T,Th 3-3:50, Rm
314, 2cr, Prof. David Gagné
Intensive work in musicianship skills, including but not limited to solfège, reading of
alto, tenor, and soprano clefs, advanced work in rhythm and meter, score reading at the
piano, and singing of tonal and post-tonal melodies. Dictation in one, two, and four parts
Brooklyn College
Music 76402 Analysis of 20th
Century Music: Carter, Ligeti, Birtwistle Th 7:00-9:30, Rm
249-Gershwin, 3 cr, Prof.
Philip Rupprecht
The seminar will explore operatic style in an eclectic group of
later-20th-century works, including Henze, Elegy for Young Lovers
(1961);
Britten, Death in Venice (1973); Adams, Nixon in China (1987) Birtwistle,
The Second Mrs Kong (1996) and Reich/Korot, The Cave (1993), with Berg's
Lulu (1935) serving as a kind of Prologue. We will pay close
attention to issues of dramatic and musical planning (via analysis of
forms, motives, themes, keys), and we will draw on theories of speech,
narrative, and media as they inform recent operatic criticism.
Requirements: Final Paper (15 pages); shorter (5-page) papers; in-class
presentation.
Music 76500 American
Music: American Popular Song W 4:50-7:20, Rm 249-Gershwin, 3 cr, Prof. Jeffrey
Taylor
This seminar will trace the development of the popular song genre in
the U.S. from the Colonial Period to the present. Particular attention will
be paid to the so-called "Golden Era" of popular song (c.
1920-c.1950), and the work of composers and lyricists such as George
Gershwin, Ira Gershwin, Jerome Kern, Richard Rodgers, Lorenz Hart, Harold
Arlen, and Billy Strayhorn. The complex relationship between popular song
and the economic climate of America's evolving music industry will be
explored. Issues related to gender, racial and ethnic stereotyping, and
sexuality will also be addressed. Final projects will be devoted to
songs composed within the last two decades.
Music 78401 Seminar
in Performance Practice: Art Song M 2:00-4:30, Rm 249-Gershwin 3 cr, Prof. Paul
Sperry
The course will be devoted to the song recital - how to develop an
effective program and how to perform it successfully. Issues to be
studied and discussed: how to choose repertoire appropriate for a specific
voice, how to develop a personal repertoire, how to prepare songs for
performance, how to tailor a concert for a specific audience or venue.
Composers to be studied will include: Schubert, Schumann, Brahms, Strauss,
Wolf, Gounod, Debussy, Fauré, Chausson, Duparc, Poulenc, Ives, Barber,
Rorem, Hundley, Cipullo.
Others may be added.
Assignments will consist of learning songs to be performed in class,
presenting possible recital groups in class and discussing them - either by
singing or playing recordings, devising recital programs for various venues
and writing program notes for them. Assigned reading would be The Art
of the Song Recital by Shirlee Emmons and Stanley Sonntag. Record
listening will be assigned. Grades will be based on class
participation and written assignments in a percentage dependent on whether
or not the class is made up exclusively of performers.
A limited number of composers and pianists interested in art song are
invited to participate. Vocalists should be prepared to sing a short piece
at the first classmeeting. Composers should bring an exemplary vocal
composition.
Music 78402 Seminar
in Performance Practice: 20th Century Practices M 3:25-5:55, Rm
366-Gershwin, 3 cr, Prof.
Tania Leon
This course will explore the many stylistic movements and sound
complexities after the 1950's including the emancipation of dissonance,
key, rhythm, sound and texture. It will include discussion
of styles, structures and the totality of distinctive features of a
musical work. Excerpts and representative samples of works will be
discussed from such composers as Cage, Messiaen, Berio, Carter, Henze,
Glass, Pärt, Oliveros, Schnittke, Adams, Guibadulina, Villa-Lobos,
Xenakis, Nancarrow, Revueltas, Murail and Reich, among others.
Study of the Avant-Garde, Electronic Music, Eclecticism, Minimalism and
recent developments of music interactions (ie. Jazz, Multimedia, Rock )
and cultural influences.
Class discussion will cover a broad range of topics including;
contemporary techniques with direct antecedents in the music of the
past, new approach to analysis, and mixed media. Seminar participants
must attend at least three contemporary music concerts and write a
concert report for each. The report should compare techniques and styles
covered in the seminar. Other requirements include class
performance/presentations and individual research paper topics.
City College
MUS 72200 Structures
of Music 2 M 4-6:30, Rm S-177, 2cr, Prof. Shaugn O'Donnell
MUS 74100 Style Criticism 1 W 4-6:30, Rm S-181, 3cr, Prof. David
Bushler
The components of style; musical material, its selection, manipulation and
expressiveness. Characteristics of individual composers and schools as determined by
creative personality, nationality and milieu.
MUS 74200 Style
Criticism 2 W 4-6:30, Rm S-181, 3cr, Prof. David Bushler
The components of style; musical material, its selection, manipulation and expressiveness.
Characteristics of individual composers and schools as determined by creative personality,
nationality and milieu.
MUS 76000 The
Concerto Tu 4-6:30, Rm S-79, 3cr, Prof. John Graziano
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