Music Program Classes
Classes offered at the Graduate Center
in SPRING 2005
Note: In addition to these courses, Graduate Center students
can request permission to take courses at other
CUNY campuses.
Music 76000
Operas of Mozart 3 cr. [66377]
Prof. MacIntyre
Fridays 10am-1pm Room 3491
After surveying Mozart's early operas and their
historical/stylistic contexts, this seminar will focus upon Mozart's
operas for Munich, Vienna, and Prague, with special attention to
dramatic structure and characterization. Relevant
documentation, performance practices, recent criticism, and the ways in
which the operas inform our understanding and performance of Mozart's
instrumental music will also be considered. In-class reports on
assigned readings, score analysis of assigned operas, and individual
term-paper topics.
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 81504
Performance Practice: 20th/21st Centuries 3 cr.
[66386]
Prof. Peress
Thursdays 10am-1pm Room 3491
A selective survey of 20th and 21st century works by Antheil, Bernstein,
Corigliano,
Crumb, Ellington, Feldman, Gershwin, Ives, and Stravinsky. Special emphasis will be given
to American composers whose broad range of vernacular-inspired styles pose interpretive
challenges along-side the technical problems usually faced by the modern performer:
polyrhythms, unusual instrumentation, layered tempi, and aleatoric music. Students will be
asked to prepare applicable works for instrument or voice. NOTE: the first
class meeting will be on February 3, 2005 (not January 27).
Music 82502
History of Theory II 3 cr. [66387]; Permission of
the instructor is required
Prof. Rothstein
Wednesdays 2-5pm Room 3491
A study of eighteenth-and nineteenth-century writings on music theory, with more limited coverage of the 17th and early 20th centuries. Where possible, we will use English translations of primary sources. A translation exercise involving passages in three languages (German, French, and Italian) will be required of Ph.D. students. A term paper, covering some aspect of music theory between 1625 and 1925, is also required.
Music 83900
Current Research in Ethnomusicology 3 cr.
[66388]
Prof. Blum
Thursdays 2-5pm
Each student pursues an independent study project, and meets with the instructor every two or three weeks during the second half of the Thursday afternoon seminar. The first half of each seminar is devoted to group discussion of assigned readings, chosen from recent articles and monographs (and from the bibliographies assembled for the individual projects). Students will also report to the group periodically on their individual projects. Prerequisite: Music 71200.
Music 84000
Seminar in Theory and Composition: Post-War Serialism
3 cr. [66389]
Prof. Nichols and Prof. Straus
Thursdays 2-5pm
This course will focus on serial or twelve-tone music written after 1950, including music by Babbitt, Boulez, Stockhausen, Stravinsky, Carter, and
Martino, with readings in the theoretical and analytical literature. Assignments will include model compositions as well as the usual written
analyses.
Music 85400
Intermediate Schenkerian Analysis 3 cr.
[66390]
Prof. Gagne
Mondays 10am-1pm
Study of structure and style of the sonata-allegro and related forms in the
Classical and early Romantic eras. Weekly assignments in graphing. Prerequisite:
Schenkerian Analysis I or its equivalent.
Music 85600
Analysis of Musical Transformation 3 cr.
[66391]
Prof. Lambert
Fridays 10am-1pm
A study of transformational theories and their application in musical analysis. The course will focus on the work of David Lewin, Henry
Klumpenhouwer, and others, with special emphasis on the usefulness of
their theoretical ideas for the analysis of tonal and post-tonal music. Activities will include collaborative and comparative analyses, oral
presentations on readings, and individual analysis projects. This
course is intended for students who have already taken the fall-semester course at the Graduate Center in basic post-tonal theory or who have the instructor's permission.
Music 86700
Music and Words in the Renaissance 3 cr. [66392]
Prof. Atlas and Prof. Hanning
Wednesdays 10am-1pm
A detailed look at the various ways in which music and words interacted
during the fifteenth, sixteenth, and early seventeenth centuries. Prof.
Atlas will concentrate on the "fixed forms" of the fifteenth
century-mainly French, but also Italian and Spanish-and the many issues
that they raise, including the so-called "abbreviated" rondeau,
combinative chansons, motet-chansons, contrafacta, performance practice,
and problems of authenticity and dissemination in connection with
individual pieces. Prof. Hanning will consider Italian secular music of
the sixteenth and early seventeenth centuries: analysis of the verse
forms of Petrarch, Tasso, Guarini, and others; discussion of the
influence of the semantic and sonic values of their texts on settings
principally of madrigals by humanist composers from Willaert to
Monteverdi. (Prior knowledge of Italian is helpful but not necessary.)
Students will make two formal presentations and submit a short paper in
connection with each one. Finally, students should read the following
items prior to class: (1) the essays by Giamatti and Flescher on Italian
and French versification, respectively, in Versification: Major Language
Types, ed. W.K. Wimsatt (New York: MLA and New York University Press,
1972), and (2) the article by Leeman Perkins, "Towards a Theory of
Text-Music Relations in the Music of the Renaissance," in Binchois
Studies, ed. Andrew Kirkman and Dennis Slavin (Oxford: OUP, 2000).
Music 87000
Creative Copies and the Anxieties of Influence
3 cr. [66393]
Prof. Kramer
Tuesdays 10am-1pm
The wording above borrows from the title of a stunning exhibition at the
Drawing Center in 1988 and from a classic study by Harold Bloom.
Beginning with the idea of mimesis in Plato and Aristotle, we will
investigate theories of influence from the Renaissance to our own time,
and will study a spectrum of music exemplifying, among other things,
parody in the 16th century, homage and modeling in the 18th, allusion,
quotation and appropriation in the 19th and 20th centuries, and the
related issue of "arrangement" and "Retusche," all
the while exploring the obscure dialogues that works of art conduct
among themselves, and interrogating what others have had to say about
them.
Music 87300
American Musical Theatre 3 cr. [66394]
Prof. Graziano
Tuesdays 2-5pm
An examination of musical theater in the United States, beginning with the
early minstrel shows and The Black Crook, and continuing with the
operettas of Offenbach and comic operas of Gilbert and Sullivan.
Twentieth-century book musicals are the main focus of the rest of the
semester, but wealso examine their relationship to revues and
extravaganzas. The main text is The Cambridge Companion to Musical
Theater, ed. William Everett and Paul Laird, with readings from
other texts as well. There are three written assignments: a report on an
article that discusses some aspect of musical theater, a reception
paper, and a free topic paper. Enrollment is limited to fifteen.
Music 88400
Music of the Hispanic Caribbean 3 cr.
[66395]
Prof. Manuel
Mondays 2-5pm Room 3491
A study of traditional and contemporary musics of Cuba, Puerto Rico, and
the Dominican Republic, as flourishing in the Caribbean and the USA
(including salsa), incorporating historical, sociological, and
musicological perspectives.
Music 89000 Special Problems in Composition/ Composition Tutorial
1-12 cr.
Music 89200
Composers Forum 0 cr. [66397]
Prof. Olan
Thursdays 5-7pm
The Composers Forum features a series of lectures by prestigious composers and scholars of
20th-century and contemporary music. The meetings of the Composers Forum are open to the
public. Note that the Composers Forum does not meet every Thursday, but only on selected
dates; the specific dates and events may be found on the Composers Forum page.
Music 90000
Dissertation Supervision cr.
Classes of previous semesters:
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
