RE: ELECTIVE REQUIREMENT FOR THE BA IN MUSIC (MUSICOLOGY/HTCC) The following seminars and tutorials may count toward fulfilling the elective requirement for the BA in MUSIC with a focus in Musicology/HTCC. In addition, a maximum of 3 credits of MUSC 160/5 Performance Organization; a maximum of 3 credits of applied study; and one 3- credit, 300-level course in another humanities or social science discipline, with an emphasis on theory and subject to department approval, may be applied to fulfilling the elective requirement. MUSIC SEMINARS IN HISTORY, THEORY, CRITICISM, AND ETHNOMUSICOLOGY MUSC 315 MUSC 331 MUSC 333 MUSC 334 MUSC 335 MUSC 336 MUSC 337 MUSC 338 MUSC 339 THEORY, CRITICISM, AND MODES OF ANALYSIS STUDIES IN KEYBOARD LITERATURE STUDIES IN VOCAL LITERATURE MUSIC AND FILM STUDIES IN INSTRUMENTAL LITERATURE MUSIC, GENDER AND SEXUALITY MUSIC, RACE AND ETHNICITY FOLK MUSIC IN NEW YORK STATE FOLK AND POPULAR MUSIC STUDIES PRACTICUM TUTORIALS MUSC 256 HARMONY I MUSC 257 HARMONY II MUSC 306 COUNTERPOINT I MUSC 307 COUNTERPOINT II MUSC 317 ORCHESTRATION MUSC 346 JAZZ HARMONY AND IMPROVISATION I MUSC 347 JAZZ HARMONY AND IMPROVISATION II MUSC 356 COMPOSITION I MUSC 357 COMPOSITION II MUSC 365 CONDUCTING I MUSC 366 CONDUCTING II MUSIC SEMINAR COURSE DESCRIPTIONS MUSC 315 THEORY CRITICISM AND MODES OF ANALYSIS Examination of particular theoretical approaches and analytical models. Topics may include formal analytical models, aesthetic theory, sound studies, theories of voice, theories of music history, music and critical theory, and others. Significant emphasis placed on research and writing and engaging theoretical, scholarly literature. Strongly recommended for all students in the Musicology/ HTCC option. Credits 3(3-0)
MUSC 331 STUDIES IN KEYBOARD LITERATURE A seminar focusing on repertoire composed for the keyboard, delimited by the subtitle in a given semester (e.g., The History of Keyboard Literature, Keyboard Literature of the Classical Period, Twentieth-Century Keyboard Literature, The Keyboard as Chamber Instrument), and considered within the musical and cultural context of its day. Emphasis is on developments in musical style, performance practice, and instrument construction, as well as significant composers, celebrated performers, and contrasting analytical/ performing interpretations. Activities central to the course include listening to, analyzing and discussing representative compositions. Attendance at specific musical performances is required. (May be taken two times under different subtitles.) Prerequisites: MUSC 227; Credits 3(3-0). MUSC 333 STUDIES IN VOCAL LITERATURE A seminar focusing on repertoire composed for the voice, delimited by the subtitle in a given semester (e.g., The History of Opera, Mozart s Operas, The Operas of Verdi and Wagner, The History of Art Song), and considered within the musical and cultural context of its day. Emphasis is on developments in musical style and performance practice, as well as significant composers, celebrated singers, analytical/performing interpretations, and the relationships between text and music, voice and instrument, as relevant. Activities central to the course include listening to, viewing, analyzing and discussing representative compositions. Attendance at specific musical performances is required. (May be taken two times under different subtitles.prerequisites:musc 227; Credits 3(3-0). MUSC 334 MUSIC AND FILM A theoretical and historical consideration of the intersection of music, sound, and the moving image. Over the course of the semester, students will watch assigned films, read relative primary and secondary materials, and develop projects incorporating lessons and techniques discussed in class. Possible topics include the history of Hollywood film music, silent film sound, music and crossmarketing, television film music and sound, European cinema sound, video game music, as well as composer, director, or genre-specific topics. Prerequisite: MUSC 227; Credits 3(3-0). MUSC 335 STUDIES IN INSTRUMENTAL LITERATURE A seminar focusing on repertoire composed for instruments, delimited by the subtitle in a given semester (e.g., The History of the Symphony, The History
of Chamber Music, Beethoven s Symphonies, The Post-Wagnerian Symphony, The String Quartet), and considered within the musical and cultural context of its day. Emphasis is on developments in musical style, performance practice, and instrument construction, as well as significant composers, celebrated conductors/ performers, and analytical/performing interpretations. Activities central to the course include listening to, analyzing and discussing representative compositions. Attendance at specific musical performances is required. (May be taken two times under different subtitles.) Prerequisites: MUSC 227; Credits: 3(3-0). MUSC 336 MUSIC, GENDER, AND SEXUALITY A consideration of the relationship between musical practices, styles, and genres to notions of gender and sexuality. Offered under rotating subtitles, topics may include gender and musical genre; music, modernism, and sexuality; opera and queer theory/opera and feminist criticism; and gender, sexuality and musical media. In addition to Musicological approaches to gender and sexuality studies, this course will also examine foundational texts in feminist theory, queer theory, as well as histories of gender and sexuality by authors such as Foucault, Butler, Sedgwick, and others. Prerequisite: MUSC 227; Credits 3(3-0). MUSC 337 MUSIC, RACE AND ETHNICITY An examination of the relationship between historical, cultural, and political contexts and resulting artistic production. Students will engage with popular music, jazz, fusion, as well as classical genres. They will analyze works drawing from a variety of disciplines including critical theory and music analysis in order to understand the cultural work music and musical activities do in social contexts. Possible topics include critical theories of race and musical production, the history of hip-hop, music in immigrant communities, the history of jazz, and a survey course on theories of race, politics, and music by African Americans. Prerequisites: MUSC 227 or MUSC 232 or MUSC 233; Credits 3(3-0). MUSC 338 FOLK MUSIC IN NEW YORK STATE An ethnomusicological study of folk music and selected ethnic, popular, and classical traditions in New York State. The course will examine both historical and present day examples and will emphasize the extraordinary variety of musical traditions found within the state. Attendance at off-campus musical events and individual fieldwork will be required. Prerequisites: MUSC 190; Credits: 3(3-0).
MUSC 339 FOLK AND POPULAR MUSIC STUDIES An examination of various styles and genres of popular and folk musics in specific historical, cultural, aesthetic, and political contexts. This course will also examine basic theoretical texts in the field of popular music studies. Topics to be considered may include notions of high and low art, popular music and identity construction, geographies of popular music, the politics of folk and popular music, and musical folklore. Prerequisites: MUSC 227 or 232 or 233 or permission of instructor; Credits 3(3-0); Offered regularly though not on a rotating basis. PRACTICUM TUTORIALS MUSC 256 HARMONY I An Introduction to Modern Harmonic Practice. A study of contemporary diatonic and chromatic practice from a practical, compositional perspective, intended to familiarize students with basic techniques for post-tonal composition including use of extended harmonies, modern dissonance treatment, non-functional chromaticism, modality parallelism, use of whole tone scales, pentatonicism and octatonicsm, quartal and quintal harmonies, and atonal/free chromatic counterpoint. Emphasis is placed on choral writing. Prerequisite: MUSC 213; Credits 2(1-2); Offered every spring. MUSC 257 HARMONY II A continuation of MUSC 256, an introduction to modern harmonic practice. A compositional study of contemporary post-romantic/ post-tonal harmonic techniques including use of extended harmonies, modern dissonance treatment, non-functional chromaticism, modality, parallelism, use of whole tone scales, pentatonicism and octatonicsm, quartal and quintal harmonies, and atonal/ free chromatic counterpoint. Course focuses on writing for small instrumental ensembles. Prerequisite: MUSC 256. Credits 2(1-2); Offered every fall. MUSC 306 COUNTERPOINT I A first-semester course in modal counterpoint and vocal polyphony taking a species approach. Topics include two- and three-part counterpoint, imitative and invertible counterpoint, and dissonant counterpoint. Students will be responsible for weekly contrapuntal assignments as well as a series of short compositions. Prerequisite: MUSC 213; Credits 2(1-2); Offered every spring.
MUSC 307 COUNTERPOINT II A second-semester course in counterpoint examining tonal, contrapuntal forms and genres, including canons, inventions, and fugues. Students will be responsible for weekly contrapuntal assignments as well as a series of short compositions. Prerequisite: MUSC 306; Credits 2(1-); Offered every fall. MUSC 317 ORCHESTRATION Instruments and their uses in various kinds of ensembles. Emphasis is upon the development of practical skills, such as scoring and arranging, score and part preparation, and score reading. Prerequisites: MUSC 190; Credits: 2(1-2); Not offered on a regular basis. MUSC 346 JAZZ HARMONY AND IMPROVISATION I An introductory study of jazz improvisation and the fundamental elements necessary to develop musical ideas in the jazz idiom. Topics will include the study of form, common patterns, vocabulary and style analysis. Techniques will include transcription, practical application, sight singing and the development of original solo ideas. Principles to be covered will include melodic and harmonic analysis, phrase construction, ear training and solo development. Prerequisite: MUSC 213 or by permission of instructor; Credits 2(1-2); Offered every spring. MUSC 347 JAZZ HARMONY AND IMPROVISATION II A continuation of MUSC 346, this course is an in-depth study of jazz improvisation and the fundamental elements necessary to develop musical ideas in the jazz idiom. Topics will include the study of form, common patterns, vocabulary and style analysis. Techniques will include transcription, practical application, sight singing and the development of original solo ideas. Principles to be covered will include melodic and harmonic analysis, phrase construction, ear training and solo development. Prerequisite: MUSC 346; Credits 2(1-2); Offered every fall. MUSC 356 COMPOSITION I Individualized study of recent compositional practices, including but not limited to atonality, extended tonality, neo-romanticism and minimalism. Prerequisite: MUSC 257; Credits 2(1-2); Offered every semester.
MUSC 357 COMPOSITION II Individualized study of contemporary composition techniques, a continuation of MUSC 356. Prerequisite: MUSC 356; Credits 2(1-2); Offered every semester. MUSC 365 CONDUCTING I An introduction to the conductor s art. Training in the basic patterns and gestures of conducting; special exercises in aural development; score reading and analytical skills for score study; rehearsal techniques. Emphasis will be placed upon choral literature and vocal development. (Attendance at musical performances will be required.) Prerequisites: MUSC 190 and two semesters of MUSC 160 or 165; Credits: 2(1-2); Offered in fall, odd years, if demand is sufficient. MUSC 366 CONDUCTING II A continuation of Conducting I with an emphasis on orchestral and wind ensemble conducting techniques, repertory, sight read- ing and score reading at the piano. While emphasis is placed on these practical aspects of conducting, students will also be expected to demonstrate a working knowledge of all transpositions, instrumental fingerings and ranges. Conducting assignments, resulting in public performance, will be assigned at the beginning of the term. A final practicum demonstrating competency in all areas will be expected of each student. In addition, students will be expected to attend specified rehearsals and concerts to observe different rehearsal and conducting techniques. Prerequisites: MUSC 365; Credits: 2(1-2); Offered spring, even years.