Courses

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  • CFA MU 701: Advanced Tonal Analysis
    Prereq: CFA MU 601. Advanced work in tonal, structural, and rhythmic analysis; analysis of late nineteenth-century music. 3 cr.
  • CFA MU 702: Advanced Analysis in Contemporary Music
    In-depth review of analytical methods and terminology for diverse post-tonal musical styles. Analysis of representative works from the post-tonal literature.
  • CFA MU 703: Orchestration 1
    Basic techniques in scoring for chorus, orchestra, band, and ensembles. Ranges and transpositions of voices and instruments; idiomatic writing, score reading, and clef transposition. 3 cr.
  • CFA MU 704: Orchestration 2
    This course description is currently under construction.
  • CFA MU 705: Tonal Counterpoint [Advtop:Countpt]
    The study of the early eighteenth-century styles of J.S. Bach and his contemporaries, with an emphasis on the relationship between theory and practice. Special attention will be paid to composing and analyzing invertible counterpoint, canon, two-part inventions and fugue. This is a graduate course, cross-listed with the undergraduate course MU406. 2.0 credits.
  • CFA MU 706: Advanced Tonal Composition
    Advanced compositional projects imitating styles and procedures of various homophonic genres, including variation, rondo, and sonata; problems of continuity in tonal movements. 2 cr.
  • CFA MU 707: SP Top Song Lit
    This course description is currently under construction.
  • CFA MU 708: Piano Pedagogy
    An historical overview of the main treatises in Piano Pedagogy as well as teaching methods and materials for use in private and group instruction. The first semester deals with literature and musical concepts as they relate to beginning pianists. The second semester covers some of the major repertoire of the common practice period as well as the work of Ortmann and Schultz. 2 cr
  • CFA MU 709: Piano Pedagogy
    A continuation of the topics begun in Piano Pedagogy MU708, this course begins with the pedagogical works of Ortmann and Schultz and focuses on teaching techniques for more advanced students. Piano works of major composers are discussed with emphasis on literature selection for different phases of pianistic development. 2 cr.
  • CFA MU 710: Special Topics in Theory and Analysis
    Close study of specifically defined areas in theory and analysis. Individual papers and projects assigned by the instructor. 3 cr.(May be repeated for credit.)
  • CFA MU 711: Performance and Analysis
    In-depth review of literature on the relation of analysis to performance; practical application of theoretical and analytic concepts to performance decisions; guided exercises in writing analysis addressing performance issues. 3 cr.
  • CFA MU 714: Trombone Lit
    This course description is currently under construction.
  • CFA MU 718: Special Topics in Ethnomusicology - Music and Mysticism
    This course will investigate the connections between music and mysticism in qawwali- Sufi devotional music of India and Pakistan, and the Bhakti traditions in India, including kirtan singing and Saiva-Siddhanta philosophy. We will also read deeply on the mantras and philosophy used by the Balinese puppeteer or dalang and the Saiva or Buddha priests in Bali, Indonesia. Finally, we will consider the mystical traditions of Iran, with a particular focus on Persian Sufi poetry (ghazal) and music practices such as zikr, the reciting or recollection of God's name. We will contemplate the poetry of the great mystic poets Rumi and Hafiz, and end with Taoist thought in the Tao Te Ching.
  • CFA MU 719: Doctoral Proseminar
    Preparation for doctoral qualifying examination in music theory; may be required by a department prior to student's applying to take qualifying examinations. Students may be required to repeat course without credit. 2 cr.
  • CFA MU 723: CFA MU 723: Seminar in Music in the Baroque Period
    Topics may include madrigals, monody, early opera, sacred and secular cantatas, individual composers' and national styles, instrumental music, reception, cultural context, notation, analysis, and performance of Baroque music. Permission of instructor. 3 credits. May be repeated for credit. (Meets with CFA MU 823.)
  • CFA MU 724: Seminar in Music of the Classic Era
    Topics may include opera, symphony, chamber music, the Lied, sacred music, individual composers' and national styles, cultural context, reception, notation, analysis, and performance of Classic music. Permission of instructor. 3 credits. May be repeated for credit. (Meets with CFA MU 824.)
  • CFA MU 725: CFA MU 725: Seminar in Music in the Romantic Period
    Topics may include program music, opera, symphony, chamber music, the Lied, sacred music, individual composers' and national styles, cultural context, reception, notation, analysis, and performance of Romantic music. Permission of instructor. 3 credits. May be repeated for credit. (Meets with CFA MU 825.)
  • CFA MU 726: CFA MU 726: Seminar in Music in the Twentieth Century
    Topics may include modernism, the replacement of tonality, music of war, opera, symphony, chamber music, sacred music, individual composers' and national styles, cultural context, reception, notation, analysis, and performance of twentieth-century music. Permission of instructor. 3 credits. May be repeated for credit. (Meets with CFA MU 826.)
  • CFA MU 727: CFA MU 727: Seminar: Special Topics in Musicology
    Close study of specifically defined areas in the forefront of musicological research. Individual research papers and class research projects as assigned by the instructor. Permission of instructor. 3 cr. May be repeated for credit. (Meets with CFA MU 827.)
  • CFA MU 728: Continuo
    Keyboard and other continuo players are given note-by-note analysis and coaching of selected continuo realizations, both written and improvised. Non-keyboard players are given tutelage in basic continuo realization appropriate to their level of keyboard skill, so that they may be able to accompany their future students, and also to better appreciate and have more discernment of the continuo player?'s role in ensembles in which they take part. Additionally, they will play their own instruments (or sing) in the class so that the keyboard players have practice in realizing figured bass accompaniments. For both, a historical overview of the practice of figured bass accompaniment is given together with stylistic analysis and practical musical coaching.

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