Music Theory and Composition (MPATC-GE)

Study of compositional approaches in the 16th & 18th century including species counterpoint & fugue.

Study of compositional approaches in the 18th century. Students will engage with 18th-century practice through analysis and model composition.

This seminar explores the ins-and-outs of writing for small ensemble and electronics. Students explore each instrument, pertinent repertoire and musical examples; compose a piece for an ensemble-in-residence; premiere works in a concert setting; and have works recorded by the ensemble. Through interactions with the ensemble-in-residence, compositions will be developed in three stages: early semester brainstorming; mid semester reading; dress rehearsals before the final concert.

This seminar provides both theoretical and technological foundations on ways of producing unique sounds using acoustic instruments — often in tandem with digitally processed or sampled sound. The course also introduces students to the concept of sampling and the creation of custom-made sample libraries, as well as the process of writing music for improvisers (jazz combo, soloists, etc.)

African-American music, including slave songs, gospel, blues, and jazz, has had a profound influence on virtually every form of the popular music of the past 100 years. Students explore that impact through a detailed tracing of the roots and evolution of country western, doowop, rock’n’roll, rhythm & blues, soul, funk, reggae, rap, hip hop, contemporary R&B, and other genres.

Designed primarily for Master's candidates in music performance and/or composition. Synthesis for learning based on performance. Recital and a Master's final written project are required.

This is the first of a two-seminar sequence that provides analytical and practical approaches to composition for the string quartet. Over the course of two semesters students write a progressive series of studies starting with a solo, followed by a duo, trio and finally a full quartet. Professional musicians workshop these pieces in class, culminating in a concert by a guest quartet in residence. Interwoven with these workshops students analyze and discuss contemporary quartet repertoire from the past 50 years.

This is the second of a two-seminar sequence that provides both analytical and practical approaches to composition for the string quartet. This seminar includes workshops and performances of a full composition for String Quartet as well as student presentations on selected contemporary quartet repertoire.

In this workshop on musical innovation, our unbridled artistry, open dialogue, and freeexpression will culminate in our final performance: innOVATION. We will embark on an eclectic journey of surprises, exceptions and extremes by comparing contemporary avant-garde trends to fringe music/multimedia across time, location and style. Our inclusive approach to sonic, technological, structural and conceptual experimentation welcomes students interested in musical innovation from any field, be it composition, multimedia, technology, performance, theory, education, or science.

Rehearsal techniques and special problems in ensemble performance.

This course reviews material covered in a standard undergraduate aural skills sequence in preparation for graduate-level coursework in music. Topics covered include listening for instrumentation, formal structures, melodic and rhythmic sight-singing, error-detection, improvisation, and chord dictation with diatonic and chromatic harmony including secondary dominants and modulation. Rhythm topics include subdivisions in simple and compound time, syncopation, ties, and 2:3 polyrhythms. This course does not count towards graduate degree requirements.

In-depth study of selected topics in music since 1945 emphasizing developments in the recent avant-garde.

In this umbrella course, students study and practice a specific area in the field of screen music scoring. The course is intended as a means to provide students with the necessary insights to develop professionally in these specific areas of interest. During the course, students are exposed to real-world scoring scenarios.

This course provides students with the set of skills required to create music for video games and interactive environments. During the course, students learn how to work with technology used to implement audio in games, work on strategies to create interactive non-linear music, and develop strategies to foster their creativity by applying specific techniques designed to create rich music in these environments.

This course considers the effect of music on the human mind. Concepts discussed include our perception of music, psychoacoustics, expressive performance, representations of music, computational models, and the relations between music theory and our perceptions of music.

The course explores theoretical foundations along with current research essential for writing screen music. The class explores the application of harmonic theory for the screen, with special emphasis on the Neo-Riemanian theoretical framework. It also provides the foundations of narrative theory, storytelling, and film language. Throughout theoretical readings, analyses, and practical assignments, the students will develop a strong understanding of the audiovisual medium and the myriad functions music has to engage and enhance storytelling.

Explores the role of critics in the development of individual careers and in more general tendencies in music and the arts. The approach is largely practical, with discussions of the 'real world' of music and journalism, analysis of published and unpublished reviews, examination of the criteria that go into critical thinking, and the writing of several reviews. Reading assignments provide historical and theoretical contexts.

In this hands-on course, students study and practice a specific area in the field of screen music scoring. The course is intended as a means to provide the students with the necessary insights to develop professionally in these specific areas of interest. During the course, students are exposed to real-world scoring scenarios.

Immerses the student composer in creating music for a range of visual media including movies, shorts, television, and animation. Topics of inquiry include the visual, aural, narrative, textual and subtextual components of communication with moving images; the aesthetics, techniques and technicalities of spotting and synchronizing music; orchestration, both traditional and digital; production and mixing; and compositional practices unique to the work of scoring for moving images. Weekly scoring assignments and in-class critiques.

The history of music and musical styles from the antiquity through the Renaissance. This course does not count towards graduate degree requirements.

The history of music and musical styles from the baroque period to the present. This course does not count towards graduate degree requirements

An examination of opera from the beginning of the 20th century to the present. An overview of the important works composed within this time period and an in-depth musical examination of selected pre-1950 works. Discussion of issues in present day composition and production of opera, including perspectives from prominent people in the field.

The study and analysis of 19th and early 20th century works in various genres associated with the "Romantic Era," issues relating to racial and gender diversity during that period, and connections to late 20th and 21st century musical culture. This course does not count towards graduate degree requirements.

Evolution of contemporary compositional techniques traced from impressionism to the latest avant-garde experiments. This course does not count towards graduate degree requirements.

This hands-on course provides the students with a practical toolkit to enable them to become proficient orchestrators in the field of film and media production. Using examples from traditional and contemporary practices, students analyze seminal scores written for the screen, orchestrate diverse exercises, and evaluate the result of their work by listening to live recordings of their exercises.

The principles of orchestral scoring are examined through detailed score analysis and writing projects, as well as related topics including transposition, score format, and new notation. Classical through contemporary styles.

A survey of traditional and recent music making from areas of East Asia (China, Tibet, Japan, Korea, Mongolia), Southeast Asia (Indonesia, Vietnam, Cambodia, Philippines, Myanmar) and the Indian subcontinent. In addition to examining the musical systems and techniques that define specific practices, readings and discussions cover issues from Asian American cultural studies. Open to undergraduate and graduate students familiar with music terminology and notation.

This introductory course to instrumentation and orchestration covers the basics of writing for orchestral instruments, while also introducing students to the creative process of orchestral thinking. Through a combination of online self-learning modules, in-class demonstrations and workshops with performers, class discussion and score analysis, and readings of the students’ work by diverse ensembles, the students learn the intricacies of idiomatically writing for orchestral instruments and typical orchestral ensembles.

Songwriters Forum is a practical writing course designed to help students become the best music creators they can be, in styles, genres, and approaches they define. While the focus tends to be on popular song, the curriculum addresses any and all songwriting. Forum students analyze, review, and, most of all, explore the tools (including collaboration) employed by composers and lyricists whose work has distinguished them as important practitioners of the art and craft of song. The goal is improved writing, with all other elements and aspects directed towards it.

This course will explore the history & development of classic popular music of the past 60 years. Through a detailed study of 14 profoundly influential songs & recordings, we will examine how art affects, & is affected by, its cultural & historical moment. Over the course of the semester, students will engage in musical analysis, critical listening, & a detailed study of songwriting & recording techniques. They will also view archival films of relevant musical artists, & engage in close analysis of selected musical performances.

This course will explore the history and development of classic popular music of the past 60 years, with a focus on the period 1980-2005. Through a detailed study of 14 profoundly influential songs and recordings, we will examine how art affects, and is affected by, its cultural and historical moment. Students will engage in musical analysis, critical listening, and a detailed study of songwriting and recording techniques. They will also view archival video of relevant musical artists, films, and news events and engage in close analysis of select musical performances.

This introductory course to instrumentation and orchestration covers the basics of writing for the most important orchestral instruments, and introduces the students to the creative process of orchestral thinking. Students learn by a combination of online self-learning modules, in-class

The course introduces students to the stylistic and analytical norms of writing compelling and well-grounded analyses of music. Students will progress through a series of exercises leading to a substantial music analysis in written narrative form. Students will develop and expand their writing skills in preparation for advanced coursework in music theory and literature, as well as scholarly writing in music.

This course introduces students to the specialized discipline of teaching music theory. Through extensive study of recent debates, current scholarship, and online resources, students develop a broader understanding of the pedagogical context for undergraduate theory and aural skills training, and best practices for presenting these materials in a 21st-century classroom. With a defined focus on professional development, this course prepares students for college-level classroom teaching.

Students examine the impact of a large scale form on the compositional process. The course focuses on an in-depth study of the many issues raised in planning and composing symphonic works and the specific aesthetic concerns of composers in the structuring of large-scale symphonic works.

In this umbrella course, students practice the techniques and methodologies of music conducting for a varied set of situations, levels, and ensembles.

In this studio class, students develop foundational conducting skills for the professional conductor. This includes specific techniques associated with choral conducting, instrumental conducting, and conducting synchronized with visual media. Topics include arms/baton technique, rehearsing the ensemble, score study techniques, and conducting with a click track.

In this studio class, students build upon foundational conducting skills to develop specific techniques to conduct instrumental ensembles with a focus on the orchestral repertoire. Students practice seminal pieces of the history of western orchestral music that serve as case studies to develop a sophisticated set of instrumental conducting skills.

In this studio class, students work on specific advanced skills required for the professional music theater conductor. They study works from the music theater repertoire, with a specific emphasis on shows of various periods and genres. Students develop a comprehensive approach to rehearsal planning and tructure, including specific strategies that allow time optimization.

In this studio class, students work on specific advanced skills required for today’s professional orchestral and ensemble conductor. They practice challenging pieces from the orchestral repertoire, with a specific emphasis on contemporary pieces of music. Students also develop a comprehensive approach to rehearsal planning and structure, including specific strategies that allow time optimization.

This course explores the art and craft of mixing records, with special attention to “mixing in the box” (via a digital audio workstation). Focus on methodology and technique, with particular emphasis on establishing balances, using such tools as compression and automation to enhance dynamics and develop unique coloration. Examines intersection of technology, budgets, and the marketplace. Students execute their own mixes, with guidance and critique from the instructor. Basic level of DAW proficiency required.

Under this general title various courses will be offered that explore music theoretic and analytical topics of current interest. These topics will range from (i) the study and application of an important theoretical framework or analytical approach, to (ii) the close examination of a particular repertory and the theoretical/analytical tools developed for it.

This course will provide students with a thorough grounding in Heinrich Schenker's theory of tonal structure. The associated analytical technique will be developed through weekly assignments and a final project. A number of specialized topics - including the theory's implications to performance, composition, and improvisation - will be explored through readings from the Schenkerian literature.

In recent years, there has been a marked increase in theoretical and analytical writing on musics that lie outside the European art music tradition. This course focuses on two traditions: North Indian Classical and Balinese gamelan music, incorporating transcription, analysis, and critical engagement with recently published theoretical writing. Students explore compositional and improvisational techniques, processes, and forms used in these musical traditions.

Our senses are inextricably linked. Sounds can create the illusion of visual movement, a pianist’s gestures alter the way we perceive duration, a change in musical timbre can make a cup of coffee taste more bitter, and the flash of an object can make an unnoticed sound audible. Drawing on research in cognitive psychology and neuroscience, this course explores the dynamic way our senses influence our experience of music and multimedia. Through class discussions and projects, students apply research in multisensory perception to their own area of specialization.

This course will review & extend the material covered in a standard undergraduate music theory sequence, from the phrase of model through elements of tonal counterpoint & chromaticism to a study of large-scale forms. The focus will be on the Western European tonal traditions of the 18th & 19th centuries, with excursions into 20th century repertory as appropriate. Lectures will consider the pedagogy of music theory as well as a range of theoretical viewpoints. Weekly problem sets & analytical assignments will reinforce the class content.

This course will review & extend the material covered in a standard undergraduate music theory sequence, from the phrase model through elements of tonal counterpoint & chromaticism to a study of large-scale forms. The focus will be on the Western European tonal tradition of the 18th & 19th centuries, with excursions into 20th century repertories as appropriate. Lectures will consider the pedagogy of music theory as well as a range of theoretical viewpoints. Weekly problem sets & analytical assignments will reinforce the class content.

This course reviews material covered in a standard undergraduate music theory sequence in preparation for graduate-level coursework in music. Topics covered include diatonic and chromatic harmony through secondary dominants and modulation, basic voice leading principles, harmonization, melodic and harmonic analysis, phrase structure, and large form. Class activities and bi-weekly assignments will focus on analysis, critical listening, harmonization, and basic composition. This course does not count towards graduate degree requirements.

This course explores the history of music as a space for signaling, performing and imagining gender and sexuality. We consider expressions of gender and sexuality in western classical music (medieval era to the present) as well as in popular music (disco, glam rock, hip hop, synthpop), and in film. While course readings include essays from a variety of research areas, emphasis will be placed on a critical reading of current discourse against what we hear and see in the musical works. This course does not count towards graduate degree requirements.

It should be noted that independent study requires a minimum of 45 hours of work per point. Independent study cannot be applied to the established professional education sequence in teaching curricula. Each departmental program has established its own maximum credit allowance for independent study. This information may be obtained from a student?s department. Prior to registering for independent study, each student should obtain an Independent Study Approval Form from the adviser.

The development of fundamental musical skills and understanding through creative application of listening, singing, playing, writing, and analysis. Emphasis on aural development as essential to musical growth. Topics include staff notation, clefs, major and minor keys, time signatures, meter and rhythm, intervals, triads, 7th chords, Roman numerals, and rhythmic, melodic, and harmonic ear training. Open to all members of the University community. This course does not count towards graduate degree requirements.

Composition in all forms and styles including electronic. Electronic laboratory by assignment. Weekly attendance at department Composer's Forum required.

This course, taught in small groups of students, serves to polish and develop composing skills in an environment that stimulates discussion. During the small group discussions, students present some of their work, which is critiqued by the instructor and the other students in the group. Through this process of critique and discussion, students refine their composition skills and techniques.

An introduction to selected musical sounds and practices from cultural groups around the world. Through exposure to distinct musical cultures, from traditional to transnational, students define and apply musical concepts such as rhythm, timbre, melody, and form. Socio-cultural contexts are also examined, touching on issues such as race, gender, embodied participation, technologies of production and circulation, and relationship to religion, the state, and other social structures. This course does not count towards graduate degree requirements.

Students attend weekly presentations from composers, and concerts. Composer guests introduce the students to their aesthetic world by discussing, analyzing, and playing recordings of some of their most relevant works. Students will have the opportunity to network with a diverse range of visiting composers, which will help them to create contacts for their professional development. Some of the classes include attending concerts in which works from living composers are featured, including NYU students and faculty.

This course provides the advanced knowledge in music notation and music preparation required for the professional world. Students learn the best practices to present and produce scores using industry standard notation software programs. Students also learn how to be efficient in creating, revising, and preparing their scores. In addition, students learn how to incorporate advanced or non-standard notation in their scores.

This course introduces students to the practice and discipline of writing narrative and theatrical songs (those that tell a story or function as part of a larger one) through a survey of the literature, an examination of the principles and tools employed in such songs, and guided creation of individual songs and larger works. Analyses of material from the repertoire serve as a basis for inspiring new work. Emphasis on comprehending and mastering the writing process, and responding to the modern cultural context in which this work is created.

Students pursuing careers in music creation — songwriters, composers, instrumentalists, vocalists, engineers, producers, and others — need to be well-versed in myriad ways to protect and maximize the rights, revenue streams, and professional relationships that flow from their work. As music marketplace opportunities and distribution channels widen and diversify, music creators have far greater choices than ever before. Students explore the essential elements required to build a career and a life in music, examining them from the creator’s perspective.

Focuses on developing a personal musical language, compositional skills, and self- presentation - all key factors in developing a presence in the field of Music Composition. Students create new works for the NYU Contemporary Ensemble. The course includes student presentations of their works-in-progress, presentations of previous works, and engagement with the ensemble. Critique/feedback is offered on form, aesthetics, orchestration, and developing an individual voice, as well as on how composers articulate their ideas to the public.

This research-based course explores the aesthetics and the history of music for the screen. In a modular approach, all students study core research foundations that relate to the field of music for the screen. After this, they select between a range of research topics that relate to the history and/or aesthetics of diverse types of music for the screen.

Musical, aesthetic, and technical processes of assembling and shaping a film's soundtrack in collaboration with the filmmaker and composer. Collaborative projects encompassing film score recording sessions, an understanding of the music editor's position, responsibilities, and techniques in the post-production process of a film.

This course will explore the esthetic and technical skills and tools necessary for the production of artistically and commercially successful demonstration recordings of songs. Students will learn how to: establish an environment in which creativity can flourish; elicit the best performances by all involved in a recording; make the best recording possible with the tools available in a given work environment; nurture and develop a vision for each recording; create a recording to which the target audience (and beyond) wishes to continue to listen.

Detailed exploration of the aesthetic, technical, and “psychological” skills and tools required for the production of a master recording by a performer/artist other than producer. Producers will learn how to nurture and develop a vision for each recording; establish a creative environment; collaborate with writers and performers; elicit the best performances by the creative and technical team they assemble; realize the best production possible with the tools available; and create a production to which the target audience (and beyond) wishes to continue to listen.

This first course in a two-semester sequence reviews and extends material covered in a standard undergraduate music theory sequence, from the phrase model through elements of tonal counterpoint and chromaticism to a study of large-scale forms. Emphasis on Western European tonal traditions of the 18th and 19th centuries, with excursions into 20th-century repertory as appropriate. Lectures focus on analysis, dictation, and written theory skills and homework assignments and dictations reinforce class content. Level I discusses diatonic tonal harmony.

This second course in a two-semester sequence reviews and extends material covered in a standard undergraduate music theory sequence, from the phrase model through elements of tonal counterpoint and chromaticism to a study of large-scale forms. Emphasis on the Western European tonal traditions of the 18th and 19th centuries, with excursions into 20th-century repertory as appropriate. Lectures focus on analysis, dictation, and written theory skills and homework assignments and dictations reinforce class content. Level II focuses on chromatic tonal harmony.

Designed for doctoral students. Study directed toward fulfillment of degree requirements in performance and/or composition.