Music Theory and Composition (MPATC-UE)

Training in intermediate musicianship skills emphasizing sight-singing and dictation. Course activities are correlated with the materials of harmony and counterpoint for the diatonic, chromatic, and posttonal repertories.

Continued training in intermediate musicianship skills.

A review of fingerings and positions for violin, viola, cello and double bass playing and composition. Examination and performance of scores written for strings. Projects in composition for strings throughout the semester.

Composition in all forms and styles including electronic. Electronic laboratory by assignment.

An introduction to melody, harmony and counterpoint in the music of diatonic tonality through projects in directed composition and analysis .

Hands-on work with the materials of chromatic tonality and an introduction to complex forms.

Introduction to the materials and organizing principles of 20th century music including extended chromaticism, modes, atonality and jazz.

All undergraduate music majors meet in Collegium six times each semester to discuss broad issues of the music profession, career opportunities, and department matters. During the remaining weeks students meet with members of their major program for visits with specialists in their field and for programmatic discussions.

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.

Techniques and concepts applied to music literature of the eighteenth and nineteenth centuries. Synthesis through analysis, performance, and composition using contrapuntal and harmonic textures.

Study of compositional approaches in the 16th and 18th centuries including species counterpoint and fugue.

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

Examination of string instruments' range, dynamics, articulation, special effects and extended techniques. Score reading from the Baroque to the present. Preparation of score and parts, including traditional and aleatroic notation.

Composition in all forms and styles including electronic. Electronic laboratory by assignment.

This course introduces students to the basic elements of melody, harmony, and rhythm in music and how they combine to create musical meaning. A major emphasis of the course is hands-on music experimentation, including guided in-class performance and the use of music apps, software, and other technology. Students study a diverse body of musical examples drawn from classical, popular, and world music via projects completed in the classroom and in New York City. No prior musical experience required. This course does not count toward credits for the music major or minor

This course, taught in small groups of students, serves as an introduction to songwriting in an environment that stimulates discussion and collaboration. Students in the group will be encouraged to collaborate in writing pieces, and to critique each other’s works.

This course, taught in small groups of students, serves as an introduction to music composition for film, TV, videogames, and commercial media in an environment that stimulates Field available for additional information in footer discussion and collaboration. Students in the group will be encouraged to collaborate in writing pieces, and to critique each other’s works.

This course, taught in small groups of students, serves as an introduction to music composition for the concert stage in an environment that stimulates discussion and collaboration. Students in the group will be encouraged to collaborate in writing pieces, and to critique each other’s works.

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 hands-on course will both sharpen a composer’s aesthetic & raise the level of proficiency in their use of an industry-standard complex of the software necessary for composing & producing in film and media production. In tandem with incorporating the ever-increasing quality & availability of digital audio production software, including virtual instruments, media composers will deliver the pristine, professional sounding music now expected for film, TV, video games, songs & even Broadway.

This studio course is centered on in-class discussion and demonstration of student works created using a DAW (Digital Audio Workstation) such as Logic Pro, Sample Libraries, Synthesizers, and Sound Processors. During the class, students and faculty will provide feedback to student projects in order to improve the overall quality of the music production. In addition, there will be presentations and discussion of new releases of sample libraries, audio processors, and synthesizers, as well as new features from updates on the DAW.

This course introduces students to the fundamental concepts and skills required to record, arrange, and produce contemporary popular songs and other compositions. Students explore basic production technology and tools, including how to utilize a digital audio workstation, various recording formats, microphones, synthesis, arrangement, and mixing, and how to collaborate with other stakeholders and artists. Students develop a familiarity with essential productions across a broad set of genres.

This course introduces students to the essentials of contemporary popular songwriting, focusing on how the marriage of lyric, melody, harmony, rhythm, and form intersect to construct meaning for the creator and the audience. Students explore basic songwriting and production technology, such as digital audio workstations, drum machines, and synthesizers. Students develop a familiarity with a repertoire of contemporary and legacy popular songs across a broad set of genres.

The history of music and musical styles from the antiquity through the Renaissance.

The history of music and musical styles from the baroque period to the present.

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.

Evolution of contemporary compositional techniques traced from impressionism to the latest avant-garde experiences.

NYU Composers Ensemble is an opportunity for composition majors to gain performance and recording experience through workshopping new, evolving compositions with live musicians. Members of the ensemble compose and perform in the group. All acoustic instruments and vocal types are welcome, as are electronic and software-based composers/performers.There is a public, recorded performance and recording session for each student's compositions in the Dolan Studio.

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.

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 course, students present their compositional work in a public performance. Students receive guidance and resources for the presentation of a marathon style concert featuring work by all Juniors in the composition program. Students will work with the instructor to coordinate and develop all aspects of the concert experience including production, marketing, and programming. The class will be a combination of group and individual meetings culminating in a marathon concert at the end of the semester,

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 structure, 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 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 demonstrations, workshops with performers, class discussion and score analysis, and performances of the students’ work by diverse ensembles. The students learn the intricacies of idiomatically writing for orchestral instruments and for the most usual orchestral ensembles

This umbrella course examines the principles of orchestral scoring through detailed analysis of seminal scores and written orchestration projects. Topics courses enable students to focus their studies on specialized applications, such as orchestration of music for the concert hall, orchestration for screen music, and contemporary instrumentation and orchestration techniques.

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.

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 results of their work by listening to live recordings of their exercises.

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 umbrella course examines contemporary issues in music composition through coordinated individual compositional project

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.)

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.

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.

In this workshop on musical innovation, our unbridled artistry, open dialogue, and free expression 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.

Students pursuing careers in music creation — songwriters, composers, instrumentalists, vocalists, engineers, producers, and others — need to be well-versed in the myriad ways they can 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.

In this course students examine landmark music copyright cases and music copyright laws through class lectures, research, and participation in study groups. This knowledge is applied in student study groups which present music copyright litigations on behalf of plaintiffs or defendants in selected cases following the model of in-class presentations.

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.

In this course, students present their compositional work in a public performance. Students receive guidance and resources for the presentation of a marathon style concert featuring work by all Juniors in the composition program. Students will work with the instructor to coordinate and develop all aspects of the concert experience including production, marketing, and programming. The class will be a combination of group and individual meetings culminating in a marathon concert at the end of the semester.

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 course provides the theoretical foundations that serve as the building blocks for the music for the screen. Divided into two areas that eventually merge, the course explores the application of harmonic and melodic principles for screen music, as well as the study of the foundations of narrative theory and storytelling. Throughout a set of theoretical readings,analyses, and creative assignments, the students will develop a set of techniques to produce music that generates meaning and that enhances the story and the narrative as a whole.

Addressing the matrix of directorial vision and visual, narrative, and dramatic world of a film, this course will examine a broad range of musical approaches and those requirements necessary for composing music for film and multimedia. Cultural, cinematic, and musical codes will be discussed and critiqued through critical analyses of seminar scores, scoring assignments, and collaborative director/composer interactions.

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.

An introduction to the tools and vocabulary needed for critically engaging with music from a broad range of styles and repertoire in preparation for upper-level courses in the music theory sequence. Topics include rhythmic and metric organization, melodic structure, ornamentation, instrumental families, texture, tuning systems, harmonic syntax, and basic voice- leading techniques representative of music in Western diatonic harmony, popular music and film, and non-Western musics

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course Theory & Practice I. Students learn techniques for critically listening to, analyzing, and notating elements of rhythmic and metric organization, instrumentation, texture, and diatonic melodic and harmonic pitch structure in a broad range of music from Western classical music, popular music and film, and non-Western music.

Intermediate level music theory. Courses under this general title provide an introduction to phrase structure, formal analysis, advanced diatonic harmony, basics in chromatic harmony including modulation and tonicization, and advanced topics in rhythm and meter relevant to a particular style of repertoire. Skills build on techniques developed in the prerequisite course, Theory & Practice I.

Theory and analysis of diatonic common-practice classical repertoire with an introduction to chromatic harmony and small forms. Topics include phrase structure, voice leading, sequences, secondary functions, tonicization, modulation, and advanced topics in rhythm and meter in common-practice Western music. The course builds on composition and analysis skills developed in Theory & Practice I, and introduces students to techniques in four-part contrapuntal writing, arranging, and model composition.

Theory and analysis of popular music. Popular music, defined broadly, includes pop, rock, hip hop, rap, metal, jazz, folk, and musical theater and film repertoire. Topics include scales and modes, lead sheet and Nashville number notation, phrase structure, song forms, harmonic syntax, loops and harmonic chord schemas, tonicization and modulation, and rhythmic and timbral analysis in popular music. Students will develop basic proficiency in a DAW and music notation program. This course will culminate in a final composition or analysis project.

Intermediate level aural skills. Courses under this general title introduce students to listening and sight-reading techniques coordinated with topics in the corresponding co-requisite Theory & Practice II course. Students learn techniques for critically listening to, analyzing, and notating elements in advanced rhythm and meter, formal structure, diatonic harmony, and basic chromatic harmony including secondary functions and modulation relevant to a particular style of repertoire. Skills build on techniques developed in the prerequisite course, Aural Skills I.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Tonal Harmony & Voice Leading. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating four-part diatonic harmony and basic chromatic harmony including secondary functions and modulation, advanced rhythm and meter, chromatic melodies, and instrumentation.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Popular Music. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating musical elements of instrumentation, sound production and timbre, advanced rhythm and meter, loops and harmonic chord schemas, advanced diatonic harmony, and basic chromatic harmony including secondary functions and modulation.

Advanced level music theory. Courses under this general title introduce students to advanced music theoretic and analytical topics focusing on (i) the examination of a particular repertory and the theoretical/analytical tools developed for it (e.g. non-Western, popular, 19th/20th-century chromatic harmony) or (ii) the study and application of compositional styles or techniques (e.g. counterpoint or model composition). The courses build on techniques developed in Theory & Practice I and II.

Hands-on work with the materials of chromatic tonality and an introduction to complex forms. This course builds on composition and analysis skills developed in Theory & Practice II: Tonal Harmony & Voice Leading, and introduces students to advanced techniques in four-part contrapuntal writing, arranging, model composition, and formal analysis in 18th and 19th century common-practice classical music.

Introduction to the materials and organizing principles of 20th and 21st century concert music and jazz. Students will engage with a range of analytical methods and compositional techniques applicable to a broad range of repertoire incorporating advanced chromaticism, modes, extended tonality, atonality, jazz harmony, and contemporary techniques in metric organization and form. The course will culminate in a final paper or presentation analyzing a 20th or 21st century work.

The study of non-Western theories of music. This course examines topics in pitch, rhythm, and formal structure in selected music from Africa, Latin America, East Asia, India, and the Middle East. Students will acquire a foundational understanding of the transcription and analysis of non-Western art and folk music, as well as a basic introduction to theory and performance practice by guest artists. The course will culminate in a final analysis project.

Digital audio workstations (DAW), such as Garage Band, Audacity, and Ableton provide students with a hands-on polyphonic platform for studying and composing contrapuntal music. This course aims to bridge traditions and practices to accommodate students in various specializations and to impart a creative understanding of counterpoint and polyphonic thinking relevant to a broad range of musical repertoire. Working in DAW, students practice contrapuntal techniques and styles using different types of audio material. The course culminates in a final composition project.

This course builds on material presented in Theory & Practice II: Popular Music. Students explore advanced topics in harmony, rhythmic function, metric dissonance, formal function and ambiguity in song form, tuning practices, vocal and instrumental timbre, texture, recording techniques and sampling, music video analysis, and discussions of identity in popular song. Popular music, defined broadly, includes pop, rock, hip hop, rap, metal, folk, EDM, country, and other genres. Students engage with topics through assigned reading and listening, discussions, and projects.

Digital audio workstations (DAW), such as Garage Band, Audacity, and Ableton provide students with a hands-on polyphonic platform for studying and composing contrapuntal music. This course aims to bridge traditions and practices to accommodate students in various specializations and to impart a creative understanding of counterpoint and polyphonic thinking relevant to a broad range of musical repertoire. Working in DAW, students practice contrapuntal techniques and styles using different types of audio material. The course culminates in a final composition project.

Advanced techniques of music listening developed through sight-singing, dictation, and aural analysis. Students develop skills for critically listening to, analyzing, and notating four-part chromatic harmony, chromatic melodies, advanced rhythm and meter, and instrumentation in common-practice 18th and 19th century classical repertoire Course activities are correlated with topics presented in the co-requisite course, MPATC-UE 1331 Advanced Music Theory: Chromatic Harmony and Form.

Continued development of sight-singing, dictation, and aural analysis skills developed in the prerequisite course, Advanced Aural Skills: Chromatic Harmony. Students will critically listen to, transcribe, and perform music incorporating modes, chromatic and jazz harmony, extended tonality, and atonality. Advanced rhythmic topics include polyrhythm, syncopation, swing, mixed meter, and metric modulation.

Practice in advanced melodic and rhythmic sight-singing. This course builds on skills developed in Aural Skills I and II, emphasizing the performance of melodic, harmonic, and rhythmic material using solfège. Students learn strategies for improvisation and advanced sight reading in a broad range of styles and genres including repertoire from jazz, classical, and popular music.

Practice in the critical listening and transcription of popular music. Advanced topics in rhythm and meter, timbre, chromatic and extended harmonies, and melody. Building on transcription skills acquired in Aural Skills I and II, students learn techniques for transcribing recorded vocal and instrumental material in popular music. Defined broadly, “popular music” includes pop, rock, hip hop, R&B, blues, rap, disco, indie, metal, jazz, folk, and musical theater and film repertoire. The course will culminate in a final transcription project.

Students attend weekly presentations from composers, and concerts. Composer guests introduce students to their aesthetic world by discussing, analyzing, and playing recordings of some of their most relevant works. Students have the opportunity to network with a diverse range of visiting composers, which helps them 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 explores the aesthetics and history of music in cinema. Through examination of scenes from seminal films, assigned readings of historical texts, lectures, and class discussion, the course examines the history of cinema from the viewpoint of its music and provides students with the tools to cogently analyze music for cinema. During the class, students learn to apply historical, cultural, and semiotic analytical methods to unfold the cultural and artistic significance of a movie and its music. No prior training in music is required.

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.

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 examines the concept of rhythm, its use primarily in contemporary songwriting, screen scoring, and concert composition, and the tools employed in its integration in the music created in those fields. Students explore a wide range of stylistic approaches to the art of drumming, programming in the digital audio workstation, and beat-making within the context of music creation, arranging and performing. Students gain a historical perspective through an exploration of the rhythmic styles of the popular music of the past 60 years.

Continued training in elementary musicianship skills.

Aural Comprehension III is a one-credit course, building on the foundations you have created in AC I and II. The two weekly class sessions will be devoted to group work in sight-singing and dictation: melodic, rhythmic and harmonic -- and in listening to longer segments of work to sharpen your perception of musical form. You will be expected to keep up a regular practice of these skills outside of class. In addition, we will arrange tutorials (at least three per semester) for individual work and assessment. The musical materials of AC III will be taken mostly from 19th-century sources, reinforcing your work in Music Theory and Music History III. We will also work with more chromatic music of the 18th century, as well as jazz, popular music and relevant world cultures.

In Aural Comprehension IV the students will continue their exploration of the main elements of music - melody, harmony, rhythm, and form - through active listening, sight-singing, and dictation. Course activities are correlated with materials from Music Theory IV. The tonal material will remain a part of our exercises, but we will work with elements of atonal music and complex rhythms too. Besides regular sight singing, prepared singing, dictations and transcriptions of recorded music we will also listen to orchestral instrumentation, identify musical forms from listening to recordings, try to hear overtones, micro-intervals, improvise second voice to a song and write and sing a short piece of music.

Composition in all forms and styles including electronic. Electronic laboratory by assignment.

Further projects in diatonic tonality and an introduction to simple forms.

In this course students will follow up with their harmony studies. We will go through harmonic instances of advanced chromaticism of the late 19. century and up to the very edge of tonality. Emphasis will be put on assignments and exercises in order to develop good creative and analytical skills in harmony. Concurrently we will examine the main formal principles of tonal music and apply our knowledge in analysis of selected compositions. We will use various analytical approaches and test them on a large scale of historical musical material. Every student will be due to realize at least one analysis of assigned composition during the semester.

In this course students will deepen their knowledge of music theory. We will learn and practice advanced harmony and form in tonal music as well as selected topic of 20th century music theory and practice. We will start from chromatic harmony of the late 19. Century and go through instances of atonal, serial music up to special 20th century composition techniques and forms. Emphasis will be put on assignments and exercises in order to develop good creative and analytical skills. We will examine the main formal principles of post-tonal music and apply our knowledge in analysis of selected compositions. We will use various analytical approaches and test them on a large scale of musical material. Every student will be due to realize at least one analysis of assigned composition during the semester.

An exploration of baroque and classical styles through the works of composers from 1600-1800, including the origins of the style, the confluence of stylistic practices and the evolution of classicism. Students will be able to recognize, describe, and discuss features of both styles. Students will demonstrate an understanding of the origins of classicism including the differences from Baroque style as manifest in musical practice. Students will be able to recognize, identify, and discuss works typical of the classical period including symphony, concerto, opera, and solo/chamber works including the sonata and string quartet.

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.

The course provides an overview of the major trends in classical music of the last 100 years in the West. Special attention will be paid to the musical culture of Central Europe and particularly the Czech lands. Central compositional and aesthetic issues of 20th century music will be discussed on the basis of source texts as well as academic writings. Music, politics and nationalism, atonality and serialism, experimental and electronic music, the musical minimalism, and other topics will be covered.

Study and performance of chamber music

This course is required of all Steinhardt Music Majors studying on the program. The aim of Collegium is to provide music students with a variety of experiences which reflect the local musical history and culture. The course uses lectures, field trips, and concerts to acquaint students with local music and culture. The exact format and content of this course varies by location.

Theory and analysis of diatonic common-practice classical repertoire with an introduction to chromatic harmony and small forms. Topics include phrase structure, voice leading, sequences, secondary functions, tonicization, modulation, and advanced topics in rhythm and meter in common-practice Western music. The course builds on composition and analysis skills developed in Theory & Practice I, and introduces students to techniques in four-part contrapuntal writing, arranging, and model composition.

Theory and analysis of popular music. Popular music, defined broadly, includes pop, rock, hip hop, rap, metal, jazz, folk, and musical theater and film repertoire. Topics include scales and modes, lead sheet and Nashville number notation, phrase structure, song forms, harmonic syntax, loops and harmonic chord schemas, tonicization and modulation, and rhythmic and timbral analysis in popular music. Students will develop basic proficiency in a DAW and music notation program. This course will culminate in a final composition or analysis project.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Tonal Harmony & Voice Leading. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating four-part diatonic harmony and basic chromatic harmony including secondary functions and modulation, advanced rhythm and meter, chromatic melodies, and instrumentation.

Techniques of music listening developed through musical sight-singing, dictation, and aural analysis. Topics are coordinated with the co-requisite course, Theory & Practice II: Popular Music. This course builds on skills developed in Aural Skills I. Students learn techniques for critically listening to, analyzing, and notating musical elements of instrumentation, sound production and timbre, advanced rhythm and meter, loops and harmonic chord schemas, advanced diatonic harmony, and basic chromatic harmony including secondary functions and modulation.

This course explores a range of analytical methods and compositional techniques characteristic of French art music from the belle époque to 1950. Topics include French dances and other large forms, rich chords, embellishing chords, the “cadence Fauréenne,” modes and pentatonic collections, and Messiaen’s “additive rhythm” and “modes of limited transposition.” Students gain hands-on practice with techniques for orchestration and transcription and analyze regional and stylistic influences, including those from Spain, Javanese Gamelan, and American blues and ragtime.

Introduction to the materials and organizing principles of 20th and 21st century concert music and jazz. Students will engage with a range of analytical methods and compositional techniques applicable to a broad range of repertoire incorporating advanced chromaticism, modes, extended tonality, atonality, jazz harmony, and contemporary techniques in metric organization and form. The course will culminate in a final paper or presentation analyzing a 20th or 21st century work.

Continued development of sight-singing, dictation, and aural analysis skills developed in the prerequisite course, Advanced Aural Skills: Chromatic Harmony. Students will critically listen to, transcribe, and perform music incorporating modes, chromatic and jazz harmony, extended tonality, and atonality. Advanced rhythmic topics include polyrhythm, syncopation, swing, mixed meter, and metric modulation.

Techniques of music listening developed through sight-singing, transcription, and aural analysis. Topics are coordinated with the co-requisite course, Advanced Theory & Practice: French Music and include French dances and other large forms, added and extended chords, embellishing chords, the “cadence Fauréenne,” modes and pentatonic collections, and Messiaen’s “additive” rhythms and “modes of limited transposition.” Students will learn aural strategies for describing form, characteristic features of French dance, and stylistic and regional influences.