COURSE DESCRIPTION: This course is comprised of two parts. During the first half of the quarter, we will examine various musical elementsrhythm, melody, harmony, texture, and tone coloras well as musical form. During the second half of the quarter, we will utilize this conceptual foundation to trace the development of music from the Middle Ages to the present. Throughout the quarter, illustrative pieces representing a range of stylesWestern, Non- Western, Jazz, and Popwill be utilized, although a focus will be placed on Western art music. In this course you will grow in your ability to critically listen to discuss, analyze, aesthetically respond top, and produce music. Since this course is primarily focused on the development of aural skills, little attention will be given to the development of skills for reading standard musical notation.
PREREQUISITES: none
EVALUATION: Students will be evaluated based on individual portfolios which will consist of a number of items including: progress toward individual course goals, daily reflections/listening analyses, concert reviews, composition project, midterm essay, and final group project.
TEXT: The Enjoyment of Music, Machlis and Forney; accompanying CD set; coursepacket. Twila McDonell
Introduction to Music MUSG A70-0, sec. 21
Time: MTWTH, 2:00 p.m. MAB 109
Office Address: 711 Elgin Rd.
Office Phone:
491-5431
Expected Enrollment: 60
COURSE DESCRIPTION: The course is an introduction to music for the general student at the University. The goals of this course are to introduce the student to the fundamentals of music, develop listening skills, survey representative examples of Western music from the Middle Ages to the present and experience live music in the concert setting. Non-western musical examples will also be considered.
PREREQUISITES: The course is designed for general students not registered in the School of Music. There are no prerequisites.
TEACHING METHODOLOGY: Lectures and discussion. Class time will also be devoted to the listening of records, tapes, and compact discs. Attendance of live performances and concerts in the Chicago metropolitan area as a field study will be required.
EVALUATION: Class participation, journal, quizzes, oral presentations, midterm, final examination and final project.
REQUIRED TEXT: 1) Course packet, compiled by the instructor and available at Quartet Copies; 2) Machlis, Joseph & Kristine Forney. The Enjoyment of Music. New York: W.W. Norton & Company 1995.
Mark-Daniel Schmid
Introduction to Music MUSG A-70, sec. 22
Time: MTWTH 2:00 p.m. MAB 114
Office Address: MAB 8
Office Phone: 467-2029
Expected Enrollment: 40
COURSE OBJECTIVES The goal of this course is to introduce the art form of music and the elements of which it is comprised such as including rhythm, melody, harmony, counterpoint, texture, tone color, and form. By studying representative examples from various musical genres, we will trace the development of music from the Middle Ages to the present.
Throughout, the course, we will be listening to select examples of compositions and develop a preliminary technique of listening to music and aesthetically responding to it. Attendance at Northwestern University concerts and in-class performances will further enhance your ability to discriminate and discuss your musical experience.
WORK MATERIALS
EVALUATION--your grade will be based entirely on your portfolio which is organized into the following categories:
POLICIES
Stephen Syverud
Introduction to MIDI MUSG 0501 A-75, sec. 20
Time: MWF 2:00 MAB 125
Office Address: MAB 121
Office Phone: 491-5722
Expected Enrollment: 15
COURSE DESCRIPTION: The course is an introduction to MIDI systems for the general student in the University. Various software packages and related hardware will be examined for their creative possibilities through lectures, readings, demonstrations, and hands-on- experience. A series of projects insures an understanding of the material presented during regularly scheduled class times. In addition to meeting three hours each week, every student is expected to spend a minimum of two additional hours in the Macintosh laboratory located in the School of Music.
PREREQUISITES: The course is designed for general students not registered in the School of Music. There are no prerequisites.
TEACHING METHODOLOGY: Lectures and individual sessions will occur during the beginning of the quarter. Feedback from completed projects and a seminar format will evolve as the quarter proceeds.
EVALUATION: Class participation, term paper, journal, quizzes, oral presentations, midterm, final examination, and final project.
REQUIRED TEXT/MATERIALS: A manual for the course will be available at Quartet Copies. Computer supplies. Required reading and listening list to be announced.
Jeongwon Joe
General Music Studies for Non-Majors: 0501 A75-0 Sec. 21
HISTORY OF THE SYMPHONY
Office Address: 711 Elgin Rd.
Phone: 491-5431
Expected Enrollment: 35
COURSE DESCRIPTION: This class is intended to give the students a sophisticated background in the symphonic genre by teaching components of the orchestra, historical development of the symphony and analyzing major symphonies representative of each stylistic period. By studying the symphonic genre, students will also learn the general historical development of compositional philosophies and techniques.
PREREQUISITES: None.
TEACHING METHOD: Lecture. There will be reading and listening assignments.
EVALUATION: Three exams (midterm, intermediate, and final), listening quizzes, and written assignments.
READINGS: 1) Course Packet, compiled by the instructor; 2) Kramer, Jonathan D. Listen to the Music: A self-Guided Tour Through The Orchestral Repertoire. New York: Schirmer Books, 1988; 3) Stedman, Preston. The Symphony. 2nd ed. New Jersey: Prentice Hall, 1993 (Optional).
L. Stanley Davis
Survey of African-American Music: The Gospel Tradition
0404 AFAM B40 sec.20
Time: W 6:00-9:00 p.m. MAB 42
Office Address: 310 Kresge Hall
Office Phone: 467-3218, 491-5122
Expected Enrollment: 30
COURSE DESCRIPTION: This course is an introduction to and an overview of the history of gospel music tradition in America. The course traces the evolution of gospel music from its roots by examining its earliest predecessors in the Western African tradition (1619), the influences of congregational psalm singing, work songs, Negro Spirituals, hymnody, and blues. This first portion of the course focuses upon the contextual relationships and influences of the earliest forms of the black sacred music genre. Students are introduced to the five most prominent eras of gospel music (1920s- 1990s) in which musical styles and patterns, lyrical content, personalities and the performance styles and techniques of each period are examined. The Black church as social agent, promoter and preservationist of the tradition is both considered and discusses. The last segment of the course focuses upon the recording industry, current artists, the changing Black Church, the media attention to and the commercialization of the gospel music sound. While the scope of the course is historical in content, it provides one an opportunity to examine this art form through an integrated, interdisciplinary course of study which embraces the cultural anthropological, sociological, theological, ethnomusicological and political approaches to the development of the gospel music tradition in America. P/N option allowed. Attendance at first class is mandatory.
TEACHING METHODS: Both lectures and discussion. Class time will also be devoted to the listening of records, tapes and compact discs and the screening and discussion of films and videos related to readings and lectures. Attendance of live performances and church worship services in the Chicago metropolitan area as a field study will be required. Professional recording artists and representatives from the record industry and or media will address the class on current issues in the art form.
EVALUATION: Based on the following: class participation, submission of a gospel music journal providing a historical and critical analysis of live performances attended, a comprehensive final examination, a major paper (optional)
READING TEXTS: Required readings will come from the texts: Frazier, E. Franklin, The Negro Church in America, Heilbut, Anthony, The Gospel Sound-Good News and Bad Times, Jones, Leroi, Blues People, Mapson, J. Wendell, The Ministry of Music in the Black Church, Reagon, Bernice Johnson, We¹ll Understand It Better, By and By, Southern, Eileen, The Music of Black American: Black Sacred Music and Social Change.
Note: Additional required readings which come from a collection of handouts made up of articles, papers and journals will be made available in a course packet at Quartet Copy Centers.