Course Descriptions

6TH 101 (I-2) Model Composition and Tonal Analysis I

This course is an introduction to the vertical and linear dimensions of tonal music. After a review of musical fundamentals, in which students will be expected to demonstrate facility and speed in naming and spelling basic tonal materials, the course will introduce traditional contrapuntal exercises, basic diatonic harmony, and the paradigmatic construction of formal phrase units. A major concern of this course is the relationship between harmonic, contrapuntal, and formal prototypes and actual pieces of music from the 15th – 20th Centuries.

Students who complete this course successfully will be able to:

  1. Spell and recognize all major and minor scales, key signatures, intervals, triads, and seventh chords quickly and accurately.
  2. Write syntactically correct species counterpoint in two voices, five species. Students will also recognize passing, neighboring, and suspension tones in the context of 15th-19th century music.
  3. Compose brief chord progressions using tonic, dominant, and predominant harmonies; realize figured bass exercises in four voices; harmonize chorale-style melodies that do not modulate in four voices.
  4. Recognize the relationship between contrapuntal/harmonic paradigms and actual compositions from the 15th-20th Centuries, through analysis of selected works and excerpts, and through expansion of harmonic/contrapuntal prototypes in model composition assignments. Students will be able to provide Roman numeral analysis and identify cadences in diatonic, non-modulating music in many genres.
  5. Recognize small forms (sentences, periods, 12-bar blues) in tonal music, both visually and aurally.
  6. Compose sentential and periodic melodies with simple accompaniment in late 18th-Century style.

(updated 9/1/05)

6TH 102 (II-2.5) Model Composition and Tonal Analysis II

In this course, the second semester of the undergraduate theory sequence, we will continue the study of tonal harmony and voice leading, both through written work and analysis. We will continue to focus mostly on diatonic harmony (chords available within the prevailing key); however, we will also begin to explore techniques of tonicization and modulation (moves to different keys). In the second half of the semester we will learn about binary form, and will work towards a composition project: every student will write a theme and variations set which will be performed by students in the class.

Students who complete this course successfully will be able to:

  1. Compose chord progressions using all diatonic harmonies, diatonic harmonic sequences, and/or pivot-chord modulations to the dominant or relative major; realize figured bass exercises in four voices; harmonize a chorale-style melody that modulates to and from the dominant or relative major.
  2. Recognize the above-listed harmonic devices within compositions from the 18th and 19th centuries.
  3. Recognize small forms (binary, sectional variations, ternary) in tonal music, both visually and aurally.
  4. Compose a well-formed binary movement for two voices in Classical style using the harmonic, contrapuntal and formal devices described above.
  5. Derive a four-voice Chorale-style background for compositions in various styles.

(updated 9/1/05)

6TH 115 (II-1.5) Review Dictation

An accelerated course in undergraduate ear training for graduate students who are found to be deficient on the entrance theory examination.

6TH 116 (I-1.5) Form and Analysis Review

An accelerated course in undergraduate harmony, counterpoint, and form for graduate students who are found to be deficient on the entrance theory examination.

6TH 117 (I -1.5) Theory, Analysis, Musicianship Review

The first semester of an accelerated review course designed for graduate students who are found to be deficient on the entrance theory placement examination. With a focus on eighteenth-century diatonic procedures, the course integrates conceptual and aural components of music theory, including writing, analysis, listening, singing, keyboard, and model improvisation.

6TH 118 (II – 1.5) Theory, Analysis, Musicianship Review

The second semester of an accelerated course designed for graduate students who are found to be deficient on the entrance theory placement examination. With a focus on late eighteenth- and early nineteenth-century chromatic procedures, the course integrates conceptual and aural components of music theory, including writing, analysis, listening, singing, keyboard, and model improvisation. Please note that students must pass TH 118 before they will be allowed to register for a 400- or 500-level theory course

6TH 161(I-2) Aural Musicianship I

The primary goal of aural musicianship study at the Eastman School of Music is instant, one-to-one mapping of sound to symbol. In other words, musicianship training enables musicians to put the right notes in the right place with the right expression. The first course in the sequence will emphasize strategies for accurate and expressive reading, improvising, singing, and dictation using elementary rhythms and diatonic pitch materials in treble and bass clefs.

Students who complete this course successfully will be able to:

  1. Sing treble and bass clef diatonic melodies in major and minor keys, such as “Amarilli, mia bella”, “Per la gloria d’adorarvi”, “Caro mio ben”, or “Gia il sole dal Gange” with accuracy and appropriate musical expression. Students will prepare some material, and sight-read additional works.
  2. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
  3. Perform syncopated rhythmic material such as Samuel Barber’s “Hermit Song #1” on a melodic instrument with rhythmic accuracy and appropriate musical expression.
  4. Sing and play contrapuntal exercises and simple baroque pieces in two voices.
  5. Aurally recognize all harmonic vocabulary taught in TH101.
  6. Aurally recognize smaller musical forms (sentence, period, and 12-bar blues).
  7. Notate music with all of the above characteristics accurately and efficiently through dictation and transcription assignments.
  8. Demonstrate keyboard facility in the rudiments of music, two-voiced species counterpoint, and four-voiced harmonic prototypes of common-practice music.

(updated 9/1/05)

6TH 162 (II-1.5) Aural Musicianship II

In this second course in the aural musicianship sequence, students will complete their aural understanding of diatonic harmony, will expand their improvisatory capabilities, will experience simple modulations, and will master most of the rhythmic gestures necessary for performance of Renaissance and common-practice European art music. Alto clef will be introduced with emphasis on rapid and accurate reading, along with associated transpositions. All harmonic, melodic, rhythmic, and formal procedures build on materials mastered in TH161.

Students who complete this course successfully will be able to:

  1. Sing melodies, Mozart lieder, and representative Arie antiche with appropriate musical expression and accuracy. Students will prepare some material, and sight-read additional works.
  2. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
  3. Read and write music in treble, alto, and bass clefs fluently, along with associated transpositions.
  4. Improvise a well-formed sentence or progressive period, given a two- or four-measure incipit.
  5. Perform Edgard Varése’s “Density 21.5” on a melodic instrument with rhythmic accuracy and observing all notated expression markings.
  6. Aurally recognize all harmonic vocabulary and devices taught in TH102.
  7. Describe formal procedures in aurally experienced works works such as a minuet movement from a Mozart string quartet, a suite movement by J. S. Bach, Jerome Kern’s “All the Things You Are,” or Richard Rodgers’ “My Romance”.
  8. Notate music with all of the above characteristics accurately and efficiently through dictation and transcription assignments.

6TH 201 (I-2.5) Model Composition and Tonal Analysis III

This course in harmony, analysis and composition completes our study of eighteenth- and early nineteenth-century tonal procedures. Students will explore the meaning of chromaticism in tonal music through examination of tonicization and modal mixture, emphasizing composers’ use of these chromatic techniques within large-scale movement organization. Intertwined with a review of the contrapuntal, harmonic, and formal procedures and concepts that were presented in TH 101-102 will be the introduction of two topics: graphic analysis, and its role in representing students’ deeper level understanding of linear and harmonic motions and how this understanding impacts performance decisions, and writing two-voice non-imitative and imitative counterpoint. Three large topics will follow: new chromatic techniques in late eighteenth- and early nineteenth-century music, large forms and genres, and motivic processes that create narratives through a piece and inform performance. The first of two compositional projects will be crafted in the common-practice style and involve imitative counterpoint. The second project, an accompanied song, will be crafted in an early nineteenth-century chromatic style.

Students who complete this course successfully will be able to:

  1. Compose chord progressions using all diatonic and common chromatic harmonies.
  2. Compose and perform representative pieces in the late-Baroque imitative style, the classical style, and the chromatic romantic style of the early-nineteenth century.
  3. Recognize and negotiate both small (binary) and large (sonata) forms, including formal areas, harmonic language, tonal procedures, and motivic structure.
  4. Graphically represent, speak, and write articulately about any of the above.

(updated 9/1/05)

6TH 202 (II-2.5) Model Composition and Tonal Analysis IV

Semester IV of the Eastman four-semester core curriculum is a course in harmony and analysis that moves from early nineteenth-century tonal practice to the forms that “tonality” took in the late nineteenth and early twentieth centuries. The later forms of tonality began to take full advantage of the equally-tempered, twelve-tone scale, as does jazz harmony, and thus the course will conclude with an introduction to jaz harmony, where many of these “extended-tonal” techniques survive to the present day. The course is divided into four units: 1. The Romantic Style: Harmony, Form and Texture; 2. 19th-century chromatic harmony; 3. tonality at the turn of the 20th Century; 4. introduction to jazz harmony. There will be one compositional project: students will compose either a 19-century style Lied, or a “character piece” for piano, or for solo instrument with piano accompaniment.

Students who complete this course successfully will be able to:

  1. Compose a “character piece” for piano in 3-part form. (Schumann’s “Scenes from Childhood,” and Mendelssohn’s “Songs without Words” represent compositional models for this project.)
  2. Compose fragments of chromatic harmony, as demonstrated in exercises in figured bass and melody harmonization drawn from late 19th century pedagogical sources.
  3. Compose a 3-part piece in a turn-of-the-(20th)-century tonal idiom for instrumental duo. The piece will explore scale-types that typify this historical period (diatonic modes, whole-tone, octatonic and hexatonic scales).
  4. Write a piano arrangement of a jazz or popular tune that demonstrates “reharmonization” of a lead-sheet.

(updated 9/1/05)

6TH 202J (II-2.5) History, Analysis, and Theory of Early Jazz (1900-1940)

A comprehensive study of early jazz styles (Ragtime, New Orleans, Swing), their most significant representatives (Armstrong, Morton, Ellington, among others) and their various contributions to the development of modern jazz.

Major emphases will include examination of formal design, tonal syntax, improvisation techniques, and harmonic vocabulary using several analytical and contextual perspectives.

TH 202J is required for undergraduate JCM majors in place of TH 202. Non-jazz majors may NOT use this course to fulfill their TH 202 requirement. However, they may take it as an elective with the instructor’s permission. Offered every other year.

6TH 205 (I-4) Model Composition and Post-Tonal Analysis

This course combines a survey of twentieth-century compositional styles with advanced musicianship exercises focusing on the post-tonal repertoire.

Analysis and model composition assignments will address aspects of pitch-class set and serial theory, as well as other techniques developed by contemporary composers.

Pre-requisite: TH 202 and 262 or placement by examination.

6TH 205J (I-4) Analysis and Theory of Modern Music & Jazz

This course offers a comprehensive study of modern music and jazz with an in-depth examination of compositional styles, analytical methods, improvisation techniques, and advanced harmony. This course is required for undergraduate Jazz and Contemporary Media (JCM) majors only, to be taken during junior or senior year. Recommended for undergraduate theory majors. Others may take the course with permission of the instructor. Offered every other year during fall semester.

6TH 212 (I-3, alternate years) Acoustics

An introductory course in the physical properties of sound, including vibrating systems, wave propagation, room acoustics, tuning and temperament, the psychology of hearing, the physics of musical instruments and the voice, digital synthesis and recording, and computer manipulation of sound. Prerequisite: TH 202. (May not be used as a humanities/science elective.)

6TH 241 (I, II-3 alternate years) Computer Applications in Music Research

An introduction to computer programming and data mining for music research. Course topics will include object-oriented programming in C++, Java, and Javascript, data structure definition and manipulation, information theory, and topics from computer science and the computer music literature.
Prerequisite: A basic familiarity with computers. Student unsure about their level of experience with computers should meet with the instructor before enrolling in this course. May be used as a humanities/science elective.

6TH 251 (I-3) Counterpoint I

A course in modal counterpoint, focusing on the study of two-, three- and four-part compositional techniques. Writing is primarily in the sacred styles, but some work in secular styles may be undertaken. Analysis of masterpieces of the sixteenth-century repertory provides context for compositional study. Prerequisite: TH 202.

6TH 252 (II-3) Counterpoint II

A course in tonal counterpoint, focusing primarily on the Baroque style, but with work in later eighteenth- and early nineteenth-century styles as well. Review of chorale setting, writing of chorale preludes and variations, inventions and suite movements, introduction to fugue. Relevant analysis provides context for compositional study. Prerequisite: TH 202.

6TH 260 (II-3) Music and the Mind

An introduction to the discipline of music cognition. Topics surveyed include empirical methods, psycho-acoustic principles, influence of Gestalt psychology, music and language, metric and tonal hierarchies, music and the brain, aspects of musical development, and research on musical memory, expectation, and emotion. Lecture and discussion format, with exams and final literature-review research paper. (Pre-requisite: TH 101 or MUR 110 or 111). Cross-listed as TH 460.

6TH 261 (I-1.5) Aural Musicianship III

In this, the third course in the aural musicianship curriculum, students will continue to build on skills acquired in the earlier courses. New material in this course emphasizes tenor clef and its associated transpositions, a systematic introduction to chromatic processes in tonal music, various problems associated with changing meter signatures and polyrhythms, and perception of tonal processes in complete movements composed in larger forms.

Students who complete this course successfully will be able to:

  1. Sing selected songs from Schubert song cycles with or without accompaniment, with appropriate musical expression and accuracy. Students will prepare some material, and sight-read additional works.
  2. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
  3. Read and write music in treble, alto, tenor, and bass clefs fluently, along with associated transpositions.
  4. Improvise continuous variations above a ground bass or a circular harmonic sequential passage.
  5. Conduct and perform music with changing meter (division or beat constant), tempo modulation, and simple polyrhythms (2:3, 3:4) accurately and expressively.
  6. Aurally recognize all harmonic vocabulary and devices taught in TH201.
  7. Aurally process larger formal units. Specifically, students will be able to identify fugal devices in the first module and sonata procedure in the second module.
  8. Notate music with all of the above characteristics accurately and efficiently through dictationand transcription assignments. For example, students will be able to notate the opening subject/answer/countersubject statements of a fugue from dictation in open score using two clefs.

(updated 9/1/05)

6TH 262 (II-1.5) Aural Musicianship IV

In this, the fourth course in the aural musicianship curriculum, students will complete their formal studies of common-practice tonal relationships and begin exploration of post-tonal idioms of the early twentieth-century. In addition, students will learn audiation strategies for tonal vernacular music of the twentieth century. Facility in five clefs and score reading techniques will be stressed, along with an examination of multiple strategies for successfully learning and notating highly chromatic music. Students will also learn to read and perform music in asymmetrical meters, and music that changes meter asymmetrically.

Students who complete this course successfully will be able to:

  1. Sing selected chromatic songs by H. Wolf, R. Strauss, G. Faure, and B. Strayhorn with or without accompaniment, with appropriate musical expression and accuracy.
  2. Read melodies that contain considerable surface and deeper-level chromaticism. Emphasis is on recognizing chromatic processes, and developing multiple strategies for successfully learning such music.
  3. Demonstrate fluency in both fixed do solfège syllables and movable scale degree numbers.
  4. Read and write music in treble, soprano, alto, tenor, and bass clefs fluently, along with associated transpositions, with emphasis on changes of clef within a given part.
  5. Demonstrate the ability to read music in open score (3 or more parts).
  6. Read, notate, and recognize melodies based on pentatonic, whole-tone, diatonically modal, non-functional diatonic, octatonic, and chromatic collections aurally.
  7. Perform the following works in rhythmically accurate performances: Elliot Carter, “Canaries”; Samuel Barber, “The Secrets of the Old”; Steve Reich, “Tehillim” opening 3 pages; Benjamin Britten, “Rejoice in the Lamb” – Nimrod section.
  8. perform a functional harmonic realization from “lead sheet” notation.
  9. Aurally recognize all harmonic vocabulary and devices taught in TH202.
  10. Notate music with all of the above characteristics accurately and efficiently through dictation and transcription assignments.

(updated 9/1/05)

6TH 262J (II-1.5) Jazz Aural Musicianship IV

TH 262J is required for undergraduate JCM majors in place of TH 262. Non-jazz majors may NOT use this course to fulfill their TH 262 requirement. However, they may take it as an elective with the instructor’s permission. Offered every other year.

6TH 285 (II-3) Comprehension and Analysis

An analysis seminar required for undergraduate theory majors, and open to all undergraduates. (If taken by a non-theory major, this course satisfies the requirement for an upper-division music academic elective course.) The course incorporates readings and analytical procedures from wide-ranging sources. The focus of the course is on the analysis of large tonal and post-tonal works. The coursework culminates in a large-scale analytical project. Prerequisite: TH 205 (fifth semester of the theory core)

6TH 295 (I,II-3) Senior Thesis

This two-semester course is designed as preparation for graduate school in music theory. To accomplish this, the first semester will focus on bibliographic and research skills, with the goal that students will develop a topic, thesis, and proposal for their senior thesis project. In the second semester, students will complete work on their undergraduate thesis. Students will present and discuss their work in class. Various members of the department serve as the primary advisors for the thesis projects; the instructor of the thesis course will serve as the second reader. Prerequisite: TH 285 Comprehension and Analysis.

6TH 400 (I, II-3) Analytical Techniques

An introduction to the basic techniques of both tonal and non-tonal repertories designed with the particular needs of the performance major in mind. The course introduces students to a broad range of techniques of analysis and insofar as possible, their implications for performance. Short assignments and papers explore the basic analytical literature and evaluate the results of various analytical techniques.

6TH 401 (I, II-3) Topics in Tonal Literature and Analysis

This course introduces and explores analytical techniques and issues relevant to the traditional tonal musical literature, addressing as well the performance implications of analytical decisions insofar as possible. The course deals with the analysis of various musical dimensions in a core repertoire that will vary from semester to semester. Topics include meter/ rhythm, harmonic syntax, motivic structure, deeper-level linear structure, formal processes, and text/music relationships.

6TH 402 (I, II-3) Topics in Twentieth-Century Music Literature and Analysis

This course introduces and explores a broad range of analytical techniques and issues relevant to twentieth-century music. The course deals with the analysis of various musical dimensions in a core repertoire that will vary from semester to semester. Topics include meter/ rhythm, harmonic syntax, motivic structure, deeper-level linear structure, formal processes, and text/music relationships.

6TH 411 (II-3) Theory and Analysis of Tonal Music

6TH 412 (I-3, alternate years) Acoustics

An introductory course in the physical properties of sound, including vibrating systems, wave propagation, room acoustics, tuning and temperament, the psychology of hearing, the physics of musical instruments and the voice, digital synthesis and recording, and computer manipulation of sound. A research paper on an approved topic is required. Prerequisite: TH 202. Students who have received credit for TH 212 may not enroll in this course.

6TH 421 (I, II-3) Pedagogy of Theory

A course in the materials, organization, techniques, and problems of the first two years of theory teaching, designed for DMA students. Bibliographical survey of texts and sample teaching. Observation and teaching of freshman and sophomore classes.

6TH 423 (II-3) Multimedia Programming for Pedagogy and Research

This course develops multimedia programming skills for application in music-theory pedagogy and as a basis for further research and study. The central focus is a multimedia authoring program and supporting applications. Students also learn a scripting language and basic multimedia techniques for using sound, image, and video files. This course is taught using Macintosh computers, although cross-platform programs are used as much as possible. Prerequisite: A basic familiarity with computers. Students with no familiarity with computers should meet with the instructor before enrolling in this course.

6TH 431 (I, II-3) Seminar in Analysis and Performance

This course deals primarily with the relationship between analysis and performance decisions. It also draws upon the history of performance practice, contemporaneous sources on the subject, and comparative evaluation of recorded performances. Specific works studied are determined by the instructor in consultation with the students. A major analysis of an approved work is required. Prerequisite: TH 400 or the equivalent.

6TH 441 (I, II-3, alternate years) Computer Applications in Music Research

An introduction to computer programming and data mining for music research. Course topics will include object-oriented programming in C++, Java, and Javascript, data structure definition and manipulation, information theory, and topics from computer science and the computer music literature.

For TH 441 additional programs and readings beyond the specifications for TH 241 are required. Prerequisite: A basic familiarity with computers. Student unsure about their level of experience with computers should meet with the instructor before enrolling in this course.

6TH 451 (I-3) Modal Counterpoint

Study of the practice of sixteenth-century modal counterpoint. Includes development of written skills through species counterpoint, and study of stylistic counterpoint as found in the sacred vocal polyphony of such masters of the period as Palestrina, Victoria, and Lasso. Composition of two-, three-, and four-voice pieces in counter-Reformation style.

6TH 452 (II-3) Eighteenth-Century Counterpoint

Study of contrapuntal practice of the mature and late Baroque periods, with emphasis on the style of J.S. Bach. Composition of two-, three-, and four-voice chorale preludes, binary dances, inventions, and fugues.

6TH 460 (II-3) Music and the Mind

An introduction to the discipline of music cognition. Topics surveyed include empirical methods, psycho-acoustic principles, influence of Gestalt psychology, music and language, metric and tonal hierarchies, music and the brain, aspects of musical development, and research on musical memory, expectation, and emotion. Lecture and discussion format, with exams and final literature-review research paper. (Pre-requisite: TH 101 or MUR 110 or 111). Cross-listed as TH 260.

6TH 471 (I-1), TH 472 (II-2) Apprenticeship in Pedagogy

A two-semester student-mentor relationship in which the student will learn first-hand about the workings of the undergraduate curriculum and then design a project. In the first semester, the student will observe each of the undergraduate core courses and keep a journal which reflects self-awareness of pedagogical technique and materials. The student will submit a written summary of each of the c. 30 observations at the end of the semester. In the second semester, the student will create, design, and craft an original project that focuses on some pedagogical aspect of the written or aural curricula. A
teaching recital and a skills exam are also required as final projects for TH 472. Open only to M.A. in Theory Pedagogy majors.

6TH 475 (I-3) Intermediate Keyboard Skills

Practical experience in score reading, figured bass realization, transposition, melody harmonization, and pop symbols. All students are expected to perform weekly assignments at the keyboard. Prerequisites: TH 202 or equivalent and Piano 104 proficiency; or permission of instructor.

6TH 476 (II-3) Advanced Keyboard Skills

Intensive practical experience in the realization of figured bass, score reading with emphasis on C-clefs, transposition, modulation, and improvisation. All students are expected to perform weekly assignments at the keyboard. Prerequisites: TH 475 or equivalent. An audition with the instructor, to be scheduled during the first week of spring semester, is required of all students. Instructor’s signature required.

6TH 480 (I-3) Advanced Harmony and Composition

A course in style composition, based on common-practice models. Projects may include a minuet for string quartet, a Romantic-style character piece for piano, and a Romantic Lied. Open to graduate students and undergraduate theory majors; non-theory undergraduates may take the course with instructor permission.

6TH 481, 482 (I, II-3) Special Topics in Music Theory

A variety of analytical and theoretical topics of changing focus. Specific topics and instructors to be announced in advance. May be repeated for credit.

6TH 511 (II-4) Introduction to Theory and Analysis of Tonal Music

Introduction to the theories of Heinrich Schenker and their application to the analysis of tonal music. Intensive analytical work and selected readings. Prerequisite: at least one upper-level undergraduate form and analysis course.

6TH 512 (II-4) Proseminar in the Theory and Analysis of Tonal Music

A continuation of TH 511. Topics to be covered will include the following: the analysis of larger formal structures, problems in the analysis of late Romantic music, and extensions and modifications of Schenker’s theories. Readings (Schenker and others) as well as analytical papers. Prerequisite: TH 511 or equivalent.

6TH 513 (II-4) Introduction to the Theory and Analysis of Twentieth-Century Music

Introduction to the theory and analysis of nontonal twentieth-century music. Topics include cyclic, set, serial, contour, and transformational theories.

6TH 514 (I-4) Proseminar in Theory and Analysis of Twentieth-Century Music

Study of advanced theories and/or analysis of twentieth-century music. Prerequisite: TH 513 or equivalent.

6TH 520 (II-4, alternate years) Proseminar in Analysis of Early Music

Study and application, in seminar format, of analytical techniques appropriate to the music of the fourteenth through the early seventeenth centuries. Includes critical discussion of analytical methodologies, selective survey of the analytical literature, and analysis of representative composers from the Ars Nova to Monteverdi. Knowledge of music history and literature of this period is presumed. Familiarity with techniques of linear analysis is desirable. Weekly reading assignments, analytical assignments, class presentations, research paper. Prerequisite: TH 401 or TH 511 or permission of instructor.

6TH 521 (I, II-4) Pedagogy of Theory

The materials, organization, techniques, and problems of undergraduate theory teaching, designed for Ph.D. students in theory who will be teaching in the ESM core curriculum. Intensive review of counterpoint, harmony, keyboard, and aural skills. Bibliographical survey of texts and anthologies. Observation and teaching of freshman and sophomore classes.

6TH 523 (I-4) History of Music Theory, Part I

Part I of a two-semester survey of the history of music theory. The semester will start with the ancient Greeks and end in the early 18th century, covering such topics as division of the pitch continuum, consonance and dissonance, rhythm/meter, mode/scale, counterpoint, and figured bass.

6TH 524 (II-4) History of Music Theory, Part II

Part II of a two-semester survey of the history of music theory. The semester will start with early 18th century theory and end in the early 20th century, covering such topics as counterpoint, figured bass, functional harmony, tonal form, acoustics, Schenker, and chromaticism.

6TH 531 (I, II-4) Seminar in Analysis and Performance

This course deals primarily with the relationship between analysis and performance decisions. It also draws upon the history of performance practice, contemporaneous sources on the subject, and comparative evaluation of recorded performances. Specific works studied are determined by the instructor in consultation with the students. A major analysis of an approved work is required. Prerequisite: TH 400 or the equivalent.

6TH 541 (I, II-4, alternate years) Computer Applications in Music Research

An introduction to computer programming and data mining for music research. Course topics will include object-oriented programming in C++, Java, and Javascript, data structure definition and manipulation, information theory, and topics from computer science and the computer music literature.
For TH 541, additional programs and readings beyond the specifications for TH 441 are required. Prerequisite: A basic familiarity with computers. Student unsure about their level of experience with computers should meet with the instructor before enrolling in this course.

6TH 542 (I-4, alternate years) Proseminar in Computer Applications

Topics in object-oriented programming with Java or C++. Stacks, Queues, and Graphs; searching and sorting techniques; recursive algorithms; linked data structures; advanced music coding languages; and more sophisticated applications in theory, musicology, and composition. A substantial final programming project is required. Prerequisite: TH 441 or permission of instructor.

6TH 560 (I-4, alternate years) Proseminar in Music Cognition

The objective of this course is to engage in professional-level music-cognitive research. The course surveys primary research in the field of music cognition and functions as a “laboratory” course in experimental method. Students discuss and critique experimental studies published in journals and monographs. In addition, the class works collaboratively to build skills in experimental design and data analysis via readings and class demonstrations/activities. Each student is expected to design and run an empirical experiment or computational project as a final research paper.

6TH 581-584 (I, II-4) Theory Seminars

Seminar discussion and research into theoretical topics at the doctoral level. Subjects covered change from year to year, depending upon the mutual interests of faculty and students. Exploration of recent developments and articles in the area of theory. Prerequisite: permission of instructor.

6TH 590 Independent Study

Independent study with theory faculty member.

6TH 591 (I, II-1) Theory Colloquium

Attendance and participation in Department colloquia.

6TH 595 (I, II, S-credit to be arranged) PhD Dissertation Project