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College Catalog 2020-2021 [ARCHIVED CATALOG]
All Courses
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Graduate Studies: Core Seminars in Music Theory |
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GRMUS T603 — Graduate Theory Review 3 credits
Summer, Fall
Faculty
This review course is designed for entering graduate music students. The integrated format combines aural, visual, tactile, and written activities with analysis; keyboard; exercises in figured bass and melody harmonization; and short compositions that incorporate various harmonic idioms; singing; and transcription. The course comprises a reorientation that reveals how theory, composition, listening, and analysis can inform performance and provides a foundation for more-advanced theory courses. The first half of the course focuses on diatonicism and the second addresses chromaticism.
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GRMUS T615 — Beethoven’s Late Piano Sonatas 2 credits
Summer
Kendall Briggs
The late piano sonatas represent Beethoven’s final statements on the genre as well as his unique mark on the use of sonata and other architectonic principles. These unique works stand as monuments in the compositional history of the piano sonata. All composers since have had to reconcile their own piano sonatas to those of Beethoven. This course will focus on his late sonatas, beginning with op. 101 and finishing with his remarkable op. 111. Because of their unique nature and proximity, the late sonatas will be compared with his late string quartets in order to understand more fully Beethoven’s compositional process at the end of his life. Sonatas written at the time by other composers will also be included, to help situate Beethoven’s own in the appropriate context.
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GRMUS T618 — Wozzeck & Lulu: Operas of Alban Berg 2 credits
Spring
Kendall Briggs
Berg’s operas stand as a pinnacle of operatic conception, design, and originality in the 20th century. This course will analyze these two masterworks in detail, revealing both surface and hidden structures as well as their unique concept and design from a compositional viewpoint. Class discussions will center on opera at fin de siècle and on earlier vocal works of Berg and his contemporaries to illuminate how Berg prepared himself for the task of composing his two operas.
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GRMUS T619 — Monteverdi, Tonality and the ‘Dramma Per Musica’ 2 credits
Spring
Kendall Briggs
The evolution from modality to tonality, as ushered in by the musical experiments of the Florentine Camerata and others, gave inspiration to a variety of new and fresh approaches to composition. This course will explore the birth of tonality as it pertains to the seconda prattica through the study of Monteverdi’s madrigals and operas. Madrigalism and the emerging dramma per musica will also be explored in the works of his contemporaries along with a survey and discussion of Renaissance poetry and text setting. The course will focus on his Madrigals Books IV, V, and VIII, as well as his two most important drammi per musica, L’orfeo and L’incoronazione di Poppea.
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GRMUS T620 — The Baroque Concerto 2 credits
Fall
Kendall Briggs
The early form and development of the concerto is rarely discussed. From the early antiphonal vocal and instrumental works of Gabrieli to the colorful “Brandenburg” Concertos of Bach, this course will focus on how composers used the concepts of antiphony, contrast, and opposition in large and small ensembles to create the concerto principle by examining the influence of vocal music on emerging instrumental forms. Topics will include the development of harmony and counterpoint from the older hexachordal system to the seconda pratica, its effects on tonal planning, and the creation of the ritornello concept; development of musical instruments and their combinations; analysis and comparison among national styles and their influence. Works by Gabrieli, Schütz, Corelli, Muffat, Leclair, Vivaldi, Bach, and Handel will be examined. Assignments will include comparative summaries of topics discussed as well as a final document, which will focus on a specific topic or a comparison of various topics. Preference given to Historical Performance students.
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GRMUS T623 — Advanced Counterpoint 2 credits
Fall
Philip Lasser
An intensive course devoted to studying the contrapuntal nature of music. Counterpoint is treated here not as a historical, style-based study, but rather as a fundamental controlling force in the syntax of Western music. The class will cover all the species in two, three, and four voices as well as explore works from Bach to today using unique contrapuntal tools for analysis. The class is designed as a rigorous seminar with weekly written assignments. Required of all undergraduate Composition majors and master’s Conducting majors. Open to advanced students in other majors.
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GRMUS T624 — Advanced Counterpoint 2 credits
Spring
Philip Lasser
Prerequisite: GRMUS T623. Building upon the skills and techniques acquired in the fall semester, this course will explore two, three, and four voice fully invertible counterpoint as well as the secrets to writing all types of canons from regular to augmentation and cancrizan canons and will culminate in the study and the writing of Bach-style fugues. Concurrently the class will analyze relevant works from the repertoire including an in-depth study of fugues from The Well-Tempered Klavier. Required of all undergraduate Composition majors and master’s Conducting majors. Open to advanced students in other majors who have taken the fall semester of Advanced Counterpoint.
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GRMUS T625-6 — Advanced Studies in Harmony 4 credits
Full Year
Philip Lasser
Open to Composition majors and advanced students in other majors. An advanced course examining the harmonic principals of the tonal language and their evolution through history. Based on Nadia Boulanger’s method, the class involves extensive written and aural work on chorale harmonizations from triads to ninth chords, with special emphasis on doublings and chord spacings. Work evolves gradually from diatonic to chromatic. Analysis of music from all periods will also be covered stressing harmonic issues as key elements of style and compositional organization.
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GRMUS T631 — Form as Narrative 2 credits
Fall
Loretta Terrigno
This class will cover forms including the Classical sonata, the Romantic character piece, and larger works (ballades, scherzos, fantasies, etc.), exploring the idea that musical form can be described as a story, or narrative. Drawing from the work of authors including Edward T. Cone, Robert Hatten, James Hepokoski and Warren Darcy, William Kinderman, and Michael Klein, we will deepen our interpretation of the following pieces (and others TBD): Beethoven’s Piano Sonatas in E major (op. 109) and A-flat major (op. 110), Chopin’s Ballade in F minor (op. 52), Brahms’s F-minor Clarinet Sonata (op. 120, no. 1), Schubert’s Wanderer Fantasy D. 760 and Piano Sonata in B-flat major (D. 960), as well as Schumann’s Kreisleriana (op. 16). In addition to exploring potential literary influences on these composers and pieces, we will also refine our understanding of harmony and form in these works and learn techniques for describing them as musical narratives (for instance, musical themes or chromatic motives may suggest characters in a story). Students will write 3–4 short analytical summary papers and present their interpretations to classmates during weekly discussions.
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GRMUS T633 — Music in Context 2 credits
Spring
Philip Lasser
An intensive special-topics course devoted to analyzing and discussing works that students are currently preparing for performance. Basic tools for contrapuntal, harmonic, and formal analysis will be established through examination of diverse works from the repertoire. Students will then apply these analytical techniques toward a work of their choosing as their final project and present in groups, an in-class lecture-performance discussing collaboratively the analysis and its relevance to interpretation. Open to individuals and chamber groups.
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GRMUS T637 — Contrapuntal Analysis: The Fabric of Music 2 credits
Spring
Philip Lasser
A seminar to analyze the contrapuntal fabric of music. Western music, both modal and tonal, has developed intricate ways to transmit meaning and beauty through sound. What are these processes and how do they affect how we understand music? Emphasis will be made on the relevance of this analysis to informed interpretation, performance, and composition. Following a presentation of the tools and concepts necessary for this analytical method, the course will examine major works from the High Baroque to Debussy. Students will also select works for individual analysis and discussion. Open to D.M.A. and advanced M.M. students.
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GRMUS T640 — The New and the Old 2 credits
Spring
Jonathan Dawe
A study of pairs of works from different eras in which significant links and lineages are established and explored. Principal to this analytic survey is the investigation of musical expressions that make connections beyond historic periods. How do works reinvent the past and what constitutes genuine compositional innovations? Included in this collection are: Babbitt and Brahms; Monteverdi and Glass; Hindemith and Bach; and Stravinsky and Machaut.
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GRMUS T641 — The American Symphony: Ives to Corigliano 2 credits
Spring
Wayne Oquin
This course focuses on the symphonies and major orchestral works written in the United States during the 20th century. We will examine staples of the American symphonic repertory such as Charles Ives’s Symphony No. 4, Aaron Copland’s Appalachian Spring, and William Schuman’s Symphony No. 3. We will also cover the symphonic works of Walter Piston, Roy Harris, Samuel Barber, Elliott Carter, Gunther Schuller, Christopher Rouse, and John Corigliano. Throughout the semester we will proceed chronologically, retracing the steps of these and other composers in their search for a distinctive American voice.
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GRMUS T643 — The Bartók String Quartets 2 credits
Fall
Kendall Briggs
The quartets of Bartók stand as the greatest achievements in quartet writing in the first half of the 20th century. These monumental works also shaped and changed forever the way quartets were written and played and gave the medium a fresh and vibrant start in the new musical world at the beginning of the 20th century. Briefly surveying the history of quartet writing and playing, this course will demonstrate how Bartók explored and exploited the developments of the past as well as how he derived new ideas of form and timbre which would drastically change the soundscape of the string quartet. Each quartet will be viewed in its contemporary context as well as through historical perspective, giving the student the opportunity to see and experience these quartets in new and different ways.
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GRMUS T644 — Beethoven: The Heroic Decade, 1800-1810 2 credits
Fall
Wayne Oquin
During the years of 1800-1810 Beethoven singlehandedly altered the history of Western music. In his so-called middle period, Beethoven’s vast creative output contained many of his most revered works: Symphonies Nos. 3 through 6; the Op. 59 (“Razumovsky”) String Quartets; Piano Sonatas Op. 27 (Quasi una fantasia) through Op. 81a (Les Adieux); and his opera Fidelio. This course will cover each of these works and others, analyzing the music, retracing Beethoven’s artistic development, and putting the works into their historical context. Frequently we will refer to facsimiles of the autograph manuscripts, critical editions, and analytical writings.
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GRMUS T645 — Methods of Analysis 2 credits
Fall
Jonathan Dawe
A course that explores analytic approaches to tonal and post-tonal theories. Included in the study is a survey of important speculative and practical theories of the 18th and 19th centuries as well as an investigation of significant theoretic traditions of the 20th century. This course also offers an introduction to the recent diverse approaches in music analysis currently developing in the 21st century.
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GRMUS T660 — Babbitt and Carter 2 credits
Spring
Jonathan Dawe
The works of these two American mavericks are studied in the context of the composers’ own rich and unique compositional approaches. Pieces drawn from all creative periods of their output (Babbitt’s Semi-Simple Variations, Head of the Bed, and Consortini; Carter’s Sonata for Flute, Oboe, Cello, and Harpsichord, Third Quartet, and Symphony of Three Orchestras) are analyzed, not only to gain insights into their complex compositional workings but also to develop an understanding of those stylistic attributes that were so influential in shaping the landscape of 20th-century music.
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GRMUS T667 — Beethoven: Symphonies in Context 2 credits
Summer
Wayne Oquin
The nine symphonies of Beethoven collectively occupy a special place in western music. In commemoration of Beethoven’s 250th birth year, this course will retrace the composer’s symphonic journey, twenty-five years in the making, beginning in 1800 with his seemingly modest Symphony No. 1. We will cover each of the nine symphonies, analyzing the music, following Beethoven’s artistic development, putting each work into its historical context, and showing each symphony’s place in the totality of the composer’s overall output. Special attention will be paid to Beethoven’s creative process. The course will refer heavily to facsimiles of the sketchbooks and available autograph manuscripts as well as to critical editions and analytic writings.
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GRMUS T668 — The Rite, the Rake, and the Flood 2 credits
Fall
Jonathan Dawe
Three pinnacle works of Igor Stravinsky are explored as significant achievements of his three respective stylistic periods. Le Sacre du Printemps, The Rake’s Progress, and The Flood are studied with regard to the compositional attitudes and supporting theories that boldly defined these creative periods. Included in the exploration is the dynamic manner in which the composer adapted theoretic constructs to reflect programmatic dimensions of his works. The compositions are viewed not only as unique masterpieces but also as influential icons whose impact on musical thinking still resonates today.
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GRMUS T671 — Introduction to Post-Tonal Theory 2 credits
Fall
Jonathan Dawe
An engaging study of important analytic approaches to modern music that have developed during the second half of the 20th century. Included in the survey is a study of important post-tonal theories, including Set-Theories, Klumpenhouwer Networks, Array Design, and Transformation Graphs applied to analyses of works by composers as diverse as Webern, Stravinsky, Boulez, Part, Ligeti, Glass, and Wuorinen.
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GRMUS T672 — String Music: Debussy to Bartók 2 credits
Spring
Behzad Ranjbaran
This course is devoted to an in-depth and comprehensive analysis of select string works from the early 20th century. With particular focus on composers who contributed to the development and stylistic diversity of the string repertoire, including Debussy, Ravel, Schoenberg, Berg, and Bartók, the course will critically examine the innovations in harmony, melody, form, texture, rhythm, and string techniques that occurred during this time period. Students will be encouraged to perform passages from works studied in class in order to gain a greater understanding of various elements of these complex works.
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GRMUS T675 — Writing Cadenzas 2 credits
Fall
Behzad Ranjbaran
A newly composed cadenza has the potential to feature a performer’s artistry with refreshing personal commentary on an ever-familiar work, thus becoming a highlight of a performance. This class is devoted to developing the skills necessary for composing cadenzas appropriate for 18th- and 19th-century sonatas and concertos. The art of cadenza writing, so prominent in the Common-Practice era, will be explored by examining historical documents detailing its development. In addition, there will be a comprehensive harmonic and melodic analysis of cadenzas written by period composers such as Mozart and Beethoven. We will explore various types of cadenzas from Eingang (a fermata embellishment) to fully developed cadenzas written for a variety of instruments in 19th-century concertos. Special attention will be given to the relationship of each cadenza to the thematic and harmonic language of the work in which it appears. Students will be methodically guided through the stages of composing first brief passages and then later complete cadenzas. All works will be performed and discussed in class.
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GRMUS T682 — Music Theory Pedagogy 2 credits
Spring
Steven Laitz
This course offers a practical introduction to teaching methods in music theory. Students will gain experience designing lessons plans, homework assignments, and assessments. The course also includes a survey of teaching materials for music theory, as well as advanced analysis projects. Each student will have the opportunity to teach sample lessons in undergraduate Music Theory and Analysis classes. Required for music students interested in fellowship and assistantship positions in the Music Theory and Analysis department; these assignments are contingent upon overall class standing and evaluation by the instructor. Undergraduates may enroll with permission of the instructor.
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GRMUS T693 — Schenkerian Analysis I 2 credits
Fall
Eric Wen
Analysis of excerpts and of complete movements and pieces from the tonal repertory (1700 to 1900) using the Schenkerian approach. The purpose of the course is to enable both performers and composers to hear and understand music more deeply in ways that will benefit their own music making.
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Graduate Studies: Elective Seminars in Music |
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GRMUS S687 — The Great Pianists 2 credits
Fall
José García-León
This course provides a survey of the main pianists since the invention of the instrument, from Mozart to present day. By studying their recordings and surviving documents, we will analyze and discuss their pianistic styles, their legacy, and their approaches to public performances and recording sessions. Pianists included are Mozart, Beethoven, Chopin, Liszt, Clara Schumann, Paderewski, Rachmaninov, Horowitz, Rubinstein, Lipatti, Gould, Hess, Van Cliburn, Argerich, Barenboim, Brendel, Perahia, Pires, Uchida, and many others.
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Graduate Studies: Departmental Practicums in Music |
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GRMUS P634 — Tonal Improvisation 2 credits
Spring
Yi-heng Yang
This course develops the tools of improvisation needed to speak the musical languages of Bach, Mozart, Beethoven, Chopin, Schumann, and Mendelssohn. After an initial module where fundamental tonal harmonic patterns, sequences, and improvisatory methods are practiced, we will embark on different units, one for each composer. We will study and extract the essential stylistic and harmonic characteristics found in the literature, and work towards playing and improvising in genres that the composers themselves used: fantasy and fugue (Bach), cadenza and variation (Mozart), nocturne and waltz (Chopin), and fantasy and character pieces (Schumann, Mendelssohn). For the final project, students will select another composer of choice, identify specific stylistic characteristics of that composer’s language, and develop a fully improvised solo work in a genre that the chosen composer used.
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GRMUS P658 — Jazz Practicum for Pianists 2 credits
Spring
Ted Rosenthal
A chronological overview of jazz’s most important piano stylists, defining their lasting contributions to the art form. Fundamentals of the jazz language, such as harmony, rhythm, melody, song forms, and improvisational techniques will be addressed. Ear training, transposition, and harmonic analysis will also be utilized to enhance the student’s total musical awareness. Non-Jazz majors only.
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GRMUS P670 — Composers and Choreographers 2 credits
Fall
Jerome Begin, Janis Brenner, and Daniel Ott
For selected Composition and Dance majors only. Exploring techniques of collaboration through exercises in problem solving and the development of a work. The course will introduce to each discipline the needs, vocabulary, and work methods of the other and search for the common ground on which each can flourish while nourishing the other. Advisement will be provided for ongoing showings of works in progress. Finished pieces will be presented in concert format.
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GRMUS P671 — Early Music Vocal Literature 2 credits
Fall
Avi Stein
A performance-based seminar surveying vocal literature from the early 17th century through the mid-18th century. Genres to be covered include solo songs with continuo accompaniment, opera, oratorio, and the 18th-century cantata. Assigned works will be studied through in-class performance and detailed discussion of historical context, parallel instrumental trends, and performance practice including discussion of recitative and ornamentation. This course is open to third- and fourth-year undergraduate voice students, graduate voice students, as well as players of continuo instruments. Other students may be enrolled with the permission of the instructor.
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GRMUS P673 — Opera Lab Seminar 2 credits
Fall
Cori Ellison
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GRMUS P674 — Opera Lab Practicum 2 credits
Spring
Cori Ellison
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GRMUS P677-8 — Opera Performance Technique for Pianists 4 credits
Full Year
Diane Richardson
A course designed for pianists with focus on all styles of operatic literature. Emphasis is placed on techniques of preparation and rehearsal of ensemble as well as solo repertoire. Effective means of producing orchestral textures at the piano are studied. Required of all second-year Collaborative Piano majors; Conducting and Piano majors with permission of the instructor.
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GRMUS P682 — British and American Song Literature 2 credits
Spring
Faculty
Prerequisite: VAMUS 561 . This performance seminar addresses stylistic trends, poetic treatment, and musical development as they relate to the writing of song in English. In-class performance and discussion will provide detailed study of individual songs as well as an introduction to the broad-based historical and literary concepts that shaped the literature. As the tradition of song craft is closely wedded to the established literary canon, time will be devoted to the study of poems from a technical point of view as they influence musical setting. Repertoire will be chosen in conjunction with each student’s studio instructor and jury requirements.
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GRMUS P683-4 — French Vocal Literature 2 credits per semester
Fall and Spring
Glenn Morton
Prerequisite: French Diction . An overall view of the performance and interpretation of the French vocal repertoire, including both song and opera, from its origins to the present. Singers and pianists perform in class periodically with background information, phonetic transcription, and translation for each piece required. Coaching in class by the instructor. Open class recital at conclusion of spring term.
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GRMUS P685-6 — German Vocal Literature 2 credits per semester
Fall and Spring
J.J. Penna
Prerequisite: German Diction . Open to Piano majors by permission of the instructor. A survey of the songs of Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Liszt, Strauss, Mahler, Marx, and Berg. All songs will be performed and discussed in class.
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GRMUS P687-8 — Italian Vocal Literature 2 credits per semester
Fall and Spring
Corradina Caporello
Prerequisite: Italian Diction . A chronological survey of the Italian vocal repertoire from the first monodic music by Monteverdi, Peri, and Caccini to Mozart, Rossini, Bellini, Donizetti, Verdi, Puccini, and the Verismo School. Emphasis on all aspects of solo performance and on the understanding of the different stylistic qualities of each composer.
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GRMUS P689-90 — Oratorio Practicum 2 credits per semester
Spring
Kent Tritle
This practicum focuses on the rich spectrum of solo vocal repertoire, beginning with the works of Carissimi, Monteverdi, and Charpentier, and extending to the 21st century. Through performance in class, students will examine a broad array of practical issues related to the performance of masterworks including the passions of Bach, oratorios of Handel, and requiems of Mozart, Brahms, Fauré, and Verdi. All participants will perform regularly; singers and pianists are expected to collaborate outside of class to prepare weekly class performances.
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GRMUS P691-2 — Instrumental Accompanying I 4 credits
Full Year
Jonathan Feldman
A performance class in which participants prepare repertoire and play without rehearsal with a core group of instrumentalists. Extensive study of orchestral reductions, comparison of different editions, examination of full orchestral scores, and discussion of other options for realizations for the piano. Additional focus on ways to imitate and produce orchestral sounds on the piano. Repertoire will also include shorter duo works, non-orchestral. Some sight-reading included. Required of all first-year Collaborative Piano majors; Conducting and Piano majors with permission of the instructor.
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GRMUS P693-4 — Skills of Vocal Accompanying 4 credits
Full Year
Lydia Brown
Through the study of English, French, and German song, this course endeavors to identify and explore the specific skills required of both pianists and singers in the successful rehearsal and performance of this repertoire. Focus on performance practice issues and how they differ from composer to composer. Required of all first-year Collaborative Piano majors; Voice, Conducting, and Piano majors with permission of the instructor.
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GRMUS P695-6 — The Art of Vocal Coaching 4 credits
Full Year
Lydia Brown
Prerequisite: GRMUS P693-4 This course seeks to develop the vocal coaching skills of student pianists/coaches to their highest possible level. Beginning with teacher-singer demonstrations and discussions, the class gradually progresses to the student pianists/coaches. Interactive discussion and evaluation. Collaborative Piano majors only.
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GRMUS P697-8 — Orchestral Keyboard Repertoire 2 credits per semester
Fall, Spring
Eric Huebner
A course open to Collaborative Piano and Piano majors interested in learning orchestral keyboard repertoire for piano, celeste, electric keyboard, and harpsichord. Selected repertoire will encompass programs that the Juilliard orchestras (including Lab Orchestra for student conductors) will be performing during the school year. Works written by Juilliard student composers and requiring keyboard will also be included. Standard repertoire not scheduled for performance but important for the keyboard player to know will be an important element of the course, as will the review of other responsibilities which fall to the orchestral keyboard player, such as solo rehearsals, instrumental auditions, and choral rehearsals. By permission only.
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GRMUS P791-2 — Instrumental Accompanying II 4 credits
Full Year
Jonathan Feldman
Prerequisite: GRMUS P691-2 A performance class in which participants prepare repertoire and play with a core group of instrumentalists. The repertoire assignments will be decided based on the student’s own repertory needs. Works of study will include orchestral reductions, large works (not sonatas) and smaller works. The focus will be on 19th and 20th century repertoire. Required of all second-year Collaborative Piano majors; Conducting and Piano majors with permission of the instructor.
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Graduate Studies: General Practicums in Music |
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GRMUS E630 — The Aesthetic Experience 2 credits
Fall
Edward Bilous
An exploration of aesthetics and the application of experiential learning in education. Material covered may be applied to both classroom and private instruction. Students will participate in lessons and activities designed by master teachers in diverse art forms, and, in turn, will be required to create a lesson plan on a topic of their choosing. Classwork will include participation in activities, discussions and the development of group and individual projects. Regular reading assignments will be required. This course is recommended for students interested in arts education or who have a general interest in aesthetics and the philosophy of the art. Open to advanced undergraduates with permission of the registrar.
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GRMUS P610 — Baroque as a Second Language: Historical Performance for Modern Players 2 credits
Fall
Robert Mealy
This class offers an intensive exploration of the specific techniques and styles of historical performance, concentrating on the rich and virtuosic chamber and orchestral music of the 17th and 18th centuries. It will focus on French and Italian Baroque style, through study of original musical sources and contemporary writing about performance, as well as through hands-on experience for string players using Baroque bows. Although designed primarily for modern string players, the class welcomes oboes and bassoons as well, to explore historical performance practice on modern instruments. Admission is by instructor approval. Baroque bows will be provided. There will be at least one class performance per semester.
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GRMUS P611 — Baroque as a Second Language: Historical Performance for Modern Players 2 credits
Spring
Robert Mealy
This class offers an intensive exploration of the specific techniques and styles of historical performance, concentrating on the rich and virtuosic chamber and orchestral music of the 17th and 18th centuries. It will focus on French and Italian Baroque style, through study of original musical sources and contemporary writing about performance, as well as through hands-on experience for string players using Baroque bows. Although designed primarily for modern string players, the class welcomes oboes and bassoons as well, to explore historical performance practice on modern instruments. Admission is by instructor approval. Baroque bows will be provided. There will be at least one class performance per semester.
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GRMUS P651-2 — Performance Workshop on 20th- and 21st-Century Music 2 credits per semester
Fall and Spring
Joel Sachs
Performance and discussion of a broad variety of instrumental and vocal works spanning the 20th and 21st centuries. Emphasis is placed on issues of learning, notation, and interpretation. Students will perform one or several times during each semester, and will lead the discussions. Brief papers summarizing the projects are required.
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GRMUS P656 — Jazz Practicum 2 credits
Spring
Ron Blake
A hands-on approach to the study of jazz improvisation through an examination of the work of masters such as Louis Armstrong, Lester Young, Charlie Parker, Miles Davis, and others, as well as in-class performances. Emphasis will be placed on the practice of the rhythmic, melodic, and harmonic aspects of jazz vocabulary, blues, and standard song forms, transcribed solos, and strategies for developing one’s creative potential. Non-Jazz majors only.
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GRMUS P659 — Roots: Rhythms, Music, and Dance of the Americas 2 credits
Summer
Elio Villafranca
This practicum-based course explores the rich and diverse rhythm, music, and dance traditions of the African Diaspora in Latin America and the Caribbean. Multiple resources such as reading materials, videos, and audio samples will be used to introduce and provide knowledge of the life, music, dance, rhythms, drums, and religious practices of people in these regions, with the aim of achieving an authentic cultural experience. Each topic will be followed by an in-class practicum, where each student will have the opportunity to demonstrate their knowledge through the discussion and presentation of original compositions, dance pieces, vocal works, or rhythm performances. Three regions will be covered in this course: The Caribbean (Cuba, Haiti, Puerto Rico), Central America (Panamá and Honduras), and South America (Perú, Colombia, Ecuador.)
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GRMUS P660 — Introduction to Music Technology 2 credits
Fall, Spring
Edward Bilous, Nathan Prillaman
An introduction to the basic skills needed for composing and arranging electronic music. Topics of study include sequencing, sampling, and editing and processing digital audio. Basic Macintosh skills are required.
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GRMUS P661 — Global Influences in Contemporary Music Production 2 credits
Fall
Rick Baitz
This course is an exploration of contemporary music production techniques, viewed through a trans-cultural lens. Topics will include recent developments in music production, from Native American practices to Brazilian, Indonesian, and South Asian electronica; South African township and dance styles; the impact of Jamaican producers on worldwide dance idioms; and the use of technology in current film and concert music. Multiple approaches and techniques will be explored, including looping, sampling, processing, field recording, texture building, and more. Listening, viewing, and reading material will be assigned, as well as weekly compositional work, culminating with a final creative project.
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GRMUS P662 — Composing for Visual Media 2 credits
Fall
Edward Bilous
Prerequisite: GRMUS P660 . For students interested in learning the fundamental skills needed to compose and produce music for visual media including film, television, games and emerging art forms. Topics include creative collaboration with directors and visual artists, traditional and emerging art forms, diverse styles of music composition and production, and analysis of masterworks of professional composers. Students will be required to compose and produce original scores to excerpts from feature films, documentaries, and other filmed media.
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GRMUS P663 — Creation, Improvisation & Technology 2 credits
Fall, Spring
Mari Kimura
This course is for students embracing different forms of music making, challenging conventional distinctions between diverse styles. Students can choose their own interest and concentration without the traditional boundaries or ‘genre’ in music. For example, performance students can study extended technique for their instruments. String students in particular could study with the instructor on contemporary string technique and extended technique she developed, “Subharmonics”, and how to incorporate such element in composition and improvisation.
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GRMUS P664 — Scoring to Picture Workshop 2 credits
Spring
Edward Bilous
Prerequisite: GRMUS P662 . This intensive workshop is designed for Juilliard composers interested in music for narrative media. Students will score scenes from films or TV programs with the expert guidance of an established composer of film and TV music. The workshop experience will expose students to all aspects of the process from creation to production, including a spotting session, recording the score with Juilliard musicians, and a final film mix.
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GRMUS P665 — Independent Study in Emerging and Collaborative Arts 2 credits
Fall, Spring
Edward Bilous
With permission of the instructor. A class for advanced students interested in working with new technology in the creation of original compositions. Projects may include the use of computers and electronic or acoustic instruments in live performance or the creation of a recorded work.
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GRMUS P666 — Music Production Workshop 2 credits
Spring
Ed Bilous
Prerequisite: GRMUS P660 . A survey of electronic music production techniques most frequently used by composers, arrangers, and producers in the recording industry. Topics of study include creating rhythm tracks, arranging for electronic instruments, the use of signal processing, and basic mixing skills. Homework will include creative projects as well as listening assignments.
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GRMUS P667 — Introduction to Interactive Music Technology 2 credits
Fall, Spring
Mari Kimura
An introductory class in which students will learn about the revolutionary program called MaxMSP (digital signal processing in Max), which allows musicians to perform interactive and electroacoustic computer music without any external devices such as synthesizers.
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GRMUS P668 — Advanced Interactive Music Technology 2 credits
Fall, Spring
Mari Kimura
Prerequisite: GRMUS P667 . An advanced class in which students will be introduced to the revolutionary program called MaxMSP (digital signal processing in Max), which allows musicians to perform interactive and electroacoustic computer music without any external devices such as synthesizers. Students will create and perform their own works using “Max,” and will discuss aspects of performance practice and musicianship related to interactive computer music. Cutting-edge technology and musical activities on the Internet will also be explored.
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GRMUS P672 — From Studio to Stage 2 credits
Fall
Dan Freeman
Prerequisite: GRMUS P660 . For students interested in composing and producing contemporary popular music. The course will cover basic procedures and practices used in diverse contemporary and emerging musical styles including EDM, electronica, pop, rock, R&B, rap and hip-hop, and various sub-genres of indie music. A variety of production and performance software will be used in class with an emphasis on Ableton Live. Projects will include original compositions produced for recorded formats and live performance.
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GRMUS P675 — Performance Enhancement 2 credits
Fall, Spring
Noa Kageyama
Performance-oriented, this course presents Sport Psychology methods that have been shown to assist students in achieving optimal performance levels under the pressure of juries, recitals, competitions, and auditions. Students will learn how to deal with fear and doubts, channel nervousness, focus better, and perform at a high level in stressful situations. A Performance Skills Profile, which identifies mental strengths and areas for improvement, will be administered and interpreted for each student. Through a series of practical exercises and mock auditions, students will apply established strategies and techniques, such as mental rehearsal, “deep” practice, and the “Centering” process, for achieving their best when it matters most.
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Graduate Studies: Entrepreneurship and Career Development in Music |
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GRMUS E605 — Career Development Seminar 2 credits
Fall, Spring
Bärli Nugent
This highly collaborative seminar comprises three primary areas of focus: the finding and refinement of one’s own artistic voice; the polished production of a wide array of career materials; and the hands-on acquisition of tools and experiences that open pathways to new possibilities. Also woven throughout is increasing the awareness of how to: recognize opportunity; build your team; understand behind-the-scenes thinking; find and commission a composer; walk through a job search; develop an authentic public speaking persona; harness music’s power to effect change; enhance the ability to enter any situation professionally; and take continuous and organic action towards your career right now. Revision and completion of the significant number of weekly assignments is supported by five individual meetings with the teacher during the course of the semester.
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GRMUS E613 — The Musician as Entrepreneur 2 credits
Fall
Benjamin Sosland
What is your definition of success? What are your artistic goals and how will you achieve them? How can you balance your musical dreams with the reality of making a living? What is the mindset and attitude of successful entrepreneurs? Through case studies, exercises, readings, and presentations, this course is designed to encourage you to identify and cultivate your entrepreneurial potential.
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GRMUS E615 — Breaking Barriers: Classical Music in an Age of Pop 2 credits
Spring
Greg Sandow
There’s been talk for years about a crisis in classical music. We’ve all heard that the audience is getting older, that ticket sales are down, and that funding is harder to find. In this course, we ask where classical music fits in our changing culture. How real is the crisis? What can we do to make things better? We also look at how classical music is changing. As an exercise in making change ourselves, we talk about entrepreneurship – how musicians can find their own audience, and make careers in new and creative ways.
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GRMUS E620 — Speaking of Music: How to Talk and Write About Music 2 credits
Fall
Greg Sandow
In today’s climate, musicians need to reach out to their audience and to the community. To do that, they need to talk about the music they make, which is something we all can learn to do better. In this course, we play recordings in class, and find ways to describe what we hear. We also read music critics, as examples (both good and bad) of how music gets talked about, which gives you one extra benefit: you’ll learn how critics work, how they think, and what your relationship with them can be, as your career advances.
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GRMUS E633-4 — Suzuki Pedagogy 4 credits
Full Year
Faculty
Open to Piano, Violin, and Cello majors. With permission of the Executive Director, School for Strings.This course extends one year of credit to approved students who wish to complete the first year of the two-year Suzuki-based Teacher-Training program. This year includes weekly seminars and discussions as well as intensive observation of the lessons and classes in the School for Strings. Further information is available from the registrar.
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GRMUS E644 — Arts in Education 2 credits
Spring
Thomas Cabaniss
A class for students interested in learning about teaching. Among the topics explored are multiple intelligence theory, arts education, and the development of human intelligence and aesthetic education. The main teaching tools are activities led by artist/ teachers who guide participants through creative challenges directly linked to problems solved by masters in major works of art. The goal of the class is to aid the participants in developing a teaching style that promotes a sense of ownership of artistic ideas and awakens a curiosity for lifelong learning. Classwork includes weekly reading assignments and two projects.
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GRMUS E645 — Practicum in Classroom Pedagogy 1
Fall
Alice Jones, John Popham
Practicum in Classroom Pedagogy provides training and support to current Community Engagement Teaching Fellows. The seminar explores teaching and learning strategies, curriculum design, social-emotional learning, classroom management techniques, and digital pedagogy, as well as culturally responsive and anti-ableist teaching practices. Students will develop their skills as artist-educators through in-class presentations and discussions; workshops on syllabus creation, lesson planning, and group instrumental instruction; and regular teaching observations by Community Engagement staff, professional teaching artists, and music educators. Additionally, students will develop key components of their teaching portfolio, including sample lesson plans, a teaching philosophy statement, and digital educational content. Practicum in Classroom Pedagogy is required for all current Community Engagement Morse, Concert, and McCabe Teaching Fellows.
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GRMUS E646 — Practicum in Classroom Pedagogy 1 credit
Spring
Alice Jones, John Popham
Practicum in Classroom Pedagogy provides training and support to current Community Engagement Teaching Fellows. The seminar explores teaching and learning strategies, curriculum design, social-emotional learning, classroom management techniques, and digital pedagogy, as well as culturally responsive and anti-ableist teaching practices. Students will develop their skills as artist-educators through in-class presentations and discussions; workshops on syllabus creation, lesson planning, and group instrumental instruction; and regular teaching observations by Community Engagement staff, professional teaching artists, and music educators. Additionally, students will develop key components of their teaching portfolio, including sample lesson plans, a teaching philosophy statement, and digital educational content. Practicum in Classroom Pedagogy is required for all current Community Engagement Morse, Concert, and McCabe Teaching Fellows.
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GRMUS E651 — Piano Pedagogy 2 credits
Spring
Aaron Wunsch
Learning and teaching are two sides of the same coin. In this course, we shall investigate the process of learning and how we, as teachers, participate in this process. The practical approach to teaching at different levels will focus on such considerations as the psychology of learning and teaching, the study and evaluation of teaching repertoire and materials, the use of technology in teaching, as well as approaches to the learning and teaching of keyboard skills and musical literacy. The course will include lecture, discussion, and demonstration sessions and, in addition, can serve as a practicum for participants with students of their own.
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GRMUS E653 — The Art of Teaching in the Music Studio 2 credits
Fall, Spring
Virginia Allen
This course will help students identify and develop the skills necessary to be effective private studio teachers. Through assigned readings, discussions, and observations of master teachers, students will explore learning styles, teaching strategies, assessment strategies, resources, and methods and approaches to cultivate a creative learning environment. Students will learn by doing as they teach a limited number of private lessons. Open to fourth-year undergraduate students by permission of the Registrar.
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GRMUS E670 — The Arts and Society 2 credits
Fall
Damian Woetzel
This survey course examines the intersection of arts and society, looking specifically at the role of arts and artists in addressing issues facing the world today. Through extensive reading lists, case studies, individual and group projects, and conversations with distinguished guests, we will explore areas including but not limited to law, health care, education, science, and civic participation to consider our ideal version of a collective future and how we might use arts, creativity, and culture to help get us there. Past guests have included Oskar Eustis (Artistic Director at the Public Theater), Sarah Lewis (author, curator, and Harvard University Assistant Professor in the Department of History of Art and Architecture and the Department of African and African American Studies), Vijay Gupta (violinist, social justice advocate, and 2018 John D. and Catherine T. MacArthur Fellow), Caroline Shaw (Pulitzer Prize-winning composer, vocalist, violinist, and producer), Eric Liu (writer, educator, and founder of Citizen University), John Heginbotham (choreographer, performer, and founding teacher of Dance for PD), and Jeannie Suk Gersen (Harvard Law School John H. Watson, Jr. Professor of Law). Open to 3rd- and 4th-year undergraduates and cross-listed as graduate elective; preference given to graduate students.
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GRMUS E674 — Leadership and Innovation in the Creative Arts 2 credits
Spring
J.Y. Song
Individuals in creative industries face all kinds of problems that pose significant challenges to their careers. These include highly volatile career environments, competitive conditions, a complex global environment, and difficult politics and conflicts between individuals and organizations. This course looks at how leaders in the creative industries develop strategies to deal with such challenges. Stressing the importance of innovation in entrepreneurial endeavors, we will study the work of artists in different disciplines—Pina Bausch, Daniel Barenboim, and Ferran Adrià. We will also look at leaders whose initiative and foresight have had significant impact on the music industry: Klaus Heymann at Naxos, Peter Gelb at the Metropolitan Opera, and Steve Jobs at Apple. By the end of the semester, students should understand fundamental concepts in leadership, entrepreneurship, and innovation.
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Graduate Studies: Departmental Requirements in Music |
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GRMUS R600 — Conductors’ Forum 0 credit
Full Year
David Robertson and Guest Conductors
Conductors’ Forum is an opportunity for Conducting majors to engage in conversation with David Robertson and guest conductors, following observation of their rehearsals with orchestras on the Lincoln Center campus. Conducting majors only.
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GRMUS R601-2 — Sonatas for Accompanists I 4 credits
Full Year
Collaborative Piano Faculty
Study and performance of the vast sonata literature for all instruments, building the communication skills necessary for efficient and effective rehearsal with instrumentalists, and leading to polished performances. Repertoire chosen for each individual student’s needs. Collaborative Piano majors only.
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GRMUS R603-4 — Composition Seminar 2 credits
Full Year
Robert Beaser
A seminar for all graduate Composition majors concentrating on the practicalities of making a career in composition.
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GRMUS R611-2 — Songs for Accompanists 4 credits
Full Year
Lydia Brown, Gina Levinson, J.J. Penna, Cameron Stowe and Brian Zeger
Applied study of the vast song repertoire in all languages. Study includes aspects of style, technique, ensemble, and, when singers are partners, vocal coaching issues. Repertoire chosen for each individual student’s needs. Collaborative Piano majors only.
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GRMUS R621 — Principles of Conducting 2 credits
Fall
David Robertson & Guest Faculty
This course covers the wide range of techniques and expertise that a conductor must acquire for a successful career: the physicality of the craft (basic gestures and baton technique); in-depth knowledge of the instrument groups and their requirements (such as bowing for strings); and musical considerations, such as phrasing, and the strategic use of rehearsal time. Conducting exercises include one-line, two-line, and recitative; repertoire selected to illustrate specific challenges. Studies incorporated into the student’s major lesson and Lab Orchestra time. Assigned readings and presentations. Weekly discussions. Visits to orchestra libraries and archives. Conducting majors only.
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GRMUS R622 — Conducting Seminar 2 credits
Spring
David Robertson & Guest Faculty
This course builds upon the technical studies of the first semester by exploring selected orchestral repertoire in rehearsal and performance. Studies incorporated into the student’s major lesson and Lab Orchestra time. Assigned readings and presentations. Weekly discussions. Conducting majors only.
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GRMUS R623-4 — Studio Accompanying 0 credits
Full Year
Faculty
Collaborative Piano majors accompany in the studios and classes of instrumental and vocal arts faculty. This requirement, a component of their major study, provides valuable hands-on experience developing collaborative skills under the guidance of a wide variety of professional musicians.
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GRMUS R701-2 — Sonatas for Accompanists II 4 credits
Full Year
Collaborative Piano Faculty
Study and performance of the vast sonata literature for all instruments, building the communication skills necessary for efficient and effective rehearsal with instrumentalists, and leading to polished performances. Repertoire chosen for each individual student’s needs. Collaborative Piano majors only.
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GRMUS R721-2 — Conducting Seminar 4 credits
Full Year
David Robertson & Guest Faculty
An advanced seminar building upon the technical studies of the first year and exploring selected orchestral repertoire in rehearsal and performance. Studies incorporated into the student’s major lesson and Lab Orchestra time. Assigned readings and presentations. Weekly discussions. Conducting majors only.
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MSMUS R511-2 — Advanced Score Reading and Musicianship for Conductors 4 credits
Full Year
Kyle Blaha
An advanced course for conducting students that provides an in-depth study of the repertoire through score-reading and performance. At the core of the class are prepared and sight-read excerpts from the repertoire that provide an intimate and comprehensive understanding of the assigned scores. In addition, exercises in dictation, transposition, singing, keyboard skills, rhythm, and sight-reading allow the students to continuously hone their skills on a personalized basis.
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MSMUS R623-4 — Repertoire Performance 0 credits
Full Year
Collaborative Piano Faculty
A component of applied studies for Collaborative Piano majors consisting of public performance of required repertoire. Performance venues include Liederabend and Sonatenabend concerts in Paul Hall, master classes in the Peter Jay Sharp Theater, and chamber music concerts in Alice Tully Hall.
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MSMUS 621-2 — Piano Performance Class 2 credits
Full Year
Piano faculty
Piano majors perform in class repertoire that they are studying with their major teacher.
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Doctoral Requirements |
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DRMUS E671-2 — Graduate Reading Course in French 0 credits
Full Year
Liberal Arts Faculty
This course is designed for graduate students preparing for the reading examinations and others who wish to read books and articles in these languages. Principles of grammar and usage are discussed with emphasis on practice of translation.
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DRMUS E681-2 — Graduate Reading Course in German 0 credits
Full Year
Liberal Arts Faculty
This course is designed for graduate students preparing for the reading examinations and others who wish to read books and articles in these languages. Principles of grammar and usage are discussed with emphasis on practice of translation.
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DRMUS E691-2 — Graduate Reading Course in Italian 0 credits
Full Year
Liberal Arts Faculty
This course is designed for graduate students preparing for the reading examinations and others who wish to read books and articles in these languages. Principles of grammar and usage are discussed with emphasis on practice of translation.
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DRMUS 810 — Music Reference and Research 2 credits
Fall
Jane Gottlieb
A systematic study designed to provide the student with a thorough knowledge of sources necessary for research on the doctoral level. Covers library research methods, sources of information on music and music literature of all historic periods, and the process of evaluating editions. Required of all first-year D.M.A. students.
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DRMUS 811-2 — Analytical Methods 4 credits
Full Year
Philip Lasser; Jonathan Dawe
A seminar devoted to the study of analytical approaches to modal, tonal, and non-tonal music through a careful examination of seminal theoretical treatises and their relevance to music from the early Middle Ages up to the present. Topics will include proportional and tetrachordal thinking of early composers as reflected by Boethius and the Musica Enchiriadis, polyphony and the rise of thoroughbass conceptions of composition as discussed by Tinctoris, Zarlino, and Rameau. Second semester will focus on analysis of major works from Bach to contemporary composers using modern analytical techniques including Schenkerian and contrapuntal analysis as well as 12-tone theory. The course is designed to provide the opportunity for students to gain experience analyzing music and presenting their analyses both in written form and through oral presentations. Required of all first-year D.M.A. students.
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DRMUS 820 — Approaches to Scholarly Editing of Music 2 credits
Spring
Michael Musgrave
An outline history of music printing and publication up to modern critical and performing editions. With a focus on the changing character and role of editions, this course will begin by examining the stages in the publication process, from autograph to first edition and later editions, noting typical problems in the evaluation of sources and issues in prioritizing. Study continues with the comparison of modern critical and performing editions in several genres (keyboard, strings, wind/brass, vocal, choral) with consideration of the performance consequences. References to historic and modern performances/recordings will elucidate discussion. Assignments will include a class presentation and an extensive term paper. Required of all first-year D.M.A. students.
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DRMUS 901-2 — Doctoral Topics 4 credits
Full Year
Joel Sachs; L. Michael Griffel
Advanced study of the functions, genres, forms, and procedures of music; historical periods and times of transition; and representative masterworks from various periods. Consideration of the history of music theory, the history of opera, performance practice, and music history pedagogy. Study of and practice in speaking and writing about music. Required of all second-year D.M.A. students.
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DRMUS 911 — Schubert: The Final Decade 2 credits
Fall
L. Michael Griffel
In the last ten years of Schubert’s all-too-short life, he composed an amazing number of immortal works, some instrumental and some vocal. Among them are symphonies, quintets, quartets, an octet, piano sonatas, piano trios, four-hand music, song cycles, Masses, and dozens of unforgettable art songs. This course will examine these works in the context of Schubert’s life during these years, a time of his maturation as an artist but also a time of heartbreaking experiences and illness. The world of Schubert—his family and friends, life in Vienna, Beethoven’s shadow, performances and publications of his music—will be discussed. The inimitable musical style of this harbinger of musical Romanticism will be studied in detail. His notions of orchestration, form, harmonic progressions, phrasing, text-setting, sonority, and breaking away from the Classical style will be the focus of the course. Students will prepare papers and talks that probe the special nature and characteristics of Schubert’s music. Required of all second-year D.M.A. students.
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DRMUS 912 — Analysis for Performers 2 credits
Fall
Steven Laitz
Implications for performance of melodic, rhythmic, and harmonic-contrapuntal analysis. Interpretive problems of works in various media are illuminated by examining insights gained through the application of analytical methods, primarily those of Schenker. Recordings and classroom performances provide material for critical listening and for practical demonstration of the ideas put forward. Required of all second-year D.M.A. students.
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Liberal Arts Core |
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LARTS 101-2 — Writing Seminar 6 credits (3 credits per term)
Summer, Full Year
Faculty
This course is a prerequisite to LARTS 111. Emphasis is placed upon reading and writing skills, verbal expression, and critical analysis of texts. Successful completion satisfies six Liberal Arts Elective credits. Students may qualify out of this course on the basis of a diagnostic exam which evaluates their preparedness.
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LARTS 111 — Ethics, Conscience, and the Good Life 3 credits
Summer, Fall
Faculty
Prerequisite: LARTS 101-2 . Students read and discuss works of ethicists, philosophers, religious figures, and literary authors on the nature of the ethical life. Students will be encouraged to think critically about personal responsibility, responsibilities to others, the good life, the problem of evil, and human nature. Authors and traditions that may be included: Classical Greek and Roman, Buddhism, Taoism, the Hebrew and Christian Bibles, Hume, Kant, Utilitarianism, Mary Shelley, and Shakespeare, as well as contemporary readings that address the ethical questions arising in a scientific, technological and global age.
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LARTS 112 — Society, Politics, and Culture 3 credits
Spring
Faculty
This course is an introduction to the seminal issues, methods, and traditions that inform historical and contemporary conceptions of politics, society, and culture. Drawing from classical to contemporary readings in political theory, philosophy, the social sciences, literature, and gender studies, the course encourages students to explore such topics as why people live in society; how social life influences personhood; how society regulates and institutionalizes power and authority; and how societies are transformed. Authors who may be included are Plato, Aristotle, Locke, Marx, Mill, Wollstonecraft, and Woolf.
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LARTS 212 — Citizenship, Art, and Politics 3 credits
Fall, Spring
Faculty
Prerequisite: LARTS 112 . From the moment that creators share their work with the public, these works take on new meanings. Students enrolled in Citizenship, Art, and Politics will consider problems of abiding interest and frequent disagreement: Who gets to decide what is art, and what sort of conclusions have been reached? When appraising a performance, should audiences take an artist’s personal qualities into account? Are artists obligated to consider for whom a performance is given, or where it is performed, or should artists simply focus on the performance itself? What are governments’ interests in creative expression? During times of social or political conflict, what are the limits and possibilities of cultural diplomacy?
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Liberal Arts Electives: Humanities (Art History) |
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LARTS 343 — Art of the 19th Century 3 credits
Fall
Greta Berman
In this class we will study painting, sculpture, and architecture in Europe from the end of the 18th century to the beginning of the 20th century. Topics include Neoclassicism, Romanticism, Realism, Impressionism, Symbolism, Post-Impressionism, and Art Nouveau. Students will be introduced to the works of David, Ingres, Delacroix, Turner, Goya, Courbet, Degas, Monet, Van Gogh, and Toulouse-Lautrec, among others.
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LARTS 344 — Art of the 20th Century 3 credits
Spring
Greta Berman
Prerequisite: LARTS 112 This class is a survey of the arts of Europe and the United States from the beginning of the 20th century to today, starting with the transition from the late 19th century into the 20th. We begin with an examination of Fauvism and German Expressionism, continuing through Cubism, Futurism, Dada and Surrealism, Abstract Expressionism, and movements of the ‘60s, ‘70s, and ‘80s. Artists include Matisse, Klee, Kandinsky, Picasso, Dali, Pollock, Warhol, and many others. Class time will be spent discussing and viewing slides, videotapes, and live performances, where possible. Students will be encouraged to go to museums and galleries, as well as to read current criticism.
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LARTS 346 — Art of the United States 3 credits
Summer
Greta Berman
This class will examine some of the reasons for the artistic progress of the United States from British colony to leader of the avant-garde. In doing so, we will take a chronological look at paintings, sculpture, and architecture. This nation began its existence by looking to Europe for its inspiration, but after World War II, New York City replaced Paris as the center of the art world. We shall take advantage of New York City’s thriving and ever-changing status as leader of the avant-garde in the visual arts as well as our physical location in this city to visit museums and galleries, and supplement our knowledge by means of digital slides.
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