This course covers basic concepts and techniques employed in post-tonal theory and analysis. Topics covered will include pitch-class sets, combinatoriality, integral serialism, twelve-tone areas, formal, rhythmic, and motivic analysis. Students will study analytical techniques developed by mainstream music theory. The first half of the semester will cover the foundations of post-tonal theory. The second half of the semester will be devoted to recent research. We will consider research in this field within a critical context and push its boundaries by exploring new repertories. Coursework will include weekly readings, written assignments and a term paper. Students will be graded according to the quality of their written work and participation in class.

Texts

Readings will be assigned out of the following texts, on reserve in the library:

Cook, Nicholas A Guide to Musical Analysis (New York: W. W. Norton & Co., 1992)

Straus, Joseph Introduction to Post-Tonal Theory (NJ: Prentice Hall, 2005)

• To have a developed understanding of cultural, political, social, and intellectual issues in diverse contemporary and historical musical & sound art practices.
• To have distinctive creative ideas and the ability to realize them successfully on a professional level.
• To be able to critically analyze & clearly identify strengths and weaknesses in her/his own work, & the work of others.

Regarding Attendance
Students are expected to attend all classes for which they are registered. Academic work proceeds up to the date and hour of
the beginning of holidays and semester breaks and resumes promptly at the end of such breaks at the time specified in the academic calendar. Students are accountable for any work missed by absence from classes.
If you know you must miss a class (it falls on a religious holiday, for example), please contact me ahead of time and we can make arrangements.

Regarding Americans with Disability Act accommodations
Every effort will be provided to make this class universally accessible.  Though “reasonable accommodation” is the legal right of people with disabilities, this course is designed to be universally accessible for students regardless of disability or other individual categorization. Students with needs for alternate learning materials or strategies should contact SSD in the Cowell Building by calling 430-2130 in order for those accommodations and services to be arranged promptly.

Regarding missed and late exams and assignments
As a general policy, there will be no makeup exams.  Missed exams and assignments will be scored as a zero. Late assignments will be marked down by a grade point for each calendar day.  Please contact me if there are extenuating circumstances relating to late or missed work.

Regarding Academic Integrity
Students shall honestly prepare assignments and take examinations and submit them at the time and in the manner specified by the instructor.  The content of all submitted examinations and assignments is assumed to represent the student’s own work unless otherwise specified (e.g., group projects).

Plagiarism is a serious breach of academic trust. For purposes of the Mills College Honor Code, plagiarism is defined as
intentionally or knowingly using someone else’s ideas, words, and/or thoughts without properly crediting the source.  All work for which a
source is not cited is presumed to be that of the writer.
If the Academic Integrity Standards described above are violated, the instructor will decide on an appropriate response that may
include the assignment of extra work, lowering grades on a particular assignment, failure of the course, and/or the report of the incident to
the Provost and Dean of the Faculty for further sanction.

Free counterpoint within a diatonic tonal context. Emphasis on two-voice and melody/bass combinations.

Two-part Canon and Invention

Two-part cannon and two-part invention in the traditional style

Traditional Harmony & Composition 1

Diatonic harminic analysis in various musical textures. Melody writing. Harmonization of Melodies in various musical textures.

Traditional Harmony & Composition 2

Advanced traditional harmony and intermediate compositional procedures. Seventh Chords, altered chords, modulation.