99 courses with the subject MTH, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
MTH 1010Music Theory I2
The first course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire.
The second course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire. PREREQ: MTH1010 Or
This class is for students who need extra support covering the material in Models II and/or Theory II. Permission of instructor is required. PREREQ: MTH1300
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. The first course in a required six sequential semester sequence.
Topics include hearing chord progressions, from simple to complex; singing and analysis of pop, jazz, rock, and symphonic compositions; and rhythmic dictation and playing by ear. More advanced topics include transcribing bass lines and melodies, African rhythm, and simple improvisation.
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. The second course in a required six sequential semester sequence. PREREQ: MTH1410 Or
Topics include hearing chord progressions, from simple to complex; singing and analysis of pop, jazz, rock, and symphonic compositions; and rhythmic dictation and playing by ear. More advanced topics include transcribing bass lines and melodies, African rhythm, and simple improvisation. PREREQ: MTH1415 Or
Development of the ear specific to the jazz vernacular, focusing on melodic, rhythmic, and harmonic models. The methodology presented in each class is applied in ear training sessions with class partners. Dictation and singing are used to develop aural skills. Students learn to hear and transcribe contextual examples of jazz and to respond accurately while participating in performance settings. Limited to jazz studies majors.
An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446).
Development of the ear specific to the jazz vernacular, focusing on melodic, rhythmic, and harmonic models. The methodology presented in each class is applied in ear training sessions with class partners. Dictation and singing are used to develop aural skills. Students learn to hear and transcribe contextual examples of jazz and to respond accurately while participating in performance settings. Limited to jazz studies majors. PREREQ: MTH1430
An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446). PREREQ: MTH1436 Or
The music of Japan, India, West Africa, Cuba, and Brazil is compared and contrasted. Topics include the use of music in each respective society; musical forms; types of instruments; and the impact of history, religion, and politics on the music.
An introductory course designed for non-music majors that provides an overview of music theory and forms in global perspective. Students build music appreciation and explore basic vocabulary, including pitch, melody, tempo, rhythm, instrument families, styles, and social uses. Coursework examines the evolution of music composition, recording, and production, including the impact of new tools, technologies, and approaches.
An introductory course designed for non-music majors that overviews the origins and evolution of music across time and place. Students explore the genres, artists, composers, and innovators that have shaped music, its functions, and its social impact. Coursework examines seminal music visionaries and milestones within their relevant historical periods.
The third course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire. PREREQ: MTH1020 Or
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. The third course in a required six sequential semester sequence. PREREQ: MTH1420 Or
Topics include hearing chord progressions, from simple to complex; singing and analysis of pop, jazz, rock, and symphonic compositions; and rhythmic dictation and playing by ear. More advanced topics include transcribing bass lines and melodies, African rhythm, and simple improvisation. PREREQ: MTH1425 Or Or
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. The fourth course in a required six sequential semester sequence. PREREQ: MTH2410 Or
Topics include hearing chord progressions, from simple to complex; singing and analysis of pop, jazz, rock, and symphonic compositions; and rhythmic dictation and playing by ear. More advanced topics include transcribing bass lines and melodies, African rhythm, and simple improvisation. PREREQ: MTH2415 Or
Development of the ear specific to the jazz vernacular, focusing on melodic, rhythmic, and harmonic models. The methodology presented in each class is applied in ear training sessions with class partners. Dictation and singing are used to develop aural skills. Students learn to hear and transcribe contextual examples of jazz and to respond accurately while participating in performance settings. Limited to jazz studies majors. PREREQ: MTH1440
An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446). PREREQ: MTH1446 Or
Development of the ear specific to the jazz vernacular, focusing on melodic, rhythmic, and harmonic models. The methodology presented in each class is applied in ear training sessions with class partners. Dictation and singing are used to develop aural skills. Students learn to hear and transcribe contextual examples of jazz and to respond accurately while participating in performance settings. Limited to jazz studies majors. PREREQ: MTH2430
An extensive exploration of the elements of sight singing, rhythmic study, and solfège, with progressive practical application throughout four semesters of study (MTH 1436, 1446, 2436, and 2446). PREREQ: MTH2436 Or
An overview of the evolution and development of music from pre-history to the end of the 19th century. From Ancient Greece on, musical events are given historical context in political and social issues of the time to help understand how everyday occurrences impacted on music through the ages.
A continuation of Survey of Music History I and an overview of the development of music during the 20th century. Musical events are given historical context in political and social issues of the time to help students understand how everyday occurrences impacted on music in the last century.
The fourth course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard repertoire. PREREQ: MTH2050 Or
A practical introductory study of idiomatic writing for traditional instruments. Instrumental characteristics, timbral balance, dynamics, articulation, and texture. Scoring of fragments of works for ensembles of two to 20 instruments. PREREQ: MTH1020 Or MCO2020
A continuation of MTH 3070. Scoring for complex traditional ensembles, including string orchestra, winds, full percussion, symphony, operatic, film, and theatre orchestras. Score analysis from Monteverdi to Stockhausen. PREREQ: MTH3050 Or MCO2020
A historical overview of electroacoustic music, beginning in the late 1940s with the devotees of musique concrète, recorded natural sounds, and synthesized tone construction. Students learn about the gradual evolution of technology and composition and its impact on many music traditions and trends.
An overview of current creative trends in electroacoustic music. Contemporary digital music systems offer unprecedented dynamic control over timbre. This course reviews aspects of musical acoustics and psychoacoustics and explores electroacoustic simulation through recent experimental examples. PREREQ: MTH3180
Demonstrates how analysis of a given work can influence artistic interpretation. Students present their own works alongside research on historical context, the composer’s biography, contemporary style, analysis (formal, harmonic, melodic, contrapuntal), and content. The goal is to understand that complete analysis does not offer a single “correct” interpretation, but rather focuses the creative mind by offering multiple paths towards artistic understanding.
Fosters deep understanding of music theory by returning to 18th-century training methods that employ analysis and synthesis together, in place of the current reliance on analysis alone. On the basis of analysis of theoretical principles of 18th-century models of ornamentation, free fantasias, basso continuo, and cadenzas, students learn to do original work in these genres.
Surveys the history and evolution of jazz from its West African origins and migration to the present. While emphasis is on listening to and analyzing recorded examples, sociopolitical and economic issues are also examined. Students learn to identify stylistic and contextual aspects of jazz based solely on listening and develop a familiarity with the major stylistic innovators from all eras. Readings from scholarly works help provide a comprehensive overview of America’s indigenous music. Lim
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. The fifth course in a required six sequential semester sequence. PREREQ: MTH2420 Or
Exercises in sight singing and ear training; modal, tonal, chromatic, and atonal melodies in seven clefs; rhythmic exercises to three voices; and melodic, rhythmic, and chordal dictation. The sixth course in a required six sequential semester sequence. PREREQ: MTH3410 Or
Surveys the history and evolution of jazz from its West African origins and migration to the present. While emphasis is on listening to and analyzing recorded examples, sociopolitical and economic issues are also examined. Students learn to identify stylistic and contextual aspects of jazz based solely on listening and develop a familiarity with the major stylistic innovators from all eras. Readings from scholarly works help provide a comprehensive overview of America’s indigenous music.
Provides a contiguous understanding of music history and prepares students for the comprehensive examination. A stream of guided readings and oral reports is designed to help students broaden and deepen their knowledge of the subject. Study groups work together on areas of common interest.
Examines major developments and trends in 20th-century musical style, including impressionism, primitivism, expressionism, and neoclassicism. Studies include an examination of cultural and social movements as expressed through other art forms. PREREQ: MTH2520
Presents an in-depth look at expansions of serial technique by the Darmstadt group; the rise of the American avant-garde; the emergence of a newly contextualized tonality; minimalism, mostly in the works of such Americans as Reich, Glass, and Adams, with some works by Pärt and Górecki; and expressions of postmodernism by artists as diverse as Brian Eno, Meredith Monk, Laurie Anderson, and Björk.
A study of the stylistic influences surrounding Beethoven’s music; the history of its reception; its formal, thematic, and harmonic construction; and how it interrogates other works. The tripartite division of Beethoven’s life is scrutinized and evaluated for its applicability (or lack thereof) to various parts of his repertoire. Students give a lecture-demonstration of one work (or one part of a work). PREREQ: MTH2510 And MTH2520 And WRI1110
A study of the lives, output, and philosophies of the three composers of largely programmatic music who comprised the New German School and were opposed strongly by Brahms and Eduard Hanslick. The rich corpus of prose works (primarily those printed in Die neue Zeitschrift für Musik ) left by these composers is used to interrogate their musical scores. PREREQ: MTH2510 Or MTH2520 Or WRI1110
The lives, output, and collaborations of Gustav Mahler and Richard Strauss are explored in the context of the heady atmosphere of the Viennese fin de siècle. Discussions of political and social upheavals (Dr. Karl Luger, the Ringstrasse project, and Klimt and the Secessionist movement) are mixed with examination and analysis of representative works, predominantly orchestral songs and symphonies/tone poems. PREREQ: MTH2510 And MTH2520
Examines the works of Dmitri Shostakovich, the greatest of the Soviet-era Russian composers and one of the top symphonists of the 20th century. Soviet history and politics are examined in relation to the arts, as well as the larger theme of creativity under an authoritarian government. Further topics include Shostakovich's official condemnations and rehabilitations, and his major works in a variety of genres. PREREQ: MTH4050 And MCO2020 And MTH2440
Analysis of selected works from the Baroque, Classical, and Romantic eras, with particular attention to tonal design and rhythmic and phraseological structure. PREREQ: MTH4050
MTH 4035Recording and Mixing for Musicians: Theory and Practice I2
The first half of a two-semester comprehensive study of modern recording and mixing. Topics include digital audio workstations (DAWs), fundamental microphone techniques, electronics, MIDI, and running a tracking session in the home or hybrid studio and on location. Students complete this series with a basic knowledge of the theory and skill set required for recording, editing, mixing, and mastering music. Score reading skills and access to Pro Tools are preferred. PREREQ: MTH4010
MTH 4036Recording and Mixing for Musicians, Theory and Practice II2
A comprehensive study of modern recording and mixing. Topics include; Digital Audio Workstations, fundamental microphone techniques, electronics, MIDI, running a tracking session in the home / hybrid studio and on-location. Students complete this series with a basic knowledge of the theory and skillset required for recording, editing, mixing, and mastering music. Score reading skills, and access to ProTools are preferred. PREREQ: MTH4035
The fifth, culminating course in the core music theory curriculum for classical music students (five sequential semesters). Designed to provide a thorough background in musical structure, the course material is an integrated presentation of concepts and disciplines, including fundamentals, species counterpoint, and traditional harmony. Other important topics are rhythmic organization, analysis and composition of melodies, phrase structure, and harmonic analysis of excerpts from the standard PREREQ: MTH3050 Or
Students examine and contextualize many of the important works from the Second Viennese School and beyond. Special emphasis is given to the impact of such early 20th-century figures as Schoenberg and Stravinsky, opera, innovations in the work of Oliver Messiaen, and music by living composers. Major political and social changes during the century are factored into the musical discussions.
Jazz greats from Mingus to Mehldau have found inspiration in the music of Bach. What did they find so appealing, and how did they integrate it into their personal styles? This course addresses those questions by, each week, isolating a particular trait of Bach’s compositional technique and coaching students to use it in composition exercises and real-time improvisation.
MTH 4120History of Recorded Music I: Blues to Bebop2
American popular music and its recording techniques (to 1950): ragtime, gospel, blues, vaudeville, New Orleans brass band, swing, Tin Pan Alley, bebop, and early rhythm and blues. Analysis and performance.
MTH 4130History of Recorded Music II: Bebop to Hip-Hop2
A continuation of MTH 4120. Cool, mainstream, progressive/free jazz, rhythm and blues, country and western, Broadway, rock ’n’ roll, reggae, soul and Motown, fusion, disco, punk, metal, and hip-hop. Analysis and performance.
MTH 4135Decades of Greatness: The Evolution and Impact of Stevie Wonder, Dolly Parton, and Prince2
This course will examine the lives and careers of three musical legends from different musical backgrounds. For each, students will study how each intersected with significant social, political, and artistic movements of their time. They will also examine the evolutionary process of each with the goal of understanding how and why an artist’s language might change over time. PREREQ: WRI1110
An audio/visual lecture series about the life and times of Henry Purcell, the most famous English composer in 17th century: his day-to-day life in London, the music, art, theatre, literature, dance, fashion, architecture, and science, all given historical context in contemporary social & political events, including William Penn’s association with Quakerism in the US, and the founding of Pennsylvania. PREREQ: MTH2510 And MTH2520
The first half of a two-semester chronological survey of major operas and opera composers from the early 1600s to the present in cultural context. Participants research and write critical analyses based on documentation of early performances and, when available, archival recordings.
The second half of a two-semester chronological survey of major operas and opera composers from the early 1600s to the present in cultural context. Participants research and write critical analyses based on documentation of early performances and, when available, archival recordings. PREREQ: MTH4211
An integrated companion to MTH 4211, focusing on historic performance styles and their practical application. Participants learn and present excerpts from each major historical operatic period.
An integrated companion to MTH 4212, focusing on historic performance styles and their practical application. Participants learn and present excerpts from each major historical operatic period. PREREQ: MTH4213
MTH 4230The Operas and Vocal Works of Benjamin Britten2
Focuses on the War Requiem and operas by Benjamin Britten. Students engage in a close reading of the texts, participate during class in musical renderings of selected sections, and become familiar with Anglican worship and musical traditions. Central themes, including class conflict, desire, and repression, are discussed when relevant. Substantial outside reading required. PREREQ: MTH2510 And MTH2520
MTH 4235Kings and Queens: Homoeroticism on the Operatic Stage2
The past two decades of American classical music have witnessed a quiet revolution in opera, with queer stories finally taking place front and center. This in spite of the historical importance of gay artists in the making of opera, as well as the importance of a loyal gay fanbase. With a special focus on recent/current operas by Purchase faculty members Laura Kaminsky and Gregory Spears.
A study of Stephen Sondheim as a synthesis of American film, opera, and musical theatre traditions. Formal, motivic, harmonic, and structural analysis of Sondheim’s principal works, supplemented by readings in philosophy, music theory and harmony, and American politics from the 1970s through the present. Extensive viewing outside of class.
MTH 4310Bridges: The Intersection of Classical and Jazz Piano2
Students explore both the commonalities and differences in jazz and classical piano, gaining versatility and familiarity with more than one genre at the keyboard. Theory is a vital topic: jazz studies majors study the counterpoint basic to the music of Bach, and classical pianists study jazz harmony to help them develop idiomatic vocabulary.
A survey course introducing students to the major musical traditions of the world. Topics include structures, scales, instruments, and cultural elements of music from Asia, Africa, Europe, Australia and the Americas, supplemented by historical and contemporary recordings and films. ^ top
MTH 5000Research and Writing for the Modern Musician2
To function creatively in the contemporary music industry, modern musicians need the skills to perform, compose, arrange, record, research, write, and talk about their music. This course helps develop the research, writing, and presenting skills by exploring relevant print and online resources, researching and discussing topics of individual interest, and writing engaging program notes and research papers.
An exploration of American contributions to the world of art song. Touching on repertoire from before the Civil War through today, students will gain an understanding of the historical, social, and artistic contexts of American classical composers. The class will also touch on contributions to American song from classical-adjacent contexts, including jazz, music theater, and popular idioms.
Analysis of the structure and design of melody, tendency tones, and rhythmic stress; relationship of melody to harmony; serialism; tension, rhythmic units; and techniques of minimalism. From Gregorian chant to Nixon in China.
MTH 5035Recording and Mixing for Musicians: Theory and Practice I2
The first half of a two-semester comprehensive study of modern recording and mixing. Topics include digital audio workstations (DAWs), fundamental microphone techniques, electronics, MIDI, and running a tracking session in the home or hybrid studio and on location. Students complete this series with a basic knowledge of the theory and skill set required for recording, editing, mixing, and mastering music. Score reading skills and access to Pro Tools are preferred.
MTH 5036Recording and Mixing for Musicians, Theory and Practice II2
A comprehensive study of modern recording and mixing. Topics include; Digital Audio Workstations, fundamental microphone techniques, electronics, MIDI, running a tracking session in the home / hybrid studio and on-location. Students complete this series with a basic knowledge of the theory and skillset required for recording, editing, mixing, and mastering music. Score reading skills, and access to ProTools are preferred PREREQ: MTH5035
Jazz greats from Mingus to Mehldau have found inspiration in the music of Bach. What did they find so appealing, and how did they integrate it into their personal styles? This course addresses those questions by, each week, isolating a particular trait of Bach’s compositional technique and coaching students to use it in composition exercises and real-time improvisation.
MTH 5135Decades of Greatness: The Evolution and Impact of Stevie Wonder, Dolly Parton, and Prince2
This course will examine the lives and careers of three musical legends from different musical backgrounds. For each, students will study how each intersected with significant social, political, and artistic movements of their time. They will also examine the evolutionary process of each with the goal of understanding how and why an artist’s language might change over time.
An audio/visual lecture series about the life and times of Henry Purcell, the most famous English composer in 17th century: his day-to-day life in London, the music, art, theatre, literature, dance, fashion, architecture, and science, all given historical context in contemporary social & political events, including William Penn’s association with Quakerism in the US, and the founding of Pennsylvania.
A historical overview of electroacoustic music, beginning in the late 1940s with the devotees of musique concrète, recorded natural sounds, and synthesized tone construction. Students learn about the gradual evolution of technology and composition and its impact on many music traditions and trends.
An overview of current creative trends in electroacoustic music. Contemporary digital music systems offer unprecedented dynamic control over timbre. This course reviews aspects of musical acoustics and psychoacoustics and explores electroacoustic simulation through recent experimental examples. PREREQ: MTH5180
MTH 5230The Opera and Vocal Works of Benjamin Britten2
Focuses on the War Requiem and operas by Benjamin Britten. Students engage in a close reading of the texts, participate during class in musical renderings of selected sections, and become familiar with Anglican worship and musical traditions. Central themes, including class conflict, desire, and repression, are discussed when relevant. Substantial outside reading required.
MTH 5235Kings and Queens: Homoeroticism on the Operatic Stage2
The past two decades of American classical music have witnessed a quiet revolution in opera, with queer stories finally taking place front and center. This in spite of the historical importance of gay artists in the making of opera, as well as the importance of a loyal gay fanbase. With a special focus on recent/current operas by Purchase faculty members Laura Kaminsky and Gregory Spears.
A study of Stephen Sondheim as a synthesis of American film, opera, and musical theatre traditions. Formal, motivic, harmonic, and structural analysis of Sondheim’s principal works, supplemented by readings in philosophy, music theory and harmony, and American politics from the 1970s through the present. Extensive viewing outside of class.
MTH 5310Bridges: The Intersection of Classical and Jazz Piano2
Students explore both the commonalities and differences in jazz and classical piano, gaining versatility and familiarity with more than one genre at the keyboard. Theory is a vital topic: jazz performers study the counterpoint basic to the music of Bach, and classical pianists study jazz harmony to help them develop idiomatic vocabulary.
Demonstrates how analysis of a given work can influence artistic interpretation. Students present their own works alongside research on historical context, the composer’s biography, contemporary style, analysis (formal, harmonic, melodic, contrapuntal), and content. The goal is to understand that complete analysis does not offer a single “correct” interpretation, but rather focuses the creative mind by offering multiple paths towards artistic understanding.
A survey course introducing students to the major musical traditions of the world. Topics include structures, scales, instruments, and cultural elements of music from Asia, Africa, Europe, Australia and the Americas, supplemented by historical and contemporary recordings and films.
Provides a contiguous understanding of music history and prepares students for the comprehensive examination. A stream of guided readings and oral reports is designed to help students broaden and deepen their knowledge of the subject. Study groups work together on areas of common interest.
Students are set on a path of lifelong learning with the goal of being able to improvise in all the genres they perform. Instructors provide a graded series of tasks that begins with rudimentary ornamentation of existing lines and concludes with the improvisation of convincing fantasias, cadenzas, and dance-based pieces. Open to graduate students in the classical instrumental performance, voice/opera studies, and composition concentrations.
Presents an in-depth look at expansions of serial technique by the Darmstadt group; the rise of the American avant-garde; the emergence of a newly contextualized tonality; minimalism, mostly in the works of such Americans as Reich, Glass, and Adams, with some works by Pärt and Górecki; and expressions of postmodernism by artists as diverse as Brian Eno, Meredith Monk, Laurie Anderson, and Björk.
An intensive graduate course in the vocal and instrumental music of Berg, examining both his orchestral and previously unpublished early vocal works and his operas Wozzeck and Lulu. Topics include the influence of Freud, Weill’s opera Mahagonny, Berg’s satire of capitalism, the conventions of expressionist cinema, and source study of Wedekind, Brecht, and Pabst. Knowledge of German is helpful.
A study of the stylistic influences surrounding Beethoven’s music; the history of its reception; its formal, thematic, and harmonic construction; and how it interrogates other works. The tripartite division of Beethoven’s life is scrutinized and evaluated for its applicability (or lack thereof) to various parts of his repertoire. Students give a lecture-demonstration of one work (or one part of a work).
Examines the works of Dmitri Shostakovich, the greatest of the Soviet-era Russian composers and one of the top symphonists of the 20th century. Soviet history and politics are examined in relation to the arts, as well as the larger theme of creativity under an authoritarian government. Further topics include Shostakovich's official condemnations and rehabilitations, and his major works in a variety of genres.
Examines lives and works of Gustav Mahler and Richard Strauss in the context of political and social upheavals (anti-Semitism, German nationalism, influence of Freud, late Romantic art). Open to students from all areas of the College. Ability to read music is not required. ^ top
