For descriptions of all classes, including those not offered this semester, see the Course Descriptions pages for Musical Studies in the admissions section.

Techniques of Music
Harmony
Counterpoint
Solfège
Form and Analysis
Keyboard
Music History
Electives

TECHNIQUES OF MUSIC
Preparatory Musical Studies
A noncredit course designed specifically for younger students,
providing intensive drill in the fundamentals of music, including key signatures, scales, intervals, and triads.

Fundamental Musical Studies
A one-term course in the basics of music theory (i.e., scales, key signatures, intervals, and chords), preparing students for the Curtis musical studies program.

Musical Studies for Singers
Designed for singers with limited background in music theory,
combining the study of harmony and counterpoint, and aural skills through sight-singing and solfège.

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HARMONY
Harmony I
The basic progressions of tonal harmony, studying the functions
of triads on all diatonic scale degrees.

Harmony II
Modulation to the dominant in major and to the mediant in minor, sequential progressions, melodic and rhythmic figuration, and chromaticism through modal mixture.

Harmony III
Diatonic modulation to all keys, the Phrygian II, augmented-sixth
chords, and advanced chromaticism.

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COUNTERPOINT
Counterpoint I
The writing of cantus firmus and two-part species counterpoint
in the major and minor modes.

Counterpoint II
Three-part species counterpoint and introduction to combined
species in three voices.

Counterpoint III
Further study of combined species, double (i.e., invertible)
counterpoint, and fugue.

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SOLFÈGE
Solfège I
Sight-singing in five clefs, singing and recognition of intervals and triads, two-part contrapuntal dictation, rhythmic dictation, and score-reading.

Solfège II
Advanced sight-singing in seven clefs, chromaticism, three-part
contrapuntal dictation, simple figured-bass dictation, and reading Bach chorales in open score.

Solfège III
More complex figured-bass dictation with chromaticism, atonal
dictation and sight-singing, and advanced score-reading.

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FORM AND ANALYSIS
Form
Beginning with the study of phrase structure, a survey of the
principal musical forms of the baroque, classical, and romantic eras, with particular emphasis on the evolution of sonata form.

Analysis
The analysis of tonal music through the study of its voice-leading
structure. This course will examine works from different genres, including binary and song forms, as well as complete
sonata movements.

Twentieth-Century Analysis
A variety of analytical techniques based on original methods of
compostion and separately produced perspectives. A wide range
of works will be studied, from early pieces of "free atonality" and impressionism to music written in the past twenty years.

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KEYBOARD
Keyboard Studies I
Contrapuntal and harmonic progressions in all keys, fundamentals of figured bass, keyboard settings of folk and chorale melodies, and basic score-reading.

Keyboard Harmony
Progressions in major and minor keys to supplement material in Harmony I.

Keyboard Studies II
Figured bass chorales, introduction to continuo, techniques of orchestral score-reading, Bach's Art of the Fugue in open score, and sight-reading for two and four hands.

Keyboard Studies III
Advanced continuo, advanced orchestral score-reading, and
advanced sight-reading for two and four hands.

Keyboard Improvisation
An exploration of the techniques for creating formal tonal structures on both given and free materials. The first semester will focus on harmonization and ornamentation of chorale melodies, including chorale prelude, variations, and ground bass. Free-form structure will be explored in the second semester, as well as including some two- and three-part form.

Chamber Chorus
The basics of voice production and ensemble singing, taught
in a practical setting. The repertoire for this course is a broad
overview of sacred and secular choral music. Two semesters are
required for Diploma and Bachelor of Music students majoring
in composition, conducting, harpsichord, organ, or piano.

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MUSIC HISTORY
Music History I
The history of western music from its origins in ancient Greece to the beginning of the twentieth century. This course aims to provide a general survey of the major composers, as well as the development of tonality to its dissolution at the beginning of the 20th century.

Music History II
The history of western music in the twentieth century. This course will examine the trends and ideas that shaped music from the beginning of the twentieth century to the present through a chronological study of the composers and the creation of their own works employing the different compositional techniques of the era.

MUSIC HISTORY SEMINARS:
The Golden Age of the Renaissance
An exploration of the period's complex music, including the vernacular hymns of the Lutheran church, the sublime masses and motets of Palestrina, and the bizarre and experimental madrigals of Gesualdo. With the rise of instrumental music, as well as the rediscovery of ancient Greekdrama and the advent of "opera," the modal system is broken down and gives way to the birth of tonality.

Course text: Alan Atlas, Renaissance Music

Beethoven
An in-depth analysis of the life and works of Ludwig van Beethoven. This seminar will examine the composer's major works in light of his personal development. An historical overview of Beethoven's compositions will be supplemented by analyses of selected instrumental works. Readings will include extracts from contemporary accounts of Beethoven by Breuning, Ries, Schindler, and Wegeler, as well as analytic studies by Nottebohm, Tovey, and Schenker.

Course text: Barry Cooper, Beethoven

Music of Our Time
A seminar that analyzes the influence of world music, popular music, electronic music, and other current trends on contemporary classical art music. This course will focus mainly on works from the past few decades.

The Post-Romantics: Bruckner, Mahler, and Richard Strauss
The historical context and musical works of these leading Austro-German composers, tracing their influences back to Beethoven, Brahms, and Wagner. Discussions will center on the backgrounds and personal lives of the composers in Germany and Austria in the ninettenth and early twentieth centuries, with a focus on their musical influences, sources, and compositional styles. A more in-depth and analytical discussion of select works will demonstrate how these master composers pushed the limits of tonality.

The Second Viennese School: Schoenberg, Berg, and Webern
This course will examine the music of the Second Viennese school, beginning at early works of Schoenberg and following through the later music of his own and his two most accomplished students, Alban Berg and Anton Webern. The music will be explored analytically as it relates to technique and be treated in its artistic and cultural context.

Orchestras and Their Conductors
The history of the orchestra from the violin bands of the seventeenth century to the modern orchestra. The course will examine types, numbers, and combination of instruments used during different periods of history; how experimentation and advances in instrument technology contributed to innovations in orchestras and ensemble playing; the roles of orchestras in society; and the expansion of orchestras beyond Europe. The class will explore significant conductors and their influence on musical culture, audiences, players, and the ensemble sound, as well as how the influx of European conductors transformed American orchestral practice and conducting habits.

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With prior approval from the instructor and the department chair, this course can fulfill one semester of the English Literature requirement.

Twentieth-Century Musical Analysis
A study of twentieth-century repertoire using a variety of analytical techniques based on original methods of composition and separately produced perspectives. A wide range of works will be studied, from early works of "free atonality" and Impressionism to music of the United States and Europe written in the past twenty years. Students will broaden their musical perception by getting deeper into Modern and contemporary works with advanced analytical tools.

Requirements: Theory III or consent of the instructor

Chamber Chorus
An opportunity to learn the basics of voice production and ensemble singing in a practical setting. The repertoire is a broad overview of choral music ranging from Gregorian chant to renaissance polyphony to newly composed works, both sacred and secular.

Two semesters of Chamber Chorus are required for Diploma and Bachelor of Music students majoring in composition, conducting, harpsichord, organ, or piano.

Composition Techniques Seminar
A seminar designed to explore, in depth, techniques of music since 1950. Detailed analysis, listening, and discussion will be integral aspects of this course. Guest lecturers and topics related to contemporary composition will further be focused upon.

Required of composers. All other students require the permission of the instructor for enrollment.

The Violin
The basics of stringed instruments as objects and tools. Students will receive an introduction to the construction, repair, and maintenance of stringed instruments and their bows. They will learn how to recognize repairs and alterations and the effect these have on the sound and value. The instrument's origins, development, popularity, and important artisans will also be covered, along with various schools of craftsmanship and how to recognize them. Students will learn how to select and evaluate instruments and bows for purchase in private dealer sales and at auctions.

Supplementary Composition
Fundamentals of music composition focusing on original music. Students with previous experience as composers are welcome, though none is necessary. Form, analysis, and modern techniques will also be taught. Students will further learn through readings of their works and possible performance opportunities.

Requirement: consent of the instructor

Music, Magic, and Mysticism
An exploration of common existential themes--such as creation myths, death and resurrection, heroes and legends, love and sex, and symbolism--and their connections to the arts. Music includes Gregorian Chant, Haydn, Wagner, African drumming and chanting, Islandic Eddic poetry, the troubadors, Schoenberg, and Pärt.

20/21: The Curtis Contemporary Music Ensemble
The 20/21 ensemble will study, rehearse, and perform music ranging from important twentieth-century works to new music not yet borne into the repertoire. The ensemble will be flexible in size and scope—to include solo pieces, standard chamber music forces, and larger works that require a conductor. Performers and conductors will be drawn from the Curtis student body and include faculty and alumni.

Mr. Ludwig will coordinate readings, programming, rehearsal, and concert activities in tandem with school administration. Students will be expected to participate in rehearsals regularly and as needed.

Chamber music credit can be arranged at the discretion of the Dean.

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