GRADUATE THEORY: Note: Students are required to take a minimum of two graduate theory courses. Theory courses are assigned according to the results of a placement exam.
GRMUSTJ 601T: Music Theory and Analysis I
Section A Tuesdays 9:00-9:55, Fridays 9:00-9:50
Section B Tuesdays 10:00-10:55, Fridays 10:00-10:50
This is the first semester of a year-long theory review course designed for entering graduate students at The Tianjin Juilliard School. The integrated format combines aural, visual, and written activities including analysis, keyboard, writing (figured bass, melody harmonization, and short compositions that incorporate various harmonic idioms), singing, and transposition. The course encourages a reorientation that reveals how theory, composition, listening, and analysis can (and must!) inform performance, and provides a foundation for more advanced theory courses. After setting the stage for a more performative approach to theory, this course will focus on diatonic harmony, including counterpoint, melodic fluency, tonal categories and the phrase model, contrapuntal expansions, non-dominant seventh chords, musical periods and sentences, and submediant and mediant harmonies.
GRMUSTJ 602T: Music Theory and Analysis II
Tuesdays 11:00-11:55 and Fridays 11:00-11:50
Prerequisite: GRMUSTJ 601T or by placement.
This is the second semester of a year-long theory review course designed for entering graduate students at The Tianjin Juilliard School. Building upon skills developed either in the first semester of the course or demonstrated through performance on the theory placement test, students will continue to stretch and apply their theoretical perspectives in ever-more performative ways. Like the first semester, an integrated format will combine aural, visual, and written activities including analysis, keyboard, writing (figured bass, melody harmonization, and short compositions that incorporate various harmonic idioms), singing, and transposition. The ultimate emphasis is on the creative and performative applications of music theory. After reviewing necessary fundamentals and reacquainting students with this perhaps novel approach to theory, this course will venture into chromatic harmony and larger forms, including applied chords and tonicization, modulation and binary form, modal mixture and chromatic modulation, writing and using the Neapolitan chord and augmented sixth chords, and ternary and sonata form.
GRMUSTJ 650T: Sonata Form After Beethoven
Pre-requisite: GRMUSTJ 602T or by placement.
This course will trace the usage of sonata form structures in symphonic and chamber music beginning after Beethoven through the first half of the 20th century, long after it is usually assumed to have been effectively defunct. Students will explore the ways in which a continuing engagement with this traditional form remained an important source of musical meaning for a wide variety of composers. Elements of “Sonata Theory” will be employed skeptically to determine their applicability to repertoire increasingly distant from the Austro-German music they were devised to describe. Students will assess the continued viability of the sonata form after the “common practice period,” as well as grapple with larger issues such as the role of shared conventions as a conduit for communication between the composer and listener and the influence of analytical models on the work of composers.
GENERAL GRADUATE STUDIES
GRMUSTJ 600R: Collaboration and Interpretation
Section A Mondays 9:00-10:45
Section B Wednesdays 9:00-10:45
This course focuses on making the best use of information resources to contribute to forging forge a personal point of view about a musical compositions. Once salient information is accessed, students work individually and in group interpretation building exercises to synthesize that information with a variety of other sources including their own and their instructors’ interpretive ideas and impressions from recordings and live performance ultimately arriving at an interpretation combining information with intuition.
GRMUSTJ 602H: Music History II
Section A Mondays 9:00-10:45
Section B Mondays 11:00-12:45
Section C Wednesdays 9:00-10:45
The second semester of the music history sequence covers topics including: Viennese music from the Romantic era through the Second Viennese School, Russian and French music of the late 19th and early 20th centuries, and Music of the 1970’s to the present day.
GRMUSTJ 600P: Community Engagement Practicum
Section A Mondays 10:00-11:00
Section B Mondays 11:00-12:00
Section C Mondays 12:00-13:00
What does it mean to build an identity as an ‘Artist Citizen’ and what does that look like in actual practice? This course will explore the connection between artistry and citizenship, examine how different professional musicians connect with underserved communities, and how students can use their creative talent and entrepreneurial skills to create performances and projects that can elicit social change through music. Following training, students are required to participate in additional community service performances.
GRMUS-TJ 601S – Modernism: Art and Music
Scriabin's invention of the clavier à lumières (a keyboard instrument with keys corresponding to a color); Picasso designing costumes for Stravinsky's ballet "Pulcinella"; Juan Gris' painting being described as "polyphonic" and "contrapuntal"; John Cage collaborating with artist Robert Rauschenberg and choreographer Merce Cunningham; Georgia O'Keeffe titling paintings "Music in Pink and Blue"; painter and composer Schoenberg inspiring Kandinsky to discover colors in sounds and synesthesia…. It is a fascinating phenomenon how visual art and music came together and developed alongside each other in the Modern era. Based on the various artistic stylistic changes in the Modern era, this course will trace the emergence of Modernism, examine how artists and musicians collaborated consciously, and what “art” and “music” meant to them throughout this era.
GRMUSTJ 605S: The Challenges of Contemporary Music
This class is designed to build a bridge between late-romantic and avant-garde and experimental music. Students will become familiar with atonality; unconventional notation; complex rhythms and meters; extreme dynamics and an enhanced range of articulations and colors, including extended techniques. Class meetings will be devoted to group playing exercises supplemented by lectures, analyses, and class listening assignments. Materials include methods such as ‘Creative Music Activities’ by Hungarian composer László Sáry and materials by composers such as John Cage and Stockhausen and the course instructor. Students will also have the opportunity to create guided and free improvisations.
GRMUSTJ 606S: Arranging for Small Ensemble
Arranging for Small Ensemble will explore making music arrangements for solo with or without piano accompaniment, and various common or mixed instrument groups, such as piano trio, string quartet, woodwind quintet, as well as mixed instrumentation. The goal of the course is for students to grasp fundamental tools that will help them to rearrange works for their instruments or chamber groups using notation software such as Finale or Sibelius.
GRMUSTJ 607S: Music and Society
In this course, students will explore the relationship between music and society and the role that music plays in everyday life. We will focus on the questions such as: why is music important to culture and society? How does it influence social change? What part does music play in global society? The course will focus on music history in the context of cultural history by taking an interdisciplinary approach and exploring the relationship between music and social change, power, ethics influence on literature, political movements, and intercultural communication, among others. During the course, students will be introduced to Information literacy and academic research.