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.
GRMUS-TJ 602T -- Music Theory and Analysis II
Section A Tuesdays 9:00-9:55, Fridays 9:00-9:50
Section B Tuesdays 10:00-10:55, Fridays 10:00-10:50
Prerequisite: GRMUS-TJ 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.
GRMUS-TJ 604T – Chamber Music from 1700 to 1800
The 18th century saw countless foundations of and developments in Western chamber music. This course will dive into its rich repertoire and traditions, spanning different regions, genres, forms, styles, and musical eras. We will begin with an overview of figured bass principles and an introduction to improvised ornamentation, both focal points of the semester. An exploration of the Baroque chamber and church sonata will follow, concentrating largely on Italian composers, style, and influence. Chamber music for two strings and basso continuo will then take us across Europe via the works of Corelli, the elder Marais, Loillett, Rameau, and the two Couperins. Lastly, we will study the germination and solidification of the piano trio and string quartet from the 1760s to 1800, each cornerstones of today’s chamber music traditions.
GENERAL GRADUATE STUDIES
GRMUS-TJ-601H -- Music History I
Section A Mondays 9:00-10:45
Section B Wednesdays 9:00-10:45
Section C Wednesdays 11:00-12:45
The first semester of a year-long course sequence providing an intensive exploration of the pivotal developments in compositional genres and styles organized into topical modules. First semester topics include: Bach and the Baroque era, Mozart and his contemporaries, and the Development of the Romantic symphony.
GRMUS-TJ 620E -- Introduction to Musical Entrepreneurship
Section A Mondays 11:00-12:00
Section B Mondays 12:00-13:00
Section C Mondays 13:00-14:00
This course helps students develop entrepreneurial skills and a mindset to be proactive in shaping a career that is the best match for them individually and in which they can make a unique impact on the performing arts field. Special emphasis is placed on investigating the global marketplace for career opportunities, with a spotlight on China and neighboring countries as a developing scene of arts entrepreneurship. Students will be assigned self-reflection exercises and individual projects that encourage them to engage in innovative modes of thinking, harness their entrepreneurial potentials, and build confidence in their career-mapping endeavors. The course may include project mentoring by other members of the Graduate School faculty.
This course may be repeated.
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.
The Symphony: Its Evolution Since 18th Century
A survey of the symphony from the late Baroque era through the 20th century, this course will examine the numerous approaches composers have taken to write works scored for the orchestra varying from 30 to 100 musicians. This survey course will include works by Sammartini, Stamitz, Haydn, Mozart, Beethoven, Berlioz, Brahms, Mahler, Shostakovich, Carter, Corigliano, etc. Repertoire from the current Tianjin Juilliard Orchestra season may also be selected for further study.
Composition for Performers
The most direct way to counter the trend of increasing specialization in the roles of composer and performer is to encourage the creative aspirations of young players. This is the rationale for this composition seminar geared towards performance majors. Students will be equipped with practical skills in composition that can serve them in the future in preparing both arrangements and original works. Experience composing will provide students with insight into the creative process. Much of the class time will be spent in an open group lesson format looking over works in progress, ensuring that each student will receive individual attention from the instructor. If needed, the instructor will provide a more structured series of assignments designed to help students hone their compositional technique. The semester will conclude with a concert featuring new works composed during the semester.