Explanations (suitable for any age) of the basic elements of music, with suggested activities for introducing the concepts to children at early elementary school level.

Here is a series of lessons in film scoring for anyone who wants to create music for motion pictures but is not a musician.

Lesson plan, appropriate for the secondary music classroom, for an activity that allows students to create elaborations on a simple melody in the style of a Balinese gamelan.

A continuation of Harmony and Counterpoint I, including chromatic harmony and modulation, a more extensive composition project, keyboard laboratory, and sight-singing laboratory.

Basic writing skills in music of the common-practice period (Bach to Brahms). Work includes regular written assignments leading to the composition of short pieces, analyzing representative works from the literature, keyboard laboratory, and sight-singing choir. It is recommended that entering students have some concert music listening or playing background. Enrollment may be limited.

This course provides an introductory survey of the Western classical tradition, exploring music as a phenomenon of both sound and culture. The focus of this course is the development of aural skills that lead to an understanding and appreciation of music; making use of live performances and streaming audio available on the Internet, the student will listen to and explore some of the most important and influential repertoires and genres of music that emerged in the last four centuries. Upon successful completion of this course, the student will be able to: Identify aesthetic qualities and compositional processes by studying and listening to significant works of music in both live performances and recorded media; Explain the historical and/or cultural contexts of musical works studied in this course; Demonstrate an aural ability by identifying specific forms, genres, musical techniques, and historical styles of Western classical music; Describe subjective reactions to musical examples and analyze specific expressive qualities that evoke responses; Write about music analytically and effectively, using vocabulary, language and a style appropriate to the discipline and expressing ideas clearly. (Music 101)

Through a progressive series of composition projects, this course investigates the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

Lesson plan for an activity that challenges music students to use a technique from Balinese gamelan, to play challenging music in a cooperative manner.

This module represents considerations of melody in the study of a choral score and its implications for rehearsal and performance.

Some activities to help students practice identifying phrases in a melody.

An introduction to the basic element of music called melody, with some useful definitions.

An activity for introducing young children to the basic element of music called melody.

"This course is a survey of perceptual and cognitive aspects of the psychology of music, with special emphasis on underlying neuronal and neurocomputational representations and mechanisms. Basic perceptual dimensions of hearing (pitch, timbre, consonance/roughness, loudness, auditory grouping) form salient qualities, contrasts, patterns and streams that are used in music to convey melody, harmony, rhythm and separate voices. Perceptual, cognitive, and neurophysiological aspects of the temporal dimension of music (rhythm, timing, duration, temporal expectation) are explored. Special topics include comparative, evolutionary, and developmental psychology of music perception, biological vs. cultural influences, Gestaltist vs. associationist vs. schema-based theories, comparison of music and speech perception, parallels between music cognition and language, music and cortical action, and the neural basis of music performance."

An introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in Harmony and Counterpoint I and II. Students study harmony, counterpoint, melodic line and motivic relationships at local and large scale levels of musical structure. Three 7-page papers, one revised paper, and one oral presentation required.

This student worksheet is aimed at ordinary and higher level. It is in the style of a Leaving Certificate examination melody question and includes 6 opening phrases (2 OL, 4 HL) for use in the classroom or for homework.

This module provides example inputs and outputs of the piano note detection algorithm using our implementation. It also discusses what our algorithm and implementation do well and what they do inadequately.

An activity that encourages children to recognize that melodies can have a shape or contour.

Provides a number of graded examples of short texts suitable for use in setting texts to music.

" This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required."