The School of Music offers a comprehensive course of study in music theory, instructing music students from all areas in all stages of their academic career, undergraduate through doctoral. In theory classes, music students delve beneath a surface appreciation of performance to gain deeper insight into the underlying design of a piece of music. In combination with the knowledge and skill development students receive in their history, composition and performance classes, this theoretical understanding ensures the success of graduating music students.
In addition to the general theory classes required of all undergraduate music majors, the school offers a bachelor’s degree in music theory that allows students to complete a special research project under the tutelage of a faculty mentor.
The master’s degree in music theory lays a foundation for further graduate study for students interested in pursuing a university teaching career. Small class sizes and seminar formats allow students ample opportunities for collaborative discussion that strengthens analytical skills. From studies in form and Schenkerian analysis to post-tonal topics, our courses are geared toward current research that addresses important developments in the music theory field. Students take an intensive seminar in music theory pedagogy in preparation for a faculty-supervised student teaching experience of entry-level theory courses. Graduates leave well-prepared to enter a competitive PhD program.
Theory Area faculty speak about their research and theory-related topics as part of the school's Fridays w/Faculty lecture series and also invite academics from other universities to speak on special topics.
Dr. Bruce Quaglia's article "Intertextual Relationships in Wuorinen and Late Stravinsky" appeared in the journal Theoria, and he was commissioned by the journal Music Theory Spectrum to review Joseph N. Straus' recent book "Extraordinary Measures" for a forthcoming 2012 issue.
Dr. Michael Chikinda's article on a composition by Arvo PÃ¤rt, "PÃ¤rt's Evolving Tintinnabuli Style," was published in Perspectives of New Music in 2011.