Teaching
Courses and graduate seminars I taught in the past 15 years:
Graduate
1. Music in Image. Theory of Film Music. Graduate seminar (F2018, 18; F2019, 14).
2. Dance Music of Renaissance (S2019, 13).
3. Music Theory and Philosophy. Graduate seminar (F2016, 12; S2018, 15).
4. Music Theory and Mathematics. Graduate seminar (S2016, 19).
5. Music and Semiotics. Graduate seminar (S2017, 14).
6. History of Music Theory from ancient Greece to 18th Century. Graduate Seminar (F2011, 14).
7. History of Music Theory from Rameau to 21st Century. Graduate Seminar (S2012, 8).
8. History of Music Theory from 19th to 21st Centuries: Musical Form. Graduate seminar (S2012, 8; S2014, 16).
9. Concepts and Approaches to Harmony: Millennial History, Theory and Pedagogy. Graduate Seminar (S2013, 13).
10. Russian Music Theory. Graduate Seminar (S2009, 11; S2010, 24; S2011, 17; and S2015, 9).
11. Music of Beethoven: Harmony and Form. Graduate Seminar in Music Theory (F2012, 18).
12. Music of Robert Schumann: Form, Dramaturgy and Semantics. Graduate seminar (F2013, 21; S2017, 14 and S2018, 15).
13. Music of Chopin. Graduate Seminar in Music Theory (F2010, 19).
14. Theoretical Aspects of Music of Tchaikovsky. Graduate seminar (S2013, 9; F2015, 12; F2017, 13).
15. Harmony, Form and Semiotics of Music of Sergei Rachmaninoff. Graduate Seminar (S2011, 18).
16. Music of Alexander Scriabin. Theoretical and Philosophical Aspects. Graduate Seminar (S2012, 24).
17. Russian Music Theory: Music of Rimski-Korsakov and Stravinsky. Graduate Seminar (S2014, 10).
18. Graduate Research (DMA) (F2009. 1; F2010, 1).
19. Individual Study (John Polevach) (F2010, S2011, F2011, S2012, F2012)
20. Graduate Theory Review (F2007, 12).
Undergraduate
1. Theory 6. Advanced Harmonization. Undergraduate elective (S2012, 21 (max. undergraduate class size: 15); S2016, 24 (divided 12+12); S2017, 18; and S2018, 20).
2. Theory 6. Music Theory in the Context of Literature, Arts and Philosophy. Undergraduate elective (S2014, 26).
3. Theory 5. Romantic – 20th-Century Styles (F2011, 15; F2012, 25 (divided 6+19); F2013, 23: F2015, 43 (divided 22+21); F2016, 17; F2017, 22; F2018, 17; F2019, 18).
4. Theory 4. (S2013, 22 (divided 6+16); S2017, 15; S2018, 15)
5. Theory 3. Baroque styles. (F2012, 25 (divided 19+60; F2016, 18; F2017, 19; F2018, 12; F2019, 19).
6. Theory 2. Chromatic Harmony. (S2012, 15; S2014, 11).
7. Theory Tutorial (F2008, 1; S2009, 1; F2009, 1; S2010, 1).
8. Theory IIIb. 20th-Century Styles (S2008, 11; S2009, 18; S2011, 21, S2012, 9).
9. Theory IIIa. Romantic Styles (F2007, 15, F2008, 20; F2010, 22).
10. Theory IIb (Theory4). Classical Styles (S2008, 16; S2009, 13; S2010, 18; S2011, 13).
11. Theory IIa (Theory 3). Baroque Styles and Counterpoint (F2007, 12, F2008, 12; F2009, 19; F2010, 13).
Introductory Lecture: "What is music theory?"
Preambule. Theory as a category of ancient Greek philosophy
Part one. Harmony
Part two. Music theory as a discipline
Lecture One: "Ear Training in Russian Style: Solfeggio in Fixed Do, Dictation, Chord ID, Keyboard Improvisation"
This page is dedicated to my students and to teaching methods. Video presentation 1 is about the experience of using the keyboard component in music theory classes that I teach. I will post more videos on methods of teaching theory, such as the art of harmonization of an unfigured melody, the guide to modulation to closely related keys, and preliminary exercises for writing a 3-part fugue exposition. Enjoy an example of unfigured melody harmonization by my student, Dr. Ivan Moshchuk.
