MUS 89200: Composers Forum
Professor Jeff Nichols
The Composers Forum is a series of meetings on topics of interest to composers. There will be guest composers and performers; presentations by students on their own work and discussion of the best ways to present one’s own work; and discussions of technical, musical and professional issues in contemporary composition.
MUS 85400: Seminar in Theory/Analysis: Intermediate Schenkerian Analysis (Schenker II)
Professor William Rothstein
A continuation of Introduction to Schenkerian Analysis ("Schenker 1"), focusing primarily on music by Haydn, Mozart, and Beethoven. Weekly assignments in graphing will be supplemented by readings and a final presentation.
MUS 84100: Seminar in Theory/Analysis: British Popular Music in the Post-Beatles Era
Professor Mark Spicer
This seminar offers an intensive study of British pop and rock music recorded and released over the past five decades, what might be described as the “Post-Beatles Era.” We will focus mainly on the myriad styles and subgenres of pop and rock that emerged in the U.K. during the 1970s and early 1980s—including heavy metal, progressive rock, glam, punk, two tone, and synthpop—with a special emphasis placed on analysis of the recorded music itself. Our readings will be drawn from the ever-growing body of interdisciplinary scholarship devoted to British pop and rock. In particular, we will repeatedly ask why is it that so much of pop and rock music since the Beatles cannot be understood properly without taking into account their remarkable influence. Coursework will involve weekly reading and listening assignments, weekly short papers in response to the reading and listening, and a substantial final conference-style paper (which may take many shapes or forms, but typically students will present close analyses of a song or group of songs of their own choosing). Limited to doctoral students in music, or with special permission of the instructor.
MUS 84600: Seminar in Theory: Analysis of Post-Tonal Music II
Professor Joseph Straus
An advanced class in post-tonal theory and analysis. Topics will include transpositional and inversional symmetry, voice leading and voice-leading spaces, contextual inversion, simple and compound interval cycles, and K-nets. Prerequisite: Post-Tonal 1 or permission of the instructor.
MUS 81504: Performance Practice: 20th – 21st Century
Professor Ursula Oppens
Designed for both composers and performers, the course explores the performance of 20th- and 21st-century music. Weekly meetings will be devoted to the coaching and critique of both student composition assignments and representative works. There will be reading and listening assignments. The class will culminate with a mandatory public concert on May 25 in Elebash Hall featuring important repertoire works and music composed by the students.
MUS 88400: Seminar in Ethnomusicology: Topics in Caribbean Music (The Dominican Republic, the French Caribbean, and the British West Indies)
Professor Peter Manuel
This seminar explores diverse aspects of the folk, salon, and commercial popular music cultures of the Dominican Republic, the French- and English-speaking Caribbean, and their diasporic communities in the USA. Genres covered will include merengue, bachata, reggaetón, contradanza, konpá, bélé, gwo-ka, zouk, roots reggae, quadrille, dancehall, calypso, soca, Indo-Caribbean traditional and modern musics, and the musics of Afro-Jamaican and Afro-Dominican religions. Dynamics of race, gender, creolization, and diasporic interactions will be recurring themes. Grades will be based on a term paper, a short analysis assignment, class reports on readings, and class notes.
MUS 83100: Seminar in Ethnomusicology: Music and Mobilities
Professor Jane Sugarman
In recent years the notion of "Mobilities" has been advanced as a new scholarly paradigm: one that both integrates and challenges earlier emphases on issues such as migration, diaspora, transnationalism, border studies, globalization, and "global flows." In this course we will investigate recent literature on "Mobilities" in the context of older and recent writings that target specific aspects of movement or stasis. Our main concern will be the relationship of music to movements of people—migrants and transmigrants, refugees, NGO workers, tourists, business personnel, military troops—as they interact with institutions and infrastructures that facilitate or hinder their movement. But we may also consider other domains of mobility such as the global circulation of media products, musical practices, and music technologies; or the role that music plays in social mobility or political mobilization. The course will be structured as a workshop, in which student (and instructor) interest will shape the topics considered and literature consulted. Permission of instructor required.
MUS 86600: Seminar in Music History: Schubert After Beethoven
Professor Scott Burnham
First and foremost we will explore Schubert’s activities as a composer between the death of Beethoven in March 1827 and his own death twenty months later. This means that we will get to discuss works such as the song cycles Winterreise and Schwanengesang, the Mass in E-flat, the last three piano sonatas, the Fantasy in F minor for four-hand piano, the E-flat Piano Trio, the Fantasy for Violin and Piano, and the String Quintet.
We will also address views of Schubert’s music as influenced by that of Beethoven (Schubert after Beethoven in the sense of “in the manner of” Beethoven), as well as the broad critical reflex of interpreting Schubert in contradistinction to Beethoven (Schubert after Beethoven in the sense of Schubert trailing after Beethoven, as the lesser component of a binary opposition).
MUS 86200: Seminar in Music History: The U.S. in the 1960s: Music and Culture
Professor Jeffrey Taylor
This course focuses on the period of the “Long Sixties,” from the late 1950s to the end of the Vietnam War in 1975. During this period of political, cultural, and social upheaval music and musicians reflected and influenced popular opinion, both voicing dissent and imagining utopia. The folk revival, the avant-garde jazz scene and the Black Arts Movement, experiments at the San Francisco Tape Center and elsewhere, the bohemian counterculture of rock, the rise of Motown, and the development of Minimalism, among other phenomena, provide valuable sites to explore gender, race, class and a variety of other social, political, and economic issues of the time. The course will examine work by musicians as diverse as Bob Dylan, John Coltrane, Brian Wilson, Joni Mitchell, John Cage, Stevie Wonder, Pauline Oliveros, Steve Reich, and Jimi Hendrix.
MUS 81502: Performance Practice: Clasical/Early Romantic
Professor Raymond Erickson
This course will cover conventions of musical performance during the period 1750-1900. Topics such as musical instruments, historical documents, aesthetics, national traditions, performing techniques, improvisation, and relevant bibliography will be dealt with. Class performances will be critiqued from the perspective of historical performing practices.