(Two-Part Courses: A hyphen indicates a full-year course with credit granted only for completing both terms. A comma indicates that credit is granted for completing one term.)

Collegium Musicum G71.1001, 1002 Admission by audition. May be repeated for credit. Boorman. 2 points per term.
Performance ensemble concentrating on the music of the Middle Ages through the high baroque and on neglected works or genres from other periods.

World Music Ensembles [Ethnomusicology Ensemble] G71.1003, 1004 Admission by audition. May be repeated for credit. 2 points per term.
Performance ensemble specializing in musical repertoires from outside the Western classical tradition. The ensemble concentrates on a different repertoire each semester. Examples have included Chinese classical music, Caribbean music, Irish music, and Klezmer.

Topics in Performance Practice G71.1101, 1102 Boorman, Roesner. 4 points per term.
Aspects of the authentic performance traditions of music from the Middle Ages through the 18th century, considering a variety of evidence from iconographic data to performance treatises and the implication of the notation itself.

From Mahler to Weill: German Music in the 20th Century G71.1157 Bailey. 4 points.
German music in the early 20th century. Individual composers confrontations with music from the past, musical dramaturgy, the multiplicity of individual musical languages. Additional composers studied include Richard Strauss, Busoni, Pfitzner, Reger, Schoenberg, Webern, Berg, and Hindemith.

Introduction to Musicology G71.2101 Boorman, Roesner. 4 points.
Proseminar in current research methodology and musicological thought. Topics discussed include techniques for the examination of primary source materials; principles of musical text criticism and editing; and current issues in musicological thought.

The Notation and Editing of Early Music G71.2102 Boorman, Roesner. 4 points.
The paleography of medieval, Renaissance, and early baroque music. Study of the notation and transmission of music from a period such as the 12th through the early 14th centuries, or the 15th, 16th, and 17th centuries.

Gregorian Chant G71.2105 Roesner. 4 points.
The genesis of the plainchant repertory, its styles and forms; the roles of Rome and the Franks; the beginnings of notation and of modal theory.

Parisian Organum G71.2106 Roesner. 4 points.
Studies in the notation, transmission, and stylistic development of the music of Leonin and Perotin, from organum to clausula to the nascent motet.

The Roman de Fauvel and Its Background G71.2107 Roesner. 4 points.
Problems of chronology, style, and notation in the transition from the ars antiqua to the ars nova; authenticity problems in Philippe de Vitry.

Readings in Medieval Musical Thought G71.2108 Roesner. 4 points.
Documents of musical theory and aesthetics from Boethius to Jehan des Murs.

Machaut and His Contemporaries G71.2150 Boorman. 4 points.
Issues of changing musical style; text and music; musical dissemination.

The Renaissance Chanson G71.2109 Boorman. 4 points.
The chanson in France and northern Italy between 1450 and 1530; study of repertoire, selected sources, and the pattern of transmission that they exemplify.

Sacred Music of the 15th Century G71.2110 Boorman. 4 points.
Problems of authenticity and chronology; transmission and performance practice; and the emergence of the cyclic mass.

Josquin des Prez G71.2111 Boorman. 4 points.
Problems of authenticity, chronology, structure, and style in selected groups of works by Josquin.

Problems in Early Printed Music G71.2152 Boorman. 4 points.
Topics in music as circulated in print between 1500 and 1700; issues of taste and editing; technical problems; patterns of publishing and dissemination.

The Italian Madrigal G71.2112 Boorman. 4 points.
Secular music in Italy, 1525 to 1600. Problems in style and chronology; the editing of one or more collections of the period.

English Music of the Late Renaissance G71.2151 Boorman. 4 points.
Style and taste; foreign influences; performance practice.

Monteverdi G71.2114. 4 points.
The works of Monteverdi, studied in three ways: for their individual qualities as musical statements; for their reflection of the turn of musical styles from Renaissance to baroque; and, in a still larger context, for their participation in the turn of style in European thought that took place during the years of Monteverdis activity.

The Italian Cantata of the 17th Century G71.2115. 4 points.
Sources, principal composers from Luigi Rossi to Stradella, performance practice, and style. Some consideration of solo song in Italy before the emergence of the cantata, and of solo vocal forms found elsewhere in Europe.

Basso Continuo G71.2169 Boorman. 4 points.
17th- and 18th-century continuo keyboard realization: style for different repertories, contemporary theoretical rules and demonstrations, surviving manuscript examples; decline of the continuo in the early 19th century; and partimento. Involves practical exercises and performance at the harpsichord as well as study of contemporary documents.

French Baroque Music G71.2158. 4 points.
Issues of notation and performance practice; style and stylistic change; the relation between text and music.

J. S. Bach G71.2116. 4 points.
Problems of sources, style, and chronology in a genre such as the instrumental music or the cantatas of J. S. Bach.

Background of the Classical Symphony G71.2117 4 points.
The development of symphonic style from about 1720 to 1800, with emphasis on composers other than Haydn and Mozart.

Background of the Classical Concerto G71.2118 4 points.
The classic concerto viewed as a morphological transition from baroque to high classic. Emphasis is on style-analytical aspects such as the double exposition, thematic differentiation of the soloist, and the problem of interior tuttis.

Operas of Gluck and Mozart G71.2119 Chusid. 4 points.
Glucks Italian and French versions of Orfeo and Alceste, his ballet Don Juan, and Mozarts Idomeneo, Don Giovanni, and La Clemenza di Tito. Topics for individual papers may be drawn from the entire range of late 18th-century opera.

Haydn and Mozart G71.2153 Chusid. 4 points.
Issues of style and stylistic evolution. A specific repertory is chosen as the focus of each course.

Harmonic Practice, 1750-1850 G71.2122 Chusid. 4 points.
Using the music of a single composer as a point of reference, discussions are devoted to defining tonality and establishing a common terminology to describe modulation, harmonic progression, and dissonance treatment.

Beethoven G71.2120 Chusid. 4 points.
Analytical and source-critical problems in Beethovens large instrumental works. Topics include style and compositional evolution.

Schubert G71.2121 Chusid. 4 points.
Analytical and source-critical studies of selected instrumental and vocal compositions by Schubert, such as the quartets, the quintet, the Unfinished Symphony, or Die Winterreise. Analysis of sketches, multiple drafts, and other sources.

Early Romantic Opera G71.2123. 4 points.
Inquiry into the formative years of romantic opera, seeking to identify the characteristics of romantic music as well as the mechanisms of stylistic change found in the musical theatre. Deals with key works of Cherubini, Rossini, Weber, Marschner, Bellini, and especially Meyerbeer.

Piano Music and Song in 19th-Century Germany G71.2124 Bailey. 4 points.
The post-Beethoven generations and the romantic movement: poetic, visual, and musical symbolism in the songs of Weber, Schubert, and Schumann. "Public" versus "private" styles in the solo piano literature, from Beethoven through Mendelssohn and Schumann. The "Paris School" of piano performance and composition: Chopin and Liszt.

Verdis Compositional Process G71.2125 Chusid. 4 points.
Different aspects of Verdis manner of approaching and writing operas. Topics include the scenarios, librettos, musical sketches, skeleton scores, and revisions. Operatic conventions and censorship in the mid- and late-19th century, as well as Verdis thoughts on performance, are treated as they relate to the compositional process.

Wagner G71.2126 Bailey. 4 points.
Studies in the inception, theory, and musical design of Wagners operas.

Post-Wagnerian Symphonists G71.2143 Bailey. 4 points.

Autographs and Revisions G71.2160 Bailey. 4 points.
Introduction to the study of 19th-century composers autographs and revisions. Techniques of conservation; problems of connoisseurship and attribution. Types of autographs, their relation to initial publications, and the musical questions they raise or practical problems they may help to solve. Problems of revision and recomposition.

The Dissolution of Tonality: Music in 20th-Century Vienna G71.2154 Bailey, Karchin. 4 points.
Study of the transition from tonality to atonality through the works of four composers: Richard Strauss, Mahler, Schoenberg, and Berg; major works of each composer and writings on their music by their contemporaries and modern theorists.

Music Since 1945 G71.2132 Boorman, Hoffman, Karchin. 4 points.
Developments in the United States and Europe since 1945; close examination of the writings of composers and theorists as well as of the music itself. Topics include post-Webern aesthetics, serialism, electronic music, musique concrte, aleatoric tendencies, and stochastic music. May be presented as a concentrated study of a small group of composers.

American Music from Colonial Times G71.2133. 4 points.
The history and historiography of music and musical activity in the United States from colonial times. The development of an American style and the way in which music has defined American culture. Topics include metrical psalmody, singing schools, 18th-century tunesmiths, musical theatre, music publishing and manufacture, Gottschalk, the New England composers, jazz, and contemporary American opera.

Tonal Analysis G71.2130 Karchin. 4 points.
Consideration of the major analytic techniques of Western music and their application to a broad range of selected masterworks of the tonal literature. Readings in analysis from Dunsby, Schoenberg, Schenker, Meyer, Reti, Epstein, Lerdahl, and others.

Studies in Music Theory G71.2134 Hoffman, Karchin. 4 points.
Study of comparative methodologies and exploration of the endeavor of music analysis itself. The course will focus on selected works from various repertoires as case studies. Essays to be studied include significant current work by musical and critical theorists.

Schenkerian Analysis G71.2164. 4 points.
Study of the principles and techniques of Heinrich Schenkers method of tonal analysis, with reference to sketches and studies of tonal masterworks prepared by Schenker and others. Students develop their own analytical skills through weekly assignments of selected music from the 17th to 19th centuries.

Analysis of 20th-Century Music G71.2163 Hoffman, Karchin. 4 points.
In-depth discussion of selected 20th-century works and composers. Covers established masterpieces from the early part of the century by Schoenberg, Bartk, and Stravinsky to the most recent music of Elliott Carter, John Cage, Peter Maxwell Davies, and others.

Techniques of Music Composition G71.2162 May be repeated for credit. Hoffman, Karchin. 4 points.
Examination of techniques of music composition as they are applied to the creation of musical works. Compositional practice is studied and evaluated both from the standpoint of craft and aesthetics. Students create compositions, and works are performed in public concerts.

Computer Music Composition G71.2165 Hoffman. 4 points.
Rotating focus in response to current graduate student needs and areas of expertise. Course emphases have ranged from technical to aesthetic focuses.
Programming and dsp languages taught include csound and MSP.

Code-based and graphic-user-interface languages for digital signal processing and event processing. Filtering, analysis/resynthesis, digital sound editing, granular synthesis. Course involves study of computer music repertoire of past 20 years.

Seminar in American Music G71.2155. 4 points.

Historiography G71.2137 4 points.
Reviews various ways of giving an account of music, such as description, analysis, explanation, and metaphor, and relates them to the various purposes they serve, among them history and criticism. Includes readings that deal with such topics from fields other than music.

Music and Time G71.2161 4 points.
An interdisciplinary exercise in applying ideas from philosophy and psychology to musical problems. Immanuel Kant, William James, Henri Bergson, A. N. Whitehead, and Gaston Bachelard are some of the writers whose works are discussed.

Words and Music: Forms of Accommodation G71.2113 4 points.
Discussion of sound and voice, and investigation of the separate characteristics of speech and music and of their convergence in song, with a consideration of verse as it illustrates an intermediate position. The transformations, amounting often to deformations, to which music subjects its texts; the contrasting progressive and circular formal tendencies of verbal and musical art.

Music and Ritual G71.2147. Kapchan. 4 points.
Looks at the function of music in religious ritual, cosmology, spirituality, cultural philosophy, temporality, faith, mythology, political liturgy, and morality. Addresses the role of music in achieving altered states (such as dreaming, meditation, possession, or trance) in ritual encounters, healing, divination, and magic. Course materials view not just how music operates within specific ritualistic events, but how it relates to culturally defined perceptions of the ordering of the universe.

Ethnomusicology: History and Theory G71.2136 Ochoa. 4 points.
A broad intellectual history of the discipline, surveying landmark studies and important figures. Examines major paradigms, issues, and frameworks in ethnomusicology. The relation of ethnomusicology to others disciplines, and the relations of knowledge and power that have produced them. Serves as an introduction to the field of ethnomusicology.

Musical Ethnography G71.2166 Ochoa, Stanyek. 4 points.
Emphasizing the urban field site, this course provides pragmatic instruction in field and laboratory research and analytical methods in ethnomusicology. Topics include research design, fieldwork, participant observation, field notes, interviews and oral histories, survey instruments, textual analysis, audiovisual methods, archiving, urban ethnomusicology, applied ethnomusicology, performance as methodology and epistemology, and the ethics and politics of cultural representation. Students conceive, design, and carry out a limited research project over the course of the semester.

Music, Politics, and Identity G71.2167 . 4 points.
The patronage and censorship of music. Considers the politics of musical culture, music as a marker of sociopolitical change, and music as an agent of political transformation. Utilizes case studies from various parts of the world, periods of history, and genres of music, to demonstrate the complexity of these relationships.

Musical Sound, Transcription, and Analysis G71.2168. Ochoa, Stanyek. 4 points.
Examines approaches to understanding the role of sound and music in various musical traditions. Explores aural analysis, systems for graphically representing sound and music, and modes of analysis of transcribed materials. Considers the limits of perception, the complexity of acoustic phenomena, and the problems of visual and linguistic representations of sonic material. Students learn and practice both "hand" and computer-assisted transcription methods. Students are expected to produce original analyses drawing on multiple, relevant transcription systems.

Music of the Caribbean G71.2157 4 points.
Covers the history, musical structure, and the social, cultural, and political context of important genres of Caribbean music.

Special Studies G71.2198, 2199 May be repeated for credit with a changed topic. 4 points per term.
Recent special studies:
Xenakis (Fall 2004) Hoffman
Twentieth-century Microtonal Music (Spring 2003) Hoffman
Feminist Music Theory/Gender Studies courses (2004-05) Cusick
Studies in Popular Music (spring 04) Moreno

Reading and Research G71.3119, 3120 May be repeated, but not more than once per year unless all course requirements have been met. 4 points per term.

Independent study with a faculty supervisor. Must have the approval of the director of graduate studies and the proposed supervisor.