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Course Criteria
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3.00 Credits
Dimitri Gutas. For description see under Near Eastern Languages & Civilizations.
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3.00 Credits
Hala Khamis Nassar. For description see under Near Eastern Languages & Civilizations.
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3.00 Credits
Consult the director of undergraduate studies. htba (0) The senior essay is a research paper of at least thirty pages (sixty pages for a two-term essay) prepared under the supervision of a faculty member. The senior essay is prepared in accordance with the following schedule: By the end of the second week of classes of the first term, students meet with advisers to discuss the topic, approach, sources, and bibliography of the essay. Note: students planning to write the essay in the second term ( mmes 499b) should also meet with their prospective advisers by this deadline. By the end of the fourth week of classes a prospectus with outline, including an annotated bibliography of materials in one or more modern Middle Eastern languages and of secondary sources, is signed by the adviser and submitted to the director of undergraduate studies. The prospectus should indicate the formal title, scope, and focus of the essay, as well as the proposed research method, including detailed indications of the nature and extent of materials in a modern Middle Eastern language that will be used. At the end of the tenth week of classes (end of February for yearlong essays), a rough draft of the complete essay is submitted to the adviser. 4.Two copies of the finished paper must be submitted to the director ofundergraduate studies, 8 Prospect Pl., room 105, by 4 p.m. on the last day of reading period. Failure to comply with the deadline will be penalized by a lowergrade. Senior essays will be graded by faculty associated with the Modern Md-dle East Studies program unless, for exceptional reasons, different arrangementsfor another reader are made in advance with the director of undergraduate studies and the faculty adviser.
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3.00 Credits
Craig Wright. mw11.35-12.50 WR,Hu (34) Fr sem Manifestations of genius explored in the works of selected creators: Hildegard von Bingen, Brunelleschi, Leonardo da Vinci, Shakespeare, Mozart, Picasso, and Stravinsky. A rudimentary introduction to medieval chant; Renaissance art, architecture, and drama; music of the classical period; and avant-garde painting and dance of the twentieth century. Introductory studies in cognitive psychology, focusing on the phenomenon of the prodigy and the nature of exceptional artistic creativity. Historical readings reveal the "what" of genius, while psychological studies may shed light on the "why" and the "how." Recommended preparation: ability to read musical notation. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.
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3.00 Credits
Brian Kane. mw1-2.15 WR,Hu (0) Fr sem The topic of noise as an introduction to the problems of sound and signification. The surplus of information in white noise, and the meaning perceived when noise is filtered. Contexts in which noise has become filtered for political and aesthetic ends. Topics include sound poetry, literature, electronic music, noise pollution, and consumption. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.
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3.00 Credits
Mchael Veal. mw11.35-12.50 Hu (0) Fr sem An introduction to selected music cultures of the world, including those of South Asia (Hindustani and Carnatic classical music), Indonesia (Balinese, Javanese, and Sundanese gamelan), West Africa (traditional musics of Ghana, Mali, and Guinea), and the Caribbean (Cuba and Jamaica). Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar¦Program.
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3.00 Credits
Ian Quinn. tth 2.30-3.45 Hu (0) Fr sem The question of whether the human capacity for music is an evolutionary adaptation or a form of nonadaptive pleasure-seeking built on faculties adapted for other purposes. Evaluation of evidence and arguments pertaining to this question from evolutionary psychology; the relationship between the scientific study of the origins of music and musical aesthetics. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.
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3.00 Credits
Seth Brodsky. tth1-2.15 WR,Hu Meets RP (0) Fr sem Melancholy and its influence on Western music from the Middle Ages through the present day. Melancholy and artistic genius; melancholy, idleness, and immobility; and melancholy as sadness and fear "without cause." How music functions as melancholy's private symptom (the composer as melancholic, music as melancholy's product, expression, or depiction); melancholy's public agent (melancholy as trend, style, public persona, cultural capital); and melancholy's cure or coping mechanism (concepts of musical genius and the restorative powers of the creative act). Enrollment limited to fres hmen. Preregistr ation required; see under Freshman Seminar Prog
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3.00 Credits
Brian Kane and staff. 3htba For sections see www.yale.edu/courseinfo Hu (50) The fundamentals of musical langua ge (notation, rhythm, scales, keys, melodies, and chords), including writing, analysis, singing, and dictation. Intended for students with no music reading ability.
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3.00 Credits
Craig Wright. tth10.30-11.20, 1 htba Hu (23) Development of aural skills that lead to an understanding of Western music. The musical novice is introduced to the ways in which music is put together and is taught how to listen to a wide variety of musical styles, from Bach and Mozart, to Gregorian chant, to the blues.
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