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MHST 117: Introduction to Jazz History
3.00 Credits
The New England Conservatory of Music
Traces the evolution of the musical language that came to be called "jazz," withattention to major styles and artists. Emphasis will be placed on aural analysis of jazz recordings and what to listen for in a jazz performance, including a study of rhythm section instruments and their roles in the various styles and the way jazz solos are constructed. Requirements include a research paper, midterm and final exams, and periodic short papers on discussion questions based on reading and listening assignments. Prerequisite: MHST 111. Not available to Jazz majors. (2 credits) Schaphorst
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MHST 251: Jazz Improvisation:1917-1955
3.00 Credits
The New England Conservatory of Music
Explores the development of the art of jazz improvisation by soloists and ensembles beginning with the first recordings of jazz improvisation in 1917 and continuing through the swing era, bebop, and early modern jazz in the 1950's. Considers the social, cultural, and economic context of jazz improvisation. Studies the work of Sidney Bechet, Louis Armstrong, Earl Hines, Coleman Hawkins, Lester Young, Art Tatum, Dizzy Gillespie, Thelonious Monk, Charlie Parker, and Miles Davis, and changing styles of ensemble improvisation and rhythm section accompaniment. Prerequisite: MHST 111. (MHST 117 or instructor's consent required for non-Jazz/Contemporary Improvisation majors.) (2 credits) Faculty
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MHST 252: Form and Freedom in Jazz,1956-74
3.00 Credits
The New England Conservatory of Music
Explores the new forms, sounds, and procedures in jazz improvisation and composition from 1956 to 1974 through study of the work of Miles Davis, Gil Evans, Sun Ra, Charles Mingus, Ornette Coleman, John Coltrane, Cecil Taylor, Bill Evans, Wayne Shorter, and others. Considers the social, cultural, and economic context of new developments in jazz and their receptions and meanings. Prerequisite: MHST 111 (MHST 117 or instructor's consent required for non-jazz/CI majors) (2 credits) Faculty
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MHST 334: Defining Greatness,Three Case Studies:Machaut,Josquin,and Byrd
3.00 Credits
The New England Conservatory of Music
Studies music of composers from different historical periods: Guillaume de Machaut (14th century), Josquin des Prez (15th and 16th centuries), and William Byrd (16th century). Prerequisite: MHST 111. (2 credits) Hallmark
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MHST 334 - Defining Greatness,Three Case Studies:Machaut,Josquin,and Byrd
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MHST 341: The Road to the Open:Musical Developments in the First Half of the 20th Century
3.00 Credits
The New England Conservatory of Music
Considers the different paths that composers took in overcoming the musical language of Romanticism. We will explore the gradual abandoning of tonality and thematicism in the expressionist works of Schoenberg, Strauss, Berg, and Webern; the development of 12-tone techniques; the discovery of new expressive means in the music of Debussy, Skryabin, and Messiaen; as well as the turn toward simplicity and the various guises of neoclassicism in the works of Satie, Les Six, Stravinsky, Bartók, and Hindemith. There will be listening quizzes, short essays and a final project (consisting of a term paper and a presentation) on the topic of the student's choosing. Prerequisite: MHST 111. (2 credits) Markovic'-Stokes
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MHST 352: Women and Music
3.00 Credits
The New England Conservatory of Music
Explores issues surrounding women and music, and considers a number of women through the ages, including Hildegard von Bingen, Comtessa de Dia, Tarquinia Molza, Laura Peverara, Francesca Caccini, Barbara Strozzi, Elisabeth-Claude Jacquet de la Guerre, Fanny Mendelssohn, Clara Schumann, Ethel Smyth, Amy Beach, Ruth Crawford Seeger, and Bessie Smith. Prerequisite: MHST 111. (2 credits) Hallmark
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MHST 355: Performer and Composer at the Keyboard,1700-1925
3.00 Credits
The New England Conservatory of Music
Examines the shifting relationship between composer and performer in western music, as reflected in keyboard repertoire. Rather than customary emphasis on repertoire controlled by composers through notated scores, focus in this class will be on less well-known tradition of performer-controlled composition such as dance music, preludes, fantasias, variations, cadenzas, transcriptions, paraphrases, etc. Class materials include historic recordings, contemporary performance manuals and accounts, and recent scholarly literature. Students with relevant repertoire will perform pieces in class, along with occasional guests. Independent research projects will allow students to develop interests in particular forms, artists or techniques. Prerequisite: MHST 111. (2 credits) Labaree
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MHST 355 - Performer and Composer at the Keyboard,1700-1925
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MHST 361: Music in Vienna,1760-1815
3.00 Credits
The New England Conservatory of Music
Surveys developments in vocal and instrumental music by composers active in Vienna during a half century that witnessed fundamental changes in the nature of music and the role of composers in European culture. Through masterworks of Gluck, Haydn, Mozart, Beethoven, and music of their contemporaries, the changes in style and taste that lead to the notion of music as an autonomous expressive art will be examined. Course requirements include an independent research project, midterm, and final exam. Prerequisite: MHST 111. (2 credits) Smith
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MHST 366: The Symphonies of Beethoven
3.00 Credits
The New England Conservatory of Music
A study of Beethoven's nine symphonies focusing on various issues, including: sources and editions, analysis and interpretation, social-historical context, and performance practice. Prerequisite: MHST 111. (2 credits) Smith
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MHST 367: The Operas of Mozart
3.00 Credits
The New England Conservatory of Music
Explores the libretto, musical characterization, vocal discourse, tonal relations, instrumental form and function, current and past staging, interpretation, and comparison of Mozart operas. Provides a basis for criticism of Mozart's operas as they relate to each other as well as their influence on later works. Prerequisite: MHST 111. (2 credits) Greenwald
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