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Course Criteria
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2.00 Credits
An overview of the musical and artistic developments in the eastern European and Russian cultural climate of the 20th century. Issues of nationalism, exoticism, the relationship of music and ideology, music and religion, music and society, music and other artistic movements (symbolism, futurism, the avant-garde, social realism) and music and other arts will be discussed. Musical developments in the works of Janácek, Stravinsky, Bartók, Prokofiev, Shostakovich, Lutoslawski, Ligeti,Penderecki, Gubaidulina, Schnittke, Gorecki, P?rt and others will be studied. The grade will be based on student presentations, short response papers and a final research project. (2 credits) Markovic- Stokes
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2.00 Credits
The music of Olivier Messiaen is often described as "highly individual." Yet,Messiaen's musical style is rooted in the mainstream western European musical tradition. This course explores the truly unique aspects of Messiaen's musical style and simultaneously reveals the influence of composer's such as Fauré, Debussy,Dupré, Stravinsky, Skryabin and Webern. Areas of study include modality, rhythmic innovation, theology, ornithology, and synesthesia. Course requirements include weekly listening and reading assignments, a research paper and an oral report. (2 credits) Handel
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2.00 Credits
Study of the history, culture and musical repertoire of a selected region of the world, together with relevant ethnomusicological studies. Performance projects, transcriptions, analytical papers, and research projects. Topics rotate. (2 credits) Row, Labaree
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2.00 Credits
Investigates various topics concerning the nature and practice of improvisation in Western musical traditions - classical, jazz, folk, and popular. Topics rotate to include courses such as: "The Music of Jazz Pianist Bill Evans" and "Musical Worvs. Musical Performance." Topic for the term will be posted in the schedule of courses during registration. Course requirements include a research project and written report as well as brief written or oral responses to reading and listening assignments. (2 credits) Smith, Labaree, Schaphorst
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2.00 Credits
Explores a number of topics of recent musicological interest involving the music, lives, and cultural context of Fanny Mendelssohn, Felix Mendelssohn, Robert Schumann, Clara Schumann, and Johannes Brahms. Particular attention will be paid to the intersection of their music and lives, and to issues faced by Fanny and Clara in their music making. Issues of compositional process, criticism and analysis, biography, gender and sexuality, historical reception, and 19th-century musical culture will be considered. An extended individual research project will give each student an opportunity to explore a question or issue of personal professional interest. (2 credits) Hallmark
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2.00 Credits
An exploration of women's place in music history. Surveys current research, and examines specific topics and issues, including the role of religion, gender, and intertextuality in the medieval motet, the place of the courtesan as musician in Western and other cultures, the representation of women in opera, women performers' relationship to jazz and rock, and such women composers and performers as Fanny Mendelssohn, Clara Schumann, Ruth Crawford Seeger, Thea Musgrave, and Evelyn Glenni. (2 credits) Hallmark
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2.00 Credits
This course surveys the history of opera from the 17th century to the present. Its objective is to familiarize students with chronology, terminology, forms, and repertoire pertinent to the development of opera as a musical and dramatic genre. Since the emphasis of the course is one of breadth rather than detail, students will be expected to listen to and read a significant amount of material on their own, including original documents, while individual classes will be devoted to representative examples of each stage of operatic evolution. In addition to reading and listening, there will be an independent term project that examines original literary sources, musical structure, current editions, and bibliography. (2 credits) Greenwald MHST 568 The Music of Gustav Mahler An in-depth exploration of Gustav Mahler's music, life and artistic environment centering on his symphonies. We will study several symphonies as well as Das Lied von der Erde from the perspective of manuscript sources, biographical, philosophical and programmatic background, interpretation and reception. A broader overview of the artistic climate of fin-de-siecle Vienna, its dominant artistic circles and trends, as well as social and political forces which influenced Mahler's career and life will provide a context against which we will explore the artistic shifts in Mahler's musical style after the turn-of the century. The course will also cover issues of differing analytical and interpretative approaches to Mahler's works such as semiotic, post-structuralist, hermeneutic, narrative and feminist methodologies. (2 credits) Markovic' -Stokes
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2.00 Credits
An exploration of the shift from late romanticism to modernism in the musical and cultural climate of Vienna 1870-1914. Works by Brahms, Mahler, Wolf, Schoenberg, Berg, and Webern as well as popular music by the Strauss family, Lehar and others will be examined in the context of contemporaneous artistic trends (Art Nouveau and Secession, Expressionism, Modernism). There will be reading and listening assignments, short essays and a final research project (consisting of a presentation and a paper). (2 credits) Markovic'-Stokes MHST 570 Topics in Renaissance Music Musical style of the 15th and 16th centuries is the primary focus of this seminar, with a specific topic chosen each time. Previous topics have included the music of Josquin des Pres; the Renaissance chanson; the 16th-century madrigal. Seminar topics include issues of performance practice, theoretical studies, notation, historical context. Individual term projects and presentations. (2 credits) Hallmark
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2.00 Credits
This course examines commonly held notions about the nature of music and musical performance in Western culture. What is a musical "work"? What distinguishes awork from a performance? Where does authority for a performance reside? With the composer? In the score? With the performer? Is the result of a given performance a "work"? An aesthetic experience? A psycho-motor accomplishment? These andsimilar questions will be explored through readings from a range of critics and philosophers, and from consideration of music from various styles and periods in Western history, including the jazz. Requirements: weekly reading and listening assignments; a written critique of one of the assigned readings; an independent research project culminating in a written and an oral report. (2 credits) Smith
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0.00 Credits
Two-year teaching assignment as an assistant in an undergraduate music history course. (0 credit) Chair
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