Generally, students are awarded one credit for each hour of class time. Exceptions are made for studio, ensemble, and a small number of classes.
For complete information as to courses offered in the current year, students should consult the schedule of course offerings available each semester in the Registrar’s Office. Courses numbered 100 through 499 are undergraduate level; courses numbered 500 through 999 are graduate level. Course numbers preceded by a “»” are typically offered each academic year. Course numbers followed by a “T” are taught to mixed classes of undergraduates and graduates. Undergraduate students may register for graduate-level courses with the instructor’s permission. Courses followed by a “*” are repeatable for credit. Courses followed by a “**” are repeatable for credit if the topic has changed (permission from Academic Advisor required).

»MHST 111 – Introduction to Musical Styles
Introduces students to a wide variety of musical styles, chronologically and geographically, through intense work on a few pieces in a seminar format. Performance and repertory based projects; oral and written exercises; library project. (2 credits, GE) Faculty MHST 111 is a prerequisite for all undergraduate Music History electives.

»MHST 117 – Introduction to Jazz History
Traces the evolution of the musical language that came to be called “jazz,” with attention 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, GE) Levy


»MHST 221 – Survey of Music in Western Europe, c850-1750
The recorded history of music in Christianized Europe begins with the notation of sacred chant in the 9th century. The development of that repertory over the next several centuries laid the foundations on which the composition of music, sacred and secular, was based for generations. We will trace the changes in musical style that occurred over time, and consider the role that the principal institutions of musical patronage – Church, Court, and Theater – played in fostering those changes. Composers to be studied include Perotin, Machaut, Josquin, Palestrina, Monteverdi, Lully, Corelli, Bach, and Handel. There will be regular quizzes, a mid-term and final exam, and one written critique of an assigned reading. (3 credits, GE) Handel

»MHST 222 – Survey of Music in Western Europe, 1720-present

Many of the notions we hold today regarding music and its role in society are rooted in ideas that emerged in the Enlightenment of the 18th century. We will begin with a close study of those ideas and the music it fostered, then follow the rise of music to its preeminent role among the arts in the 19th century. Finally, we will explore the alternative paths composers pursued following the rupture with tonality and with conventional views on music at the start of the 20th century. Works from Bach to Babbitt will be included in our survey. There will be regular quizzes, a mid-term and final exam, and one written critique of an assigned reading. (3 credits, GE) Handel

MHST 251 – Jazz Improvisation: 1917-1955

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 1950s. 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. MHST 117 or instructor’s consent required for non-Jazz/CI majors. (2 credits, GE) Levy

MHST 252 – Form and Freedom in Jazz, 1956-74
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. MHST 117 or instructor’s consent required for non-jazz/CI majors. (2 credits, GE) Schaphorst


MHST 256 – American Musical Theater
This course offers a survey of the history and practice of the American musical theatre – a.k.a. the “Broadway Musical” – from its roots in 19th century operetta and variety-style popular entertainments, through early revues and musical comedies with links to Tin Pan Alley and Hollywood, to the golden age of the “book musical,” and beyond. Musicodramatic conventions and progressions are explored, including traditional and non-traditional narrative devices, operatic hybridity, dance, and aspects of performativity, along with current scholarship on various cultural histories of the genre. (2 credits, GE) Alfieri


MHST 328 – J.S. Bach and Sons
In 1735 Johann Sebastian Bach attempted to establish his musical lineage by assembling a family tree, which reaches back to the 16th century. And for a hundred years after his death, Bach figured prominently in the musical landscape of central Europe. Despite this long history, Johann Sebastian and four of his sons stand out as the most significant performers and composers of the family. This course will trace the biographies and select works of Johann Sebastian, Carl Philipp Emanuel, Wilhelm Friedemann, Johann Christoph Friedrich and Johann Christian. Our pursuit of the Bachs will take us through some of Europe’s most important cities, where we will meet kings and clerics, performers, patrons, and publishers; we will listen to cantatas, fugues, concertos, sonatas, fantasias, operas, and symphonies. The course will situate the music of the Bachs in the context of musical practice in the 18th century, and it will address the perceived gap between the high Baroque and the Classical eras. (2 credits, GE) Cron


MHST 332 – Bach and Handel
Johann Sebastian Bach (1685-1750) and George Frideric Handel (1685-1759) are towering figures in the history of Western music. Although exact contemporaries born in cities only some 70 miles apart, the two composers followed radically different career paths. In the course of examining a broad selection of compositions by both men we will consider not only the rhetorical and structural features of their respective musical “dialects”, but also how the various social, religious and political environments in which they worked affected the nature and scope of their musical activities. (2 credits, GE) Gallagher


MHST 334 – Defining Greatness: The Music of Josquin
Josquin (ca. 1450-1521) has long been considered the most important composer of the early Renaissance, a period that saw enormous changes in European culture, not least the first appearance of polyphonic music in print. In recent years Josquin’s biography has undergone massive revision, the ramifications of which have yet to be sorted through. In this course we will study Josquin’s music in detail, as well as the impact his reputation has had on the broader understanding of European music in the decades around 1500, and whether a better knowledge of his contemporaries’ works might alter our view of him as the leading composer of his time. Topics to be addressed include: the major sacred and secular genres of polyphony, Josquin’s engagement with earlier composers’ works, methods of comparative analysis, details of the notational system used in the 15th and 16th centuries, differences between manuscripts and prints as musical sources, and an assessment of the new critical edition of his works. Course requirements include a transcription assignment, an analytical essay, and a final exam. (2 credits, GE) Gallagher

MHST 341 – The Road to the Open: Musical Developments in the First Half of the 20th Century
This course will consider the different paths that composers took in overcoming the musical language of Romanticism. We will explore the gradual abandonment 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, Bartok, 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. (2 credits, GE) Marković


»MHST 352 – Women and 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. (2 credits, GE) Hallmark


MHST 355 – Improvisation: Performer and Composer at the Keyboard 
Examines the role of improvisation in western music from the 18th to the 20th centuries, as reflected in the shifting relationship between composer and performer in keyboard music. Rather than the 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. (2 credits, GE) Labaree

MHST 363 – Dance: From Ritual to Concert Stage
Dance has always been a part of human life – a part of daily rituals, both spiritual and social, as well as a source of entertainment. At the same time, dance has seeped into the imagination of composers who have included their elements into works composed for the concert stage. What happens to a dance when it travels the path from a physical, bodily activity with a particular function to a work meant to be listened to in silence? The exploration of this question will involve several “dance case studies”, where we will look at the transformation of a particular dance genre – Waltz, Mazurka, Polonaise, Czardas – through their various phases. A particular focus will be on 19th century performance appropriations with national schools on the one side, and various concert genres on the other. Finally we will see how 20th century composers use folk dances and social dances as a form of social criticism and commentary. The course on the one hand draws on an ethnomusicological approach, with inquiry into the original context and function of a particular dance, and on the other, examines 19th century performance practices of works based on those dances. Some of works and composers covered will be: Viennese waltzes of the Strauss family, Ravel’s La Valse, Chopin’s mazurkas and polonaises, Schubert’s and Brahms’s waltz and dance movements, symphonic movements by Mahler and Shostakovich, Richard Strauss’s operas (Elektra and Rosenkavalier), Schnittke’s works, as well as Bartok’s and Ligeti’s usage of folk dance materials. Student projects will range from written assignments (response papers/essays), score and performance analyses, to field and archival research. (2 credits, GE) Markovic


MHST 367 – The Operas of Mozart
This course will explore the idea of “greatness” and “innovation” through detailed study of Mozart’s librettos, musical characterization, vocal discourse, orchestral writing, and stage directions. Special emphasis will be placed on Mozart’s early, lesser known operas, as well as his mature works. The last five weeks of the class will be devoted to a close look at Don Giovanni. There will be weekly quizzes and written assignments. (2 credits, GE) Greenwald

MHST 368 – The Music Dramas of Richard Wagner
This course surveys Wagner’s music dramas with special emphasis on subject matter, libretto construction, musical form, and stagecraft. We will talk about the ways in which Wagner tried to uproot the operatic conventions of his day, his “failures,” and his most famous successes. Students will read selections from Wagner’s own writings and learn about his theories of the Gesamtkunstwerk (total art work) and the”Artwork of the Future.” There will be frequent quizzes, and oral presentation, and a written project. (2 credits, GE) Greenwald


MHST 369 – The Symphony after Beethoven
Examines the genre of the symphony as it evolved in response to Beethoven’s symphonic output. Attention given first to the Beethovenian symphonic ideal and its cultural context then to symphonies by Schubert, Berlioz, Mendelssohn, Schumann, Liszt, Brahms, Franck, Bruckner, Mahler, and others. Grade will be based on listening quizzes, short response papers on specific works and a final project on a topic to be chosen by the student. (2 credits, GE) Marković


MHST 371 – The Golden Age of Italian Opera: Rossini to Puccini
This course explores the conventions of 19th century Italian opera through the works of Rossini, Bellini, Donizetti, Verdi, and Puccini. Changes in the libretto, musical structure, and role of singers are studied through developments in individual composer’s styles. We will talk about the differences between an opera libretto and a play, musical forms, the commercial aspects of opera composition and production, singers, and staging. There will be frequent quizzes, an oral presentation, and a written project. (2 credits, GE) Greenwald

MHST 373 – Dies irae: A History of the Requiem
This course traces the history of the Requiem from the Middle Ages to the 20th century. Requiems to be studied include Gregorian Chant, Ockeghem, Schütz, Mozart, Berlioz, Brahms, Verdi, Fauré, Duruflé and Britten. Emphasis will be placed on the changing role of the church and the concepts of death and afterlife as illustrated in the music and text. (2 credits, GE) Handel


MHST 375 – La Jeune France: Music in France from 1870-1950
Traces developments in French music from the renaissance of the 1870s to the serial revolution of the 1950s. Representative composers include Fauré, Debussy, Satie, Ravel, Poulenc, Messiaen, and Boulez. The foundation of the Société Nationale de Musique, the Paris Universal Exhibitions, WWI and WWII are studied as catalysts for aesthetic developments in French culture. (2 credits, GE) Handel


MHST 376 – Post-Romantic Music: Bruckner, Mahler, Strauss
This course will focus on the musical language, style and genres of postromantic music. In the center of attention will be works by Anton Bruckner, Gustav Mahler and Richard Strauss, but contextual explorations of selected pieces by their precedents (primarily Richard Wagner), contemporaries (Hugo Wolf) and antecedents (Arnold Schoenberg and Alban Berg) will be studied as well. The method of inquiry will be the analytical and interpretative study of selected works by Bruckner, Mahler and Strauss, with consideration of issues such as the expansion of tonal language, redefinition of traditional forms and genres, the relationship between music and text, music and program, music and religion and music and philosophy. (2 credits, GE) Marković

MHST 377 – The World of Gustav Mahler
This is an in-depth exploration of Gustav Mahler’s music, life and artistic environment centering on his symphonies and lieder. We will study the symbiotic relationship between these two genres in Mahler’s oeuvre, focusing on selected symphonies and their lieder companions. These works will be examined from the perspective of manuscript sources, biographical, philosophical and programmatic background, interpretation and reception. A broader overview of the artistic climate of fin-de-siècle 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 within which we will explore the artistic shifts in Mahler’s musical style after the turn of the century. In a parallel manner, an attempt will be made to reflect on Mahler from the perspective of the 21st century: on the heterogeneity of his style and the broad spectrum of expression and references his music projects – elements which have paved paths taken by musicians, riters, and filmmakers as diverse as Stravinsky, Shostakovich, Mann, Britten, Visconti, Berio, Schnittke, Ken Russel and Uri Caine. (2 credits, GE) Marković


MHST 381 – Fear, Death, and Music
This course is about artistic and musical portrayals of fear and death from the Middle Ages to the 20th century. Types of works to be studied include the Funeral March, dances, songs (art songs, war songs, battle hymns, etc.), opera, film music, and incidental music. Students will engage critically with readings on the culture of death, the iconography of death with the goal of understanding changing perceptions of death and its social and material manifestations. There will be frequent quizzes, an oral presentation, and a written project. (2 credits, GE) Greenwald

MHST 413 – The String Quartets of Haydn
Joseph Haydn composed 68 string quartets in the years 1750 to 1800 – works that effectively defined the genre. In this class we will survey that extraordinary body of compositions with special attention to op. 1, 20, 33, 50 and 76. Questions of form and content will be addressed, as will issues of history and performance practice. What were the historical antecedents of the string quartet? What was the role of the string quartet in the musical life of 18th century Austria? What was the nature of string instruments in Haydn’s day? What was the seating arrangement for the performance of string quartets? Course requirements include a research project, written report and final exam. (2 credits, GE) Faculty


MHST 414 – Classical String Quartet
This course offers an exploration of the string quartet from Haydn to early Beethoven as seen from the perspectives of historian, composer, performer, and listener. The main text will be Inside Beethoven Quartets: History, Performance, and Interpretation by Lewis Lockwood and the montre String Quartet (Cambridge, MA: Harvard University Press, 2008). As in this book, the main approach of the course will be an active dialog between musical scholarship and performance and will address many different aspects of the string quartet including historical context, compositional history, reception history, as well as historical and modern interpretations. (2 credits, GE) Faculty


MHST 415 – Schoenberg and Stravinsky: Old Rivals, A New View
Examines the music and parallel careers of Schoenberg and Stravinsky. (2 credits, GE) Heiss


MHST 416 – Contemporary Developments: Music from 1945 to the Present
Studies the major musical trends since 1945: extended serialism, electronic and aleatory music, return to free atonality, performance virtuosity, and improvisation. (2 credits, GE) Heiss


MHST 418 – Ives and Bartók: Composers as Creative Ethnomusicologists
Examines the music of Ives and Bartók, with emphasis on its social and ethnic context. (2 credits, GE) Heiss


MHST 441 – Introduction to World Music
Studies the history, repertoire, performance practice, and cultural context of selected musical traditions. Music covered in the past has been drawn from traditions in sub-Saharan Africa, the Balkans, the Middle East, India, Indonesia, China, Korea, Native America, and Japan. Evaluation of student work is based on class participation, midterm exam, and final exam or term project and paper. (2 credits, GE) Row

MHST 442 – Music of India
The classical traditions of North and South India are explored extensively in their cultural contexts, focusing on instrumental and vocal styles, repertoires and improvisations with special reference to the concepts of raga (melodic mode) and tala (rhythm systems). (2 credits, GE) Row


MHST 443 – Music of Turkey
An introduction to the music of Turkey, with an emphasis on the classical and religious tradition. Through performance projects, recordings, transcriptions, analytical papers, and readings in history, practice and culture, students will explore the continuous tradition of composition and improvisation originating under the multiethnic Ottoman empire, which dominated the Middle East, North Africa and eastern Europe since the 14th century. A prominent feature of the course will be the development of an understanding of makam and usul, the systems of melodic and rhythmic composition. (2 credits, GE) Labaree


MHST 461 – Dido and Aeneas
An intensive look at Purcell’s Dido and Aeneas within the context of later 17th century opera. This half-semester class will focus on issues of performance practice, history of the work, and editorial problems. It will also consider recent, often provocative studies by Heller, Peraino, Harris, and Price. Live performance of excerpts will be part of the class. Written and oral project on a subject of the student’s choice; listening exam. (1 credit, GE) Hallmark


MHST 463 – Beethoven’s Fidelio
A study of Beethoven’s only opera Leonora/Fidelio and of the social-cultural context in which it was composed and performed. The influence that the French Revolution and revolutionary music such as Cherubini’s exercised on Beethoven will be considered in this half-semester course, as will the relationship between Fidelio and Viennese operatic traditions of Singspiel and opéra-comique. Grade based on in-class oral report, written essay on an assigned topic, listening quizzes. (1 credit, GE) Faculty


MHST 464 – Beethoven’s 9th Symphony
A close study of Beethoven’s Symphony No. 9 (“Choral”). Through analysis of the score and reading from the wealth of recent literature on the work, this half-semester course examines the sources of the Symphony’s enduring power of expression and studies the possible meanings embedded in its sounds. Grade based on in-class oral report, written essay on an assigned topic, listening quizzes. (1 credit, GE) Faculty


MHST 467 – Mozart’s Die Zauberflöte
Die Zauberflöte (The Magic Flute) is one of Mozart’s most complex works, a “Masonic” opera, a fairy tale opera, a musical emblem of Enlightenment philosophy and aesthetics, and a turning point in the development of German Opera that let to Weber’s Der Freischütz. Of special interest are the ways in which Mozart was able to embed so much meaning in an opera that is accessible at many levels to many different audiences. Assignments will include readings and short papers. (1 credit, GE) Greenwald

MHST 471 – Frauenliebe und leben
Schumann’s beloved and  controversial song cycle will be the focus of this half-semester class.  It  will be studied within the context of other cycles of the early to mid-19th century, especially other settings of Chamisso’s poetry. The course will  consider domestic life in Germany at that time; Schumann’s compositional process through his  sketches and  autographs; and  the recent, often feminist work done on the cycle by Muxfeldt,  Solie, and  Hallmark. Written and  oral  project of the student’s choice; listening exam.  (1  credit, GE) Hallmark 

MHST 472 – Weber’s Der Freischütz
Weber’s opera has  long  been considered a benchmark of German Romanticism. The famous “Wolf’s   Glen” scene stands as one  of the most cited moments in literature in 19th century opera. Der  Freischütz tells a tale of devilish contracts and  supernatural events that has  excited audiences  for nearly two centuries. Weber set this compellingly spooky drama through innovative use of musical motive, tonality, and  scenic effects. This course will explore Weber’s  opera and  other lesser known works  in its orbit, including Spohr’s Faust and  Hoffmann’s Undine.   Assignments will include readings and  short papers. (1 credit, GE) Greenwald


MHST 474 – Berlioz  Symphonie Fantastique
This course provides an in depth study of Berlioz’s Symphonie  Fantastique focusing on issues such  as genesis, musical style, reception and  the program. Assignments include quizzes on weekly  reading assignments, an analytical diagram, a 19th century style review, and  a final exam.  (1  credit, GE) Handel

MHST 477 – Brahms: Symphony #4
This course provides a brief  introduction to Brahms’ Symphonies # 1-3, followed by an in-depth  study of Brahms’ Symphony #4. Through score study we will consider Brahms ‘adaptation of classical  forms, integration of older compositional practices, melodic/harmonic organicism and  other unifying techniques. In  addition, we will explore both positive and  negative criticism of the symphony and  Brahms’  identification as both a conservative and  progressive composer. Assignments include quizzes on  weekly reading assignments, an analytical diagram, a 19th century style review, and  a final exam.   (1 credit, GE) Handel


MHST 497 – Senior Portfolio
See description under Music Histor y program of study. (0 credit) Faculty 

»MHST 081 – Graduate Survey – The History of Western Music
This course provides an intensive survey of the history of Western music from antiquity through the 21st century. (0 credit) Cron


MHST 510A – Topics in Baroque Music: Bach’s Passions and the Mass in B Minor
This course is a comprehensive examination of the John and Matthew Passions and of the Mass, including study of Bach’s borrowings and re-adaptations; the historical background from which the works evolved; structure, both formal and tonal; and the biblical and poetic texts that provided the impetus for Bach’s composition of these three masterpieces. The course will emphasize the constantly evolving current trends in performance practice. Two major papers will be required and there will be occasional short quizzes. (2 credits) Faculty


MHST 510D – Topics in the Baroque: Handel
An examination of George Frideric Handel’s career and works (both vocal and instrumental) against the background of musical developments in early 18th century Germany, Italy, and England. Issues to be discussed include the later reception of Handel’s music, matters of performance practice, and the rhetorical and structural features of his particular musical dialect. In addition to shorter assignments, students will write two papers: one more analytical in nature, the other more historical, on topics to be determined in consultation with the instructor. (2 credits) Gallagher


MHST 510E – Johann Sebastian Bach: Life, Works, Legacy
This course is about the biography and compositions of one of the most revered and influential musicians in history, Johann Sebastian Bach. We will consider Bach’s works across many genres and styles as we consider the history of his biographies and biographers, beginning with the very first published accounts of his life (Obituary, 1754) through to Wolff’s most recent study (2000). We will also read and discuss articles that present contrasting and sometimes controversial views in order to gain an understanding of some of the persistent questions of Bach scholarship. Topics will include performance practice, chronology, the one-on-a-part debate, and the politics of dissent. As we study the music, we will also consider carefully the extent to which details of biography actually matter to the performance, appreciation, and enduring fascination with Bach’s music. (2 credits) Exner


MHST 516 – Selected Readings in Jazz History
Explores writings in Jazz history from the first decades of the 20th century to the present. The readings will present a cross-section of socio-political views about the music and its practitioners. Students will read extensively for each class and make one or more oral presentations, individually or as a team. (2 credits) Levy


»MHST 517 – Selected Topics in Jazz
Investigates a range of topics relating to the history, politics, sociology, personalities, and performance practices of jazz. Previous topics have included “The Life and Music of Duke Ellington,” “Thelonius Monk: High Priest of Jazz,” “Charlie Parker and the Bebop Tradition,” “John Coltrane, Jazz Messiah,” and “Jazz in the Movies, the Movies in Jazz.” 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) Levy

MHST 517B – Selected Topics in Jazz: Miles Davis
The legacy of Miles Davis occupies a unique place in jazz history. It is a legacy that includes collaborations with Charlie Parker and Gil Evans, two of the most important quintets of jazz, the monumental album Kind of Blue, and the experimental electric music of the 70s. This course explores Miles Davis’s influence as a trumpeter and bandleader, innovator, and celebrity. Topics include: major collaborations and recordings, role of convention – its transformation and deconstruction over time, modal jazz, Western and non-Western influences, improvisation and spontaneity, and issues of cultural history. By the end of the course, students will have gained an understanding of the musical topics within a larger critical framework. Students engage in the topics through listening assignments, group presentations, response papers, scholarly readings, analysis projects, exams, and a final project. No previous knowledge of jazz or Miles Davis is required to take this course. (2 credits) Levy


MHST 517C – Selected Topics in Jazz: John Coltrane
The course follows two trajectories. The first involves exploration and analysis of Coltrane’s music through listening assignments and transcription analysis. Interaction, as well as the harmonic and rhythmic structures of the music will be examined. Great focus will be placed on Coltrane’s Classic Quartet, the contributions of each of its members, and their most enduring recordings and performances. In conjunction with this, the evolution of Coltrane’s personal musical style and aesthetics will be considered. This brings us to the second trajectory, the focus of which will be the literature on Coltrane and relevant scholarship. Broader cultural and historical implications, as well as Coltrane’s spirituality will also be considered. Course requirements include weekly listening assignments and written work (e.g., response papers, transcriptions, analyses), quizzes and exams, semester project, midterm and final exams, and a final project. This course is available to Jazz and non-Jazz majors. (2 credits) Levy

MHST 519 – Jazz Outside the United States
Jazz is typically described as an American art form, and its history is most often set within the borders of the United States. From its earliest days, however, American jazz spread throughout the world as an emblem of progress, peace and prosperity. By the end of the Second World War, professional jazz performers in Asia, Europe, Africa, South America and Australia had adapted jazz into local musical forms, laying the groundwork for the later “globalization” of American sound. Jazz has been embraced as a music of emancipation, but it has also provoked heated local debates on public morality, cultural sovereignty and national identity. This course examines the reception of American jazz in a range of geographic and historic locations; the impact of these encounters on the sound of American jazz; and the current status of jazz as an international music through readings listening, lectures, and student presentations. (2 credits) Kalmanovitch


MHST 520A – Topics in Music of the Classical Era: Music and the Enlightenment
A study of selected works from the 18th and early 19th centuries, with emphasis on the music of Rameau, Rousseau, Gluck and the Viennese classics: Haydn, Mozart, and Beethoven. Readings from writers, critics, composers and theorists of the time expose students to the ideas of the Enlightenment. Through classroom discussions and individual research projects, the relevance of those ideas to present-day interpretation and performance of the music is explored. Course requirements include a research project and written report as well as brief written or oral responses to reading and listening assignments. (2 credits) Faculty


MHST 520B – Topics in Music of the Classical Era: Music of the French Revolution
The French Revolution of 1789 capped a century of social and intellectual ferment spawned by the Enlightenment. The consequences of that Revolution transformed the fabric of European social, political, and cultural life. In this course, its effects on music and musicians – both in Paris and beyond the Rhine – will be examined through the music of Grétry, Gossec, Cherubini, Méhul, Beethoven and others. In-class discussion of assigned reading and listening and of individual projects. (2 credits) Faculty


MHST 520D – The Construction of Classic: J. C. Bach to Beethoven
The music of composers such as Haydn, Mozart, Beethoven, Gluck, their immediate predecessors, and   contemporaries. We will begin by studying the precursors to what is now known as the Classical  style and  will then consider how various political, social, artistic, and  other forces shaped the  musical idiom that has  come  to be called  “Classical.” We will study in some detail  representative works  by major composers of the time so that by the end  of the course, you will be able  to recognize and  explain the stylistic features that distinguish  works  of the Classic period from other musical eras.  You will also be able  to articulate the  singular achievements of individual compositions. In the course of the semester, we will engage  with a variety of scholarly literature that problematizes our  inherited notion of what “Classical” music is, and  interprets how its emblematic composers achieved canonic status. (2  credits) Exner


MHST 530B – Topics  in 19th Century Music: Don Juan
Don  Juan  was born in the 17th century in Tirso  de Molina’s play, The Trickster of Seville. So what? Who  was he? And why have so many  authors and  composers felt  compelled to tell his story over and  over again? How does each  author/composer customize the  story? What does  each  new version tell us about the musical, social, and  aesthetic values  of  its era? Our  discussions of these questions will begin with Tirso’s play and  Mozart’s Don  Giovanni, and branch out to other musical and  literary interpretations of the alluring Don Juan   by Gazzaniga, Gluck, Liszt, Offenbach, and  Strauss, Molière, E.T.A. Hoffmann, and  Moncrieff. Readings, short written assignments, frequent quizzes, term  project, class presentation. No midterm or final exam.  (2 credits) Greenwald

MHST 530C – Topics  in 19th Century Music: Wagner’s Ring
This course is about Richard Wagner’s monumental Ring  of the Nibelung: Das Rheingold, Die Walküre,  Siegfried, and  Götterdämmerung. Central to the course are Wagner’s compositional style, pioneering  work in stagecraft, and  artistic philosophy. We will also read  some of the original literary  sources for the “Ring” and  learn about the artistic and  social  climate in which  Wagner was able to succeed. Assignments will include short papers, quizzes, listening, reading, and   presentations. (2 credits) Greenwald


MHST 530D – Topics  in 19th Century Music: Chamber  Music  of Brahms
Close  study of a representative selection of Brahms’s chamber works  (both instrumental and   vocal).  Issues to be discussed include Brahms’s engagement with the music of earlier composers  (especially Bach, Beethoven and  Schubert) and  his handling of traditional genres and  forms.  Performance-oriented analysis will be one  focus of the course. (2 credits) Gallagher


MHST 530E – Topics in 19th Century Music: Schubert’s Instrumental Music
An examination of a broad selection of Schubert’s instrumental works in various genres (symphony, string quartet and other chamber ensembles, piano music, both solo and four-hands). Where relevant we will also consider his Lieder that served as foundations for various instrumental pieces. We will trace the outlines of his biography (with readings from Christopher Gibbs’s recent biography) and his development as a composer. Topics to be addressed include: the effects of Schubert’s engagement with the music of Mozart and Beethoven; performance-oriented modes of analysis; the impact of his instrumental works on later 19th century composers. Students will write two papers, one more analytical in orientation, the other more historical. (2 credits) Gallagher

»MHST 535 – Writing about Music: Research Methods for the Practical Musician and Scholar
Focuses on methods of musical research and investigation for performers, historians, and theorists. Individual and class projects use research tools and bibliographical materials essential to editing, analysis, criticism, historiography, and journalism. Written assignments include a book review, a program note, short analyzes of articles from scholarly journals, and a bibliography for a proposed paper. (2 credits) Greenwald


»MHST 536 – Writing about Music
Continuation of MHST 535. Students write a full-length research paper, guided through the process step-by-step. There are frequent individual conferences with the instructor. (2 credits) Greenwald


»MHST 537 – Teaching Music History
Introduces materials and methods of teaching music appreciation and music history. Readings and discussion of recent issues in education and musicology, with works by Gardner, Gilligan, Kerman, Treitler, Cone, and McClary. (2 credits) Hallmark


MHST 540A – Topics in American Music: The New York School
The four-way meeting of John Cage, Morton Feldman, Earle Brown and Christian Wolff was a seismic event in the history of 20th century composition. Along with pianist David Tudor and choreographer Merce Cunningham, these four composers created a new way of thinking about and writing music through daily conversation, looking at each others’ works almost as the works were being written, and feeding off each others’ ideas. This course will chart the musical evolution of these four very different composers who came together briefly to change the way we hear and think about music. Selected influential works will be examined in detail with additional works creating an historical context. This course will focus ‘in depth’ on the work of the four composers, but referencing both immediate history (Cage’s studies with Schoenberg and Cowell, Feldman’s studies with Wolpe) and influences (Lucier, Rzewski, Lukas Foss, Cage’s influence on Europe via the Darmstadt visits, and the less profound but more widely felt effects of their work on Berio, Lutoslawski, and even Bernstein). Also to be actively considered are concurrent developments in the other arts (i.e., the work of Robert Rauschenberg, Jasper Johns, Merce Cunningham, Marcel Duchamp). (2 Credits) S. Drury


MHST 542 – The Avant-Garde from Eric Satie to John Zorn
Surveys composers who redefined music from the 1890s through the 1990s. Historical and philosophical study of the avant-garde tradition, the evolution of notation and compositional systems, and concurrent developments in other arts (Robert Rauschenberg, William Burroughs, Andy Warhol). Works of Ives, Cage, Russolo, Stockhausen, Nancarrow, Partch, La Monte Young, Talking Heads, Sonic Youth, and Naked City. (2 credits) S. Drury


MHST 546 – Music of India
The classical traditions of North and South India are explored extensively in their cultural contexts, focusing on instrumental and vocal styles, repertoires and improvisation with special reference to the concepts of raga (melodic mode) and tala (rhythm systems). (2 credits) Row


MHST 547 – Music of Turkey
An introduction to the music of Turkey, both the classical and folk traditions. Through performance projects, recordings, transcriptions, analytical papers, and readings in history, practice and culture, students will explore the continuous tradition of composition and improvisation originating under the multi-ethnic Ottoman empire, which dominated the Middle East, North Africa and eastern Europe since the 14th century. (2 credits) Labaree


»MHST 551 – Ives, Schoenberg, Stravinsky
Studies the music of Ives, Schoenberg, Stravinsky, their colleagues, and the general context of their works; developments that led to those works and their influence. (2 credits) Heiss


»MHST 552 – Ives, Schoenberg, Stravinsky
Continuation of MHST 551. (2 credits) Heiss

MHST 553 – Russian and Eastern European Musical Modernism
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, Pärt and others will be studied. The grade will be based on student presentations, short response papers and a final research project. (2 credits) Marković


MHST 556 – Messiaen
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, Bartok and Stravinsky. Areas of study include modality, rhythmic innovation, theology, ornithology, and synesthesia. Course requirements include weekly listening and reading assignments, a performance project, a program note, a research paper and an oral report. (2 credits) Handel


MHST 560 – Area Study in Ethnomusicology
Study of the history, culture and musical repertoire of a selected region of the world, together with relevant ethno-musicological studies. Assignments include performance projects, transcriptions, analytical papers, and research projects. Topics rotate. (2 credits) Faculty


MHST 560A – Area Study in Ethnomusicology: Music of Africa
This course focuses on African musical styles in relation to their changing social, political, and cultural contexts. It compares musical thought, musicianship and performance practices of three musical cultures: the Shona (Southern Africa) the Mande (West Africa), and the Mbuti pygmies (Central Africa). The emphasis is threefold: one, to deepen students’ conceptual skills in thinking about music in other cultures as well as their own; two, to develop students’ analytical aural and transcription skills of African music; and three, to gain performance skills on African music instruments and, in turn, reflect on the learning process. Class sessions include student-led discussions, performance workshops, and group work built around readings, recordings, and videos. (2 credits) Faculty


MHST 560B – Area Study in Ethnomusicology: Folk Songs, Politics and Propaganda
In this course, we will investigate the use of folk and popular songs as vehicles for activism and propaganda, focusing on specific 20th century movements in the US, Chile, South Africa, Afghanistan, and the USSR, and concluding with a look at musical activism today. In the process, we will examine issues of identity and self-expression, and the choices that we make as artists in the context of the events that shape our daily lives. The course will include reading and listening assignments, as well as a final research project. (2 credits) MacAdam-Somer

MHST 560C – Area Study: Folk Music Composition in Oral Traditions
In cultures where music-making does not depend on reading and writing, how is music created, taught, preserved, varied and transmitted? To explore these questions, three folk music repertoires will serve as the focus this semester: 1) Irish sean nós (old style) singing and instrumental music. 2) The music of the Turkish aşık, the Sufi singer-poet of rural Anatolia. 3) Early country blues of the rural American south. While the category “folk music” is well-known in contemporary commercial music, the emphasis in this course will be on “scratchy record” music, that is, on the making of music outside of modern media and marketing, and for the most part, away from city life. Students will be expected to approach the study of folk music through aural study, transcription, analysis and performance of pieces from the course repertoire, and through selected readings from two centuries of writings by scholars, folklorists and anthropologists. (2 credits) Faculty


MHST 561 – Topics in Improvisation
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 Work vs. 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) Faculty


MHST 561A – Topics in Improvisation: Performer-Controlled Practices 1750-1850
This course emphasizes the kinds of performer-controlled compositional practices which dominated concert life in Europe 200 years ago, but which fell out of favor by the mid-19th century. Course repertoire and reading will focus on the following genres which established the standard of public performance during this period: basso continuo; the playing of variations on repeats; concert variations on well-known melodies; cadenza in concerto and elsewhere; preluding between set pieces on a concert program; and the creation of transcriptions from one instrumental setting to another. The study of performances by 19th century musicians who lived into the recording age provide clues to how these performer-centered practices may have sounded. Keyboard works and readings about keyboard playing will end up providing the benchmark of our study of this development, simply because such a wide range of genres and practices of performer-centered music-making for keyboard have been preserved, recorded and studied. In an individual research project, students will explore the specific evolution of the performer’s role as co-creator in a genre or piece or composer of their own choosing. Students will also create and record a short performance of their own based on historical models. (2 credits) Labaree


MHST 567 – Puccini’s Operas
The course will examine specifically the ways in which Puccini’s works depart from Italian opera tradition, and how he became, as Julian Budden put it, “Wagner’s best pupil.” Another emphasis will be on Puccini’s views on staging; his view that “action speaks louder than words.” The course will use either Madama Butterfly or La bohème for close study. Either of these works is a viable choice, since both speak well for the state of the art of Italian opera at the end of the 19th century, and illustrate Puccini’s mature style. Madama Butterfly is especially apt, since it is a product of the vogue for japonisme ignited by the opening of Japan a half-century earlier and resulting in widespread European fascination with the far East and a large number of “orientalist” operas (by such composers as Mascagni and Saint-Saëns). Sources for Madama Butterfly, moreover, include several easily-accessed English-language publications, including John Luther Long’s short story published in Century Magazine in 1898 (and reprinted in the English National Opera Guide libretto for the opera), and the one-act play, Madame Butterfly, by American playwright David Belasco. La bohème would also work well, since its literary antecedent, Murger’s Scenes of Bohemian Life, is also available. La bohème, moreover, raises important (and contemporary) issues about the way disease is portrayed on the stage and begs comparison with Verdi’s La traviata. (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-siècle 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) Marković


MHST 569 – Music and Culture in Fin-de-Siècle Vienna
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) Marković


MHST 570B – Topics in Renaissance Music: The Music of Ockeghem 
A detailed study of the biography and works of Johannes Ockeghem (ca. 1420-97), leading musician at the French royal court for decades and composer of some of the most elegantly complex works in the history of Western music. Includes comparative analysis of his works and those by his more important contemporaries, with emphasis on their varying aesthetic and compositional priorities. Other topics include the interrelatedness of notation and composition; intertextuality and the chanson; the early history of the cyclic mass; how to read and work with late-medieval music manuscripts. Course requirements will include two essays on analytical and/or historical topics to be determined in consultation with the instructor. (2 credits) Gallagher

MHST 572 – Polyphony, A Performer’s Art –1150-1650
This study of the craft of polyphony as a performer’s art is focused on four historic types of pieces covering some five centuries of European history: I. organum, II. motet, III. madrigal, and IV. basso continuo. Examples of each of these polyphonic types will be studied in two ways: 1) in selected pieces from these periods, together with theoretical writings and notational practices of their own period, and  2) with reference to comparable living oral  traditions of polyphony in the Mediterranean (Sardinia, Corsica), the Balkans (Yugoslavia,  Bulgaria), the Caucasus (Georgia), Africa (Liberia, Congo, South Africa) and  Indonesia (Bali).  Emphasis will be placed on polyphony as an essentially oral, performer-controlled practice, even as students work with early European notation systems and  explore five centuries of written music  theory. By the end  of the course, students should be able  to recognize (by ear and  in notation)  the four polyphonic types and to discuss them as distinct technical and  historic forms. (2  credits) Labaree


MHST 578 – Exoticism in Western  Music
The 19th c. explosion of interest in non-European cultures among artists of all kinds in Europe and the U.S. was part of a wider  process of globalization which built on ideas  about civilizations  outside of Europe developing since  the Middle Ages. That globalization process continues today  across the spectrum of Western culture in both popular music and  concert music. Behind this long-standing passion for the exotic lies a fascination with unexperienced possibilities,  alternative ways of being which  “The Other” – someone different from us – seems to embody. The  course will draw on classical European vocal, instrumental and  dramatic repertoires from the late  18th to the early 20th centuries, building on the two principal exotic paradigms of the so-called “alla Turca” and  “Hungarian” (“Gypsy”) styles. Students will also be presented with exotic 18th  and  19th c. painting and  with projects involving close  work on non-western musical materials through listening and  transcription. Final individual research  projects may incorporate popular music, jazz and  film, as well as concert repertoire. (2 credits)  Labaree


MHST 579 – Dance: Fairground, Concert Hall, Social Commentary
An examination of the versatile and  sometimes contradictory functions and meanings of dance music.  The focus will be on several “dance case studies”, where we will look at the transformation of a  particular dance genre through its various phases: from its original function as entertainment and   physical movement, to 19th century performance appropriations with national schools on the one   side, and  various concert genres on the other. Finally we will see how 20th century composers use dance and  popular genres as a form of social  criticism and   commentary. The course on the one  hand draws  on an ethno-musicological approach, with inquiry  into the original context, function and  ritual nature of a particular dance, and  on the other,  focuses on specific works  and  composers, such as the waltzes of the Strauss family, Ravel’s La Valse, Chopin’s mazurkas, Brahms’s waltz and  dance movements, Mahler’s and   Shostakovich’s symphonies, Richard Strauss’s operas (Elektra and  Rosenkavalier), Schnittke’s  works, as well as Bartok’s and  Ligeti’s usage of folk dance materials. Student projects will range from written assignments (response papers/essays), score and  performance analyses, to field and archival research. (2 credits) Marković

MHST 580 – Teaching Internship 
Two-year teaching assignment as an assistant in an undergraduate music history course. (0 credit) Chair


MHST 681/682 – Honors Thesis
Thesis preparation is supervised by department faculty; credits must be distributed over two semesters (see Musicology program of study). Requires department chair’s permission. (2 credits) Senior Faculty


MHST 693 – Musicology Exams
See Musicology program of study. (0 credit)

MHST 697 – Portfolio
See Musicology program of study. (2 credits)

»MHST 901 – Doctoral Seminar in Musicology
Introduces methods and materials of musicological research through individual projects focused on the life and works of a given composer. Issues include source studies, historiography, performance practice, and criticism. (3 credits) Senior Faculty


»MHST 902 – Doctoral Seminar in Musicology
Advanced musicology seminar. Focuses on historical, philosophical, analytical, and aesthetic issues raised by music and music making via rotating topics. Prerequisite: MHST 901. (3 credits) Senior Faculty