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 andgeographically, 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 204 – Music of the Baroque Era
History of musical style and form from 1600 to 1750 (from the Florentine Camerata through J.S. Bach). (2 credits) Exner

 

»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. Every class will begin with a quiz and there will be three exams (3 credits, GE) Handel 

»MHST 222 – Survey of Music in Western Europe, 1730-1970
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. Every class will begin with a quiz and there will be three exams. (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 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 338 – Music of the High Baroque
Music of the High Baroque is an in depth exploration of repertory produced by composers such as J.S. Bach, G.F. Handel, and G.P. Telemann. During this course, we will study technical aspects of the era including genre characteristics (keyboard suites, passions, cantatas, civic music, opera, etc.) and compositional approaches (ritornello structure, fugue, da capo aria, and so on). We will also consider extra musical elements that affected artistic production: local performing conditions, politics, commerce, and the contours of individual biography. Baroque music is a repertory that has long been associated with privilege and prestige; we will interrogate the reasons this characterization persists. (2 credits) Exner

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 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, writers, 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 419 – Expressionism in Music
An exploration of the aesthetic impulses that created a dramatic shift in musical and artistic developments in the period between the 1890’s and 1920’s. One path to expressionism follows the dissolution of romanticism in the works of Mahler, Strauss, Scriabin and early Schoenberg. Another important path that will be examined is the return to the primal, uninhibited past in the works of Stravinsky and Bartok. At the center of our exploration will be the expressionist angst in works by Schoenberg, Berg, Webern where we will follow the path from the abandonment of tonality and thematicism to 12-tone technique. These works will be studied against the background of contemporaneous developments in visual arts and literature (Kokoschka, Schiele, Kandinsky, Nolde, Kirchner, Munch, Dehmel, Wedekind, Strindberg). (2 credits) Markovic

MHST 432 – Folk Music and the Exotic in the 19th Century
The starting point of this course is the fascination with unfamiliar cultures which characterized the work of a broad spectrum of artists and intellectuals throughout the 19th century in Europe. Core topics to be studied may include: the music of the gypsies (Rom); selected European folk repertoires; previously unknown repertoires of Asia, the Middle East and the New World; the general interest in unlettered rural life outside of cities expressed in urban music; painting and literature; the impact of these interests in related fields such as historiography, musicology, folklore , and science. Each of these topics will involve studying an assigned repertoire of opera, song and instrumental work relevant to these topics. The course will require working with examples of art forms other than music and with living folk and non-western repertoires. For independent research projects, students may choose among a variety of media and final projects, including 19th century painting; transcription of recorded source material from recordings, original composition, cultural studies, and comparative studies of 20th century repertoires. (2 credits) Labaree

MHST 435 – Chamber Music Literature from Mozart to Brahms
This course is a survey of Chamber Music literature from the 19th Century conducted primarily from a chronological standpoint. In the course of the semester we will situate the literature in three ways – as representative of a composer’s individual style, as representative of the genre, and finally as part of the specific era from which it is drawn, whether that be the Classic or Romantic movement in Western Europe. Various interpretive strategies will be discussed (as Hausmusik, as conversation, etc) as well as the evolving conception of form. Composers covered include Mozart, Haydn, Beethoven, Schubert, and Brahms. (Note: While the lieder tradition is technically a chamber music tradition, in this course the focus is narrowed to only instrumental works.) (2 credits) Gallagher

 

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 445 – Area Study: History of Music of Afghanistan
Afghanistan, or Khurasan, “the land of the rising sun” is nestled in the crossroads of Arabic, Persian, Indian, and Chinese cultures. As an essential conduit in the trade routes between the East and the West, it has been fought over and pulled apart by neighboring empires for centuries. Afghan music is therefore not only a mix of an incredibly diverse palette of cultures, but a reflection of years of leadership in which musicians have faced a dizzying succession of censorship, conditional support, and banishment. In spite of that, music has remained an essential part of Afghan culture, including sacred and secular genres, folk songs, Afghan classical music, western orchestral ensembles, and pop music. In this course, we will examine the history of music in Afghanistan and the challenges that it has faced in juxtaposition with Islam, tribal law, civil rights, and decades of war. (2 credits) Macadam-Somer

MHST 451 – Polyphony, East and West: 900-1650
This study of European polyphony focuses on four historic types dating from the 9th through the 18th centuries: 1) organum; 2) motet; 3) madrigal; and 4) basso continuo. The repertory of polyphony in these four types will be studied in its special notational languages and in its historical context using select pieces from the various periods. European works and practices will be compared with living oral traditions of polyphony in the Mediterranean (Sardinia, Corsica), the Balkans (Yugoslavia, Bulgaria, Greece, Turkey), Africa (Liberia, Congo, South Africa) and Indonesia (Bali). Throughout the course, emphasis will be placed on polyphony as an essentially oral, performer-controlled practice. Students will occupy themselves primarily with the European repertoires, acquiring skill at reading early notation systems and transcribing performances from oral traditions. The non- European sources will serve primarily as points of comparison. By the end of the course, students should be able to recognize, by ear and in notation, the four European types and to discuss them as distinct technical and historic forms. Requirements: 1) an 8-page paper on assigned readings of the student’s choice; 2) performance projects based on student transcriptions of either recorded non-European examples or early European notations; 3) midterm and final essay exams. (2 credits) Labaree

 

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 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 History 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 503 – Music for the Berlin Court: 1700-1800Berlin is now widely recognized as one of the world’s great musical capitals. It was not always so. In this course, we will explore how Berlin went from a hamlet of scrub pines and swamps in 1700 to the site of the “Bach Revival” in 1829. In the process, we will encounter the three major musical styles of the eighteenth century: baroque, galant, and Viennese Classic. (2 credits) Faculty

 

MHST 510E – Johann Sebastian Bach: Life, Works, Legacy
Description: 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 510F – Topics in the Baroque Era: Bach Sacred Cantatas
This course will focus on the sacred cantatas of J. S. Bach. We will consider the history of these pieces in the context of Bach’s life and their place in modern concert culture. We will also explore the latest research into performance practice of the vocal works. There will be regular reading quizzes alternating with short response papers. (2 credits) Exner

 

MHST 516 – Selected Readings in Jazz History: Music, Criticism and Interpretation
This is a seminar-style course, which through readings and discussions engages students in the music, its practitioners, its history, and its aesthetics. The course focuses on selected readings that deal in an insightful and sometimes controversial way with early and modern styles of jazz and performers such as, among others, Louis Armstrong, Lester Young, Charlie Parker, Sonny Rollins, Miles Davis, and John Coltrane. The course explores questions concerning the nature of improvisation, the essence of jazz, how jazz should be evaluated, its history, issues of race, and the music itself. Topics are broad and derive from various disciplines including aesthetics and ontology, historiography, musical analysis, criticism, and interpretation. Course work includes weekly reading (and corresponding listening) assignments, writing summaries, short response papers, and at least one individual presentation. (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 geographicand 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 520B – Topics in Music of the Classical Era: Music of the French RevolutionThe 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 520E – Topics in Music of the Classical Era: Beethoven and the PianoA study of Beethoven’s piano sonatas and concertos, as well as relevant chamber works, focusing on various issues, including: style and form, musical rhetoric and affect, sources and editions, social-historical context, and performance-oriented analysis. (2 credits) Gallagher

 

MHST 520F – Haydn’s String Quartets
Joseph Haydn composed 68 string quartets in the years 1750 to 1800 – works that effectively defined the genre, but at the same time revealed the original and multifaceted imagination of their creator. The course will take a chronological approach, paying special attention to Haydn’s formal structures, counterpoint (fugues, in particular), rhetoric, key choices, extended string technique (particularly as his writing for strings aligns with contemporary pedagogy), elevation of the bass line, humor, tragedy, and pathos. We will also focus on Haydn as court composer, teacher, innovator,and inspirer of both Mozart and Beethoven. Classes will feature live performance whenever possible (string players are encouraged to enroll). Course requirements include a research project, oral presentations, and frequent quizzes. No midterm or final exams. (2 credits) Greenwald

 

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) Labaree

 

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 composer 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 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 ImprovisationInvestigates 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 570C – Topics in Renaissance Music: The Music of Guillaume Dufay
Guillaume Du Fay (c.1397-1474) is a seminal figure in the history of fifteenthcentury music. The course will examine his long career working in major musical institutions throughout Western Europe, as well as his music, which reflects the broad shifts in aesthetics and compositional approach that mark the transition between the late medieval and early renaissance periods. While considering his contributions to all the major genres of his time, including masses and motets, a central focus will be his more than eighty songs with French or Italian texts, works remarkable for their compositional sophistication and expressive range. A principal aim of the course is an understanding of the salient features of music by Du Fay and his contemporaries through the study of manuscripts, notation, and musicopoetic genres, as well as various analytical and performance approaches. Readings, analytical and transcription assignments, presentations, and a final research paper. (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 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

2016-08-18


DO NOT FEAR MISTAKES. THERE ARE NONE. MILES DAVIS