Courses

Course
MUS205: Species Counterpoint
Steven Mackey

To lay the foundations for a thorough understanding of the principles of linear structure and voice-leading through the study of species counterpoint. Twice weekly exercises will lead to a complete 4-5 voice Mass Movement as a final project.

Course
MUS105: Music Theory through Performance and Composition
Juri Seo

Music 105 is the first of a two-semester course on introductory music theory of Western classical music.

Course
MUS103: Introduction to Music
Rob Wegman

Music 103 is an introduction to Western Art Music (works from 1100 to the present). The course defines the basic elements of music - pitch, rhythm, melody, harmony, and form - and the historically significant styles and genres of composition.

Course
MTD335: Development of the Multi-Skilled Performer

A practical class. This is a workshop based class for those interested in multi-skilled performance and in how performance skills can illuminate new forms of theatre making.

Course
MUS504: Medieval Musical Style and Notation
Jamie Reuland

Examines musical notation along paleographic, semiotic, and aesthetic lines, and addresses theoretical and practical problems of transcription.

Course
MUS550: Current Topics in Theory and Analysis: Sound and Moving Image
Simon A. Morrison
Barbara White

Discussion of sound and moving image. Areas of focus include verisimilitude, voice, abstraction, and exoticism. Exploration of current literature on canonic and non-canonic/experimental repertoire from the silent era to today.

Course
MUS542: Instrumentation and Performance
Dan Trueman

The course is a study of the characteristics of individual instruments, including extended contemporary techniques and writing arrangements for chamber ensemble and for orchestra.

Course
MUS534: Ends and Means: Issues in Composition
Steven Mackey
Dan Trueman

Counterpoint has been of variable significance to composers over the centuries, sometimes taking the leading role, other times fading to irrelevance.

Course
MUS532: Composition
Steven Mackey
Dan Trueman
Dmitri Tymoczko
Barbara White

Emphasis is placed upon the individual student's original work and upon the study and discussion of pieces pertinent to that work.

Course
MUS525: Topics in Music from 1400 to 1600: Renaissance Music
Rob Wegman

The sacred music of Josquin Des Prez (c.1455-1521): masses, motets, musical styles, reception, performance practice, analysis, aesthetics.

Course
MUS432: Art and Music in the Middle Ages
Jamie Reuland

In the liturgical and courtly culture of the Middle Ages, music and the visual arts were inseparable.

Course
MUS431: Topics in History, Analysis, and Interpretation: Musical Semiotics
V. Kofi Agawu

An analytical inquiry into the nature of musical meaning drawing on the semiotic theories of Nattiez, Ruwet, Lidov and others. Weekly exercises in analysis.

Course
MUS316: Computer and Electronic Music Composition
Jeff Snyder

A composition workshop class, in the context of the traditional sound studio. Emphasis will be on the student's creative work, composing both "fixed media" works and live electronic/laptop music.

Course
MUS315: Symbolic Music Computing
Dmitri Tymoczko

Music 315 focuses on computer programs that input and output musical symbols--including scores, MIDI files, and directions for synthesizers to play.

Course
MUS311: Jazz Theory through Improvisation and Composition I
Ralph Bowen

An exploration of the melodic, harmonic and rhythmic principles of the bebop paradigm.

Course
MUS306: Understanding Tonality
Dmitri Tymoczko

In this course we will try to understand the complex phenomenon of "tonality." We will theorize about harmony, voice leading, and scales, studying works by Gesualdo, Beethoven, Wagner, Debussy, Stravinsky, Ravel, Reich, and conte

Course
MUS299: Independent Instruction in Voice or Instrument
Christopher Arneson
Elaine Christy
Elizabeth DiFelice
Jack Hill
Francine Kay
David Kellett
Christopher Komer
Sunghae Anna Lim
Barbara Rearick
Trineice Robinson-Martin
Jayn Rosenfeld
Jessica Thompson

Independent instruction in voice or instrument is an intensive immersion in all aspects of recreating music for performance.

Course
MUS264: Urban Blues and the Golden Age of Rock
Rob Wegman

Examines post-World War II blues, rock music mostly of the late sixties and early seventies, and the connections between them. Explores wider musical and extramusical connections.

Course
MUS246: Projects in African Dance Drumming

A performance course in African dance drumming with a focus on music from the West African Manding Empire (Mali, Guinea, Burkina Faso, Ivory Coast, Gambia, Guinea Bissau and Senegal.) Taught by master drummer Olivier Tarpaga, exponent of the Mogo

Course
MUS238: Music of the Romantic Era
Simon A. Morrison

A survey of major styles, genres, and modes of performance in European art music from about 1814 to the 1890's.

Course
MUS220: The Opera

The course provides a survey of opera from its inception in the 17th-century to the present, considering such issues as opera's relationship to its cultural context, contemporary stagings, opera conventions and singers (including the castrato), op

Course
MUS217: Orchestral Music: Analysis and Performance
Ruth Ochs

Built around the Princeton University Orchestra's spring 2016 concert programming, the course explores composer biography, historical context, and music analytical insights related to each work.

Course
MUS216: Techniques of Conducting
Michael Pratt

This course will focus on: 1) the development of competency in conducting technique, 2) verbal and non-verbal communication in rehearsal, 3) the development of good rehearsal strategies.

Course
MUS214: Projects in Vocal Performance: African American Art Song
Rochelle K. Ellis

The class will be a survey of the development of classical African American art song. Students will attend a 3 hr. class. Lecture and song preparation for final recital.

Course
MUS213: Projects in Instrumental Performance: Chamber Music
Eric Cha-Beach
Josh Quillen
Adam Sliwinski
Jason Treuting

Instrumental chamber music class of the standard repertory of the 18th, 19th, and 20th centuries. Preparation for performance of ensembles.