MUS 203: The Great Conductors; the Canonic Repertory
Overview of how the great orchestral conductors not the recorded era shaped musical performance practices historically. Special attention will be paid to investigate how women and minority conductors have fared in their careers.
MUS 203: The Great Conductors; the Canonic Repertory
Overview of how the great orchestral conductors not the recorded era shaped musical performance practices historically. Time will be budgeted to see how women and minority conductors have fared in their careers.
MUS 223: The Ballet
A history of ballet from its origins in the French courts through its development into a large-scale theatrical spectacle in the 19th century and its modernist re- and de-formation. Emphasis will be placed on seminal dancers, choreographers, and composers, nationalist tradition, and socio-political context.
MUS 230: Music in the Middle Ages
Introduction to European musical culture in the period 600-1400. The course is divided in the following main periods (1) chant in Carolingian and post-Carolingian Europe, (2) the Enchiriadis tradition of polyphony; (3) troubadours and trouvères, (4) Ars Antiqua, and (5) Ars Nova. The course will make intensive use of primary sources, scores, and will also feature an extensive playlist. The objective is to provide students with a thorough introduction tp fully 800 years of music history.
MUS 230: Music in the Middle Ages
Introduction to European musical culture in the period 600-1400. The course is divided in the following main periods (1) chant in Carolingian and post-Carolingian Europe, (2) the Enchiriadis tradition of polyphony; (3) troubadours and trouvères, (4) Ars Antiqua, and (5) Ars Nova. The course will make intensive use of primary sources, scores, and will also feature an extensive playlist. The objective is to provide students with a thorough introduction in fully 800 years of music history.
MUS 232: Music in the Renaissance
General historical survey of European Art Music in the period 1400-1600, covering such composers as Dufay, Ockeghem, Josquin, Byrd, Palestrina, Lasso, etc.
MUS 238: Music of the Romantic Era
A survey of major styles, genres, and modes of performance in European art music from about 1814 to the 1890s, ranging from Beethoven to Rachmaninoff and including opera, ballet, the symphony, concerto, and song.
MUS 238: Music of the Romantic Era
A survey of major styles, genres, and modes of performance in European art music from about 1814 to the 1890’s.
MUS 240: Musical Modernism 1890-1945
An in-depth survey of music in Europe and America between 1890 and 1945, focusing on Symbolism, Expressionism, and Neoclassicism, and on such composers as Claude Debussy, Igor Stravinsky, Scott Joplin, the Second Viennese School and Les Six.
MUS 242: Music After Modernism, 1945 to the Present
A survey of concert music from the middle of the twentieth century through the present day. During this time, Eurocentric models gave way to a dizzyingly diverse array of styles and attitudes, calling the very identity of concert music into question. Topics include high modernism; experimental explorations; noise and silence; technology; spirituality; music for film and dance; interculturalism and cultural appropriation; commodification; acoustic ecology; politics; and identity and diversity. We ask, where does concert music ‘fit’ in today’s cultural landscape? What is its nature, and where do its boundaries lie? And whose music is it?
MUS 248: Music Cognition
Music can get your feet tapping, trigger a cascade of memories, mire you in nostalgia, or leave you with an earworm. What happens when tools and ideas drawn from cognitive science are applied to understanding these experiences? What can music tell us about the human mind, and what can psychology and neuroscience tell us about music? MUS 248 provides an introduction to music cognition, paying special attention to potential and challenges that characterize work at the intersection of science, humanities, and the arts. Students gain experience posing their own questions at this intersection, and identifying appropriate methods to answer them.
MUS 262: Jazz History: Many Sounds, Many Voices
This course will examine the musical, historical, and cultural aspects of jazz throughout its entire history, looking at the 20th century as the breeding ground for jazz in America and beyond. During this more than one hundred year period, jazz morphed and fractured into many different styles and voices, all of which will be considered. In addition to the readings, the course will place an emphasis on listening to jazz recordings, and developing an analytical language to understand these recordings. A central goal is to understand where jazz was, is, and will be in the future, examining the musicians and the music that has kept jazz alive.
MUS 262: Jazz History: Many Sounds, Many Voices
This course will examine the musical, historical, and cultural aspects of jazz throughout its entire history, looking at the 20th century as the breeding ground for jazz in America and beyond. During this more than one hundred year period, jazz morphed and fractured into many different styles and voices, all of which will be considered. In addition to the readings, the course will place an emphasis on listening to jazz recordings, and developing an analytical language to understand these recordings. A central goal is to understand where jazz was, is, and will be in the future, examining the musicians and the music that has kept jazz alive.
MUS 350: Studies in African Performance
This course presents a cross-disciplinary and multi-modal approach to African music, dance, and culture. Co-taught by a master drummer and choreographer (Tarpaga) and an ethnomusicologist (Steingo), students will explore African and African diasporic performance arts through readings, discussions, listening, film analysis, music performance, and composition.