MUS 513: Topics in 19th- and Early 20th-Century Music: Russian Ballet
An analysis of the construction, music, dance, and sociopolitical context of Russian ballet from the time of St. Leon through Petipa, the Ballets Russes, and Balanchine.
MUS 528: Seminar in Musicology: Current Topics in Empirical Musicology
This seminar engages students with current tools, questions, debates, and methods in empirical musicology. The course is designed so that, no matter what the student’s primary research interest in musicology, they come away from the class with ideas about how empirical approaches do or could interface with their material.
MUS 530: Topics in German Media Theory & History: Sonic Politics
In the wake of a series of recent events “Havana syndrome,” acoustic devices for suppressing protests, etc.–the weaponization of the acoustic has gained widespread public attention. But these dystopic accounts obscure the fact that sound has always been intimately connected to the political. This seminar explores the many political dimensions of the acoustic: from tonality as a colonizing force to the algorithmization of listening; from acoustic regimes of urban space to the ecological dimensions of audio technologies; from questions of noise and sonic pleasure to the deployment of sound both for protest and as a mechanism of control.
MUS 531: Composition
Emphasis is placed upon the individual student’s original work and upon the study and discussion of pieces pertinent to that work.
MUS 534: Ends and Means: Issues in Composition
This seminar examines various ways we tell stories using music or in musical contexts with an examination of subtext and text. It will be co-taught by Profs. Donnacha Dennehy and Nathalie Joachim.
MUS 537: Points of Focus in 20th-Century Music
The seminar title is Audio Production for Composers. A hands-on, workshop class aimed at developing a rich and multifaceted approach to audio production for a diverse range of aesthetic practices. Topics include: recording strategies and microphones; home studio setup; DAWs; mixing and production techniques (including mixing, equalization, compression, reverb, and distortion); production as part of the “home studio” creative process; working with professional engineers/studios and planning recording sessions; and more. Weekly dives into ear-training with audio tools and personal projects/practices. Possible studio visits and engineer guests.
MUS 560: Music Cognition Lab
Under the direction of a faculty member, and in collaboration with an interdisciplinary group of students, visitors, and postdocs, the student carries out a one-semester research project chosen jointly by the student and the faculty. Open to any graduate student in Music, this course provides a hands-on opportunity to learn the tools, skills, methods, and perspectives of music cognition research.