Courses

Course
MUS983: Senior Departmental Exam
Course
MUS981: Junior Independent Work
Course
MUS510: Extramural Research Internship
Simon A. Morrison
Dmitri Tymoczko

MUS510 is for students in the department who wish to gain experience of central importance to their area of study by working outside of the University capacity.

Course
VIS226: Sound/Material/Mind

Sound is at once ephemeral in air, concrete in material, and conceptualized in the mind. This unique transformation makes sound ideal for examining the relationship of our internal experience to physicality.

Course
STC204B: Musical Instruments, Sound, Perception, and Creativity
Dan Trueman

Musical instruments reside at the intersection of varied topics: sound, perception, embodiment, music theory, social values, and more; how has their design influenced the development of music and how might they be reinvented to spur new ideas?

Course
STC204A: Musical Instruments, Sound, Perception, and Creativity
Dan Trueman

Musical instruments reside at the intersection of varied topics: sound, perception, embodiment, music theory, social values, and more; how has their design influenced the development of music and how might they be reinvented to spur new ideas?

Course
MUS548: Creative Practice in Cultural Perspective: Humanity and Dominance in the Arts
Barbara White

An exploration of the tension between humane and dominant tendencies in the arts. The creative arts are often idealized for their virtue and transcendence, for their ability to enrich and inspire us.

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MUS545: Contexts of Composition: On Repetition
Donnacha Dennehy

This course examines the role of repetition in music.

Course
MUS537: Points of Focus in 20th-Century Music
Dmitri Tymoczko

Philosophy and Music: We discuss a variety of philosophical issues important to musicians, mostly aesthetics but also considering philosophy more generally.

Course
MUS534: Ends and Means: Issues in Composition
Donnacha Dennehy

"What if?" tries to understand complex musical surfaces using transcription and transformation. We start by looking at examples from Hans Abrahamsen, Unsuk Chin, Gerard Grisey, Kaija Saariaho and Claude Vivier.

Course
MUS529: Theorizing Musical Listening

What is musical listening? To what extent is musical listening suffused by other experiences, concepts, and sensory modalities? Is there a distinctively musical mode of perception? How can musical listening be studied and theorized?

Course
MUS513: Topics in 19th- and Early 20th-Century Music: Russian Opera
Simon A. Morrison

An analysis - musical, literary, and more broadly cultural - of greater and lesser-known Russian operas. Censorship is a point of focus, and politics, but the discussions concentrate on dramaturgical matters.

Course
MUS512: Topics in Medieval Music: Play, Drama, Representation
Jamie Reuland

Exploration of the music-dramatic forms of the tenth through fifteenth centuries, with particular focus on twelfth-century works.

Course
MUS434: Seminar in Ethnomusicology
Gavin Steingo

This seminar exposes participants to both canonical and cutting-edge work in ethnomusicology. By the end of the semester, students will have a thorough knowledge of key question animating the discipline.

Course
MUS350: Studies in African Performance
Gavin Steingo
Olivier Tarpaga

This course presents a cross-disciplinary and multi-modal approach to African music, dance, and culture.

Course
MUS340: Advanced Concepts in Jazz Improvisation: Creating Fresh Vocabulary
Rudresh Mahanthappa

This course will help students to develop new approaches as an improviser via transcribing solos of various jazz icons and analyzing their melodic, harmonic, and rhythmic content.

Course
MUS314: Computer and Electronic Music through Programming, Performance, and Composition

An introduction to the fundamentals of computer and electronic music.

Course
MUS310: Advanced Workshop in Musical Composition
Donnacha Dennehy

A composition course for independent, self-directed composers working in any style. The primary requirement is to compose a substantial piece and present it at our class concert at the end of the semester.

Course
MUS298: Independent Instruction in Voice or Instrument (Non-credit)
Brian Brown
Ronald Cappon
Susannah Chapman
Kevin Deas
Rochelle K. Ellis
John Ferrari
Jacqueline Horner-Kwiatek
Margaret Kampmeier
Francine Kay
David Kellett
Christopher Komer
Sunghae Anna Lim
Ruth Ochs
Alberto Parrini
Michael Pratt
Barbara Rearick
Trineice Robinson-Martin
Jayn Rosenfeld
Jo-Ann Sternberg
Eric Wyrick

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

Course
MUS240: Musical Modernism 1890-1945
Simon A. Morrison

This course is an overview of modernism in European and Euro-American art music, including movements such as symbolism, expressionism, and neoclassicism.

Course
MUS236: Music of the Classical Period
Rob Wegman

An introduction to the history of 18th-century music, giving equal attention to the pre-Classical and Classical periods, and covering France, England and Italy as well as Germany.

Course
MUS231: Princeton University Steel Band
Josh Quillen

The PU Steel Band course will focus on the history and performance practice surrounding the steel drum band and its traditional musics from Trinidad and Tobago.

Course
MUS215: Projects in Jazz Performance

A performance course that focuses on the development of style, concept, and repertoire in the jazz idiom. Students are coached by faculty in extended projects in performance.

Course
MUS214: Projects in Vocal Performance: The Ancient and Modern Consort
Gabriel Crouch
Jacqueline Horner-Kwiatek

A master class format - two 90-minute meetings per week. Student singers work in various ensemble configurations on repertoire primarily from the medieval, renaissance and contemporary realms. Final concert in January 2020.