• CFA MH 732: Mass and Motet in the Renaissance
    Development of cyclic mass and motet in the fifteenth and sixteenth centuries; works of Dufay, Ockeghem, Josquin, Lassus, Byrd, and others. 3 cr.
  • CFA MH 733: Impressionism in Music
    Music in France during the Third Republic (1870-1940) This course offers a comprehensive study of the renaissance of music in France after the Franco-Prussian War, concentrating on Paris as a musical center. It will investigate the rise of societies, schools and groups for music, and landmark events such as the Paris Universal Exhibition of 1889. In addition to an examination of key works by important French composers (including Fauré, Debussy, Satie, Ravel and Les Six), it will assess the impact of Russian music, Wagner, Cocteau, Stravinsky, Diaghilev and Boulanger on the French musical scene. As well as studying the socio-political background to important events, it will look closely at allied arts (especially literary and visual arts) and important movements such as orientalism, impressionism and expressionism. (Knowledge of French language not necessary.) The course will include a visit to the Museum of Fine Art in Boston to see the French Collection of this period, and if possible a field trip to see one or more of the French music concerts in the area during the semester. 3 cr.
  • CFA MH 734: The German Post-Romantics
    Music in Germany and Austria after Wagner and to the end of the Romantic style. Post-Romantic Expression; idealism and realism. Disintegration of classic harmony and development of new concepts of tonality; works of Mahler, R. Strauss, Wolf, Reger, Pfitzner, and Schoenberg. 3cr.
  • CFA MH 735: American Music
    Early music in the colonies. Various attempts to create an individual "American" musical style. Diversity of influences: European, African American, Indian, Spanish-Mexican, religious, jazz, folk song, minstrel, etc. Music of Billings, Lowell, Mason, Gottschalk, MacDowell, Ives, Gershwin, Copland, and others. 3 cr.
  • CFA MH 751: Aesthetics, Criticism, and Historiography
    Issues in aesthetics, criticism, and historiography particularly relevant to musicology, such as the compositional process and reception, the musical work and recording technology, as well as sound, musical style, taste, and canon formation. 3 credits. May be repeated for credit. (Meets with MH 851.)
  • CFA MH 801: Independent Study in Musicology/Ethnomusicology
    Specialized, individually tailored and guided work on projects not connected with a thesis or dissertation, but of particular interest to the graduate student. This course may substitute for a period seminar in the musicology concentrator's program of study. 4 cr. either sem
  • CFA MH 820: Pro-Seminar in Musicology and Ethnomusicology
    Required for graduate students in Musicology and Ethnomusicology. This course provides an overview of the historical development of the disciplines, explores research techniques, and introduces influential theoretical perspectives, including: empiricism, psychology, criticism, representation, gender, and globalization. Fall Semester. 4 credits.
  • CFA MH 821: Seminar: Music of the Middle Ages
    The Greek heritage. Music from Gregory the Great to the death of Dunstable, religious and secular monody: Gregorian chant, troubador music. Origin and development of medieval polyphonic forms and techniques. Major musical manuscript and theoretical writings. Meets with CFA MH 721. 4 cr.
  • CFA MH 822: Seminar: Music of the Renaissance
    Sacred and secular music from the fifteenth to the early seventeenth century. Development of larger religious and secular polyphonic forms: mass, psalmody, hymnody, chanson, frottola, madrigal. Early instrumental forms. Music of Dufay, Ockeghem, Josquin, Gesualdo, Lassus, Palestrina, Gabrieli, and Byrd. Meets with CFA MH 722. 4 cr.
  • CFA MH 823: Seminar: Music of the Baroque
    Topics may include madrigals, monody, early opera, sacred and secular cantatas, individual composers' and national styles, instrumental music, reception, cultural context, notation, analysis, and performance of Baroque music. Permission of instructor. Meets with CFA MH 723. 4 credits. May be repeated for credit.
  • CFA MH 824: Seminar: Music of the Classic Era
    Topics may include opera, symphony, chamber music, the Lied, sacred music, individual composers' and national styles, cultural context, reception, notation, analysis, and performance of Classic music. Permission of instructor. Meets with CFA MU 724. 4 credits. May be repeated for credit.
  • CFA MH 825: Seminar: Music of the Romantic Period
    Topics may include program music, opera, symphony, chamber music, the Lied, sacred music, individual composers' and national styles, cultural context, reception, notation, analysis, and performance of Romantic music. Permission of instructor. 4 credits. May be repeated for credit. (Meets with CFA MU 725.)
  • CFA MH 826: Seminar: Music of the 20th Century
    Topics may include modernism, the replacement of tonality, music of war, opera, symphony, chamber music, sacred music, individual composers' and national styles, cultural context, reception, notation, analysis, and performance of twentieth-century music. Meets with CFA MH 726. Permission of instructor. 4 credits. May be repeated for credit.
  • CFA MH 827: Seminar: Special Topics in Musicology
    Close study of specifically defined areas in the forefront of musicological research. Individual research papers and class research projects as assigned by the instructor. Permission of instructor. 4 cr. May be repeated for credit. (Meets with CFA MU 727.)
  • CFA MH 831: Ethnomusicology and Historical Musicology
    Examines methodologies, theories, and landmark publications that divide and connect the disciplines of Musicology and Ethnomusicology. Topics may include ethnicity, race, (post)-colonialism, positivism, oral and written traditions, analysis, hegemonies (social and ideological), and hybridity. Includes a fieldwork component. 4 credits. May be repeated for credit.
  • CFA MH 836: Music and Liturgy
    This course examines the legacy of music written for liturgical and non-liturgical use, using longer texts. It will trace the origins, formulary, and development of the texts (including discussion of the authors). Case studies from different periods of music history will form the basis of further enquiry. Cultural, social and historical context of the first performance will be discussed, along with an examination of the theology behind the text setting (including, for example the use of numerology and other types of musical symbolism). There will be comparison with other examples in the same genre, discussion of changes in text and approach, and national differences in style and technique. Historically informed performance practice, manuscript and source studies, reception history and comparison of editions will all be used to provide greater understanding of the works. [ 4 cr.]
  • CFA MH 837: Crossroads: Cultural and Musical Perspectives on the Blues
    Examination of the blues in its musical and cultural dimensions. Focuses on defining the blues as a place where cultures and styles meet. Chord structure, cultural background, characteristics, major themes, different regional styles and dialects, and its place in history will be examined along with the cultural idea of "crossroads."
  • CFA MH 841: History of Music Theory 1
    From ancient Greece to A.D. 1600. Emphasis on modal theory, theory of counterpoint, and tuning and temperament. Readings from the original sources. 3 cr.
  • CFA MH 842: History of Music Theory 2
    From A.D. 1600 to present. Emphasis on theories of thorough bass, harmony, tonality, form, rhythm , and contemporary practice. Readings from the original sources. 3 cr.
  • CFA MH 843: Medieval and Renaissance Notation
    Introduction to paleography and codicology. Scripts and writing. The notation of plainchant. Polyphonic notation from the twelfth to the sixteenth century. Lute and keyboard tablatures. Continuous practice in transcribing examples into modern notation and performing from original notations. 4 credits.