Graduate School of Arts and Sciences

Department of Music

The Graduate Program
MA in Music
PhD in Musicology
Courses

The following list reflects the 2006/2007 faculty.

Chairman Victor Coelho

Faculty

Martin Amlin Associate Professor of Music, College of Fine Arts. BM, Southern Methodist University; MM, DMA, Performer’s Certificate, Eastman School of Music

Theodore Antoniou Professor of Music, College of Fine Arts. Graduate, National Conservatory of Music and Hellenic Conservatory of Music (Greece)

Victor Coelho Chairman, Department of Music, College of Arts and Sciences; Professor of Music and Chairman of Musicology, College of Fine Arts. BA, University of California, Berkeley; PhD, University of California, Los Angeles

Richard Cornell Associate Professor of Music, College of Fine Arts. BMus, Longy School/Emerson College; MMus, New England Conservatory; PhD, Eastman School/University of Rochester

André de Quadros Professor of Music, Director of the School of Music, College of Fine Arts. BA, University of Bombay (India); Dip Humanities, MEd, La Trobe University (Australia); Grad Dip Music, Victorian College of the Arts (Australia); Grad Cert of Higher Education, Monash University (Australia)

Samuel Headrick Assistant Professor of Music, College of Fine Arts. BM, MM, University of North Texas; PhD, University of Rochester, Eastman School of Music

Brita Heimarck Associate Professor of Music, College of Fine Arts. BA, Brown University; MA, University of California, Los Angeles; PhD, Cornell University

David Kopp Associate Professor of Music, College of Fine Arts. BA, Harvard University; MM, SUNY Stony Brook; PhD, Brandeis University

Thomas Peattie Assistant Professor of Music, College of Fine Arts. BMus, MA, University of Calgary; PhD, Harvard University

Andrew Shenton Assistant Professor of Music, College of Fine Arts. Houghton Scholar of Sacred Music, School of Theology. BM, London University; MM, Yale University; MA, PhD, Harvard University

Joel L. Sheveloff Professor of Music, College of Fine Arts. BA, City University of New York, Queens College; MFA, PhD, Brandeis University

Roye Wates Professor of Music, College of Arts and Sciences. BA, Birmingham—Southern College; PhD, Yale University

Jeremy Yudkin Associate Professor of Music, College of Fine Arts. BA, MA, Cambridge University (England); PhD, Stanford University

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The Graduate Program

The Department of Music offers graduate courses in musicology, ethnomusicology, and music theory, as well as comprehensive training in music composition. The musicology faculty is strong in medieval, Renaissance, seventeeth-century, eighteenth-century, romantic, music of Bali and India, popular music, and early twentieth-century musical studies; in the history of music theory and criticism; and in research methodology. This is complemented by a distinguished faculty in composition and theory. Lectures by visiting musicologists and composers enrich the regular course offerings. The Boston University library and other major research libraries offer resources to support the highest levels of scholarship and research.

The Graduate School of Arts and Sciences Department of Music maintains close contact with the School of Music in the College of Fine Arts. In fact, all of the faculty members of the Department of Music are also faculty members of the School of Music. Many of the courses and seminars are taken by graduate music students of both Schools. This allows students pursuing graduate studies in musicology, ethnomusicology, music theory, and composition to maintain close contact with the practice of music. The faculty strongly believes that the history and theory of music are complementary components of a single discipline and encourages students to gain expertise in both areas.

The Graduate School of Arts and Sciences Department of Music offers programs leading to the degrees of Master of Arts (MA) in Music with specializations in musicology, music theory, composition, or music education; and Doctor of Philosophy (PhD) in musicology or double concentration in musicology and music theory. The degrees Master of Music (MusM), and Doctor of Musical Arts (MusAD) are offered through the College of Fine Arts. For further information, consult the College of Fine Arts Bulletin or write: College of Fine Arts, 855 Commonwealth Avenue, Boston, MA 02215. E-mail: cfamusic@bu.edu.

Admission In addition to the requirements for admission to the Graduate School of Arts and Sciences, the Department of Music requires the following.

Musicology and Music Theory Majors A research paper on a musical topic. Applicants for the PhD degree submit a copy of their master’s thesis if they have completed one. Graduate Record Examination (GRE) General Test scores are required.

Composition Majors Examples of musical compositions. If these are to be returned, the applicant must enclose an addressed envelope with sufficient postage to cover mailing.

Double Concentration in Musicology and Music Theory Research paper(s) on topic(s) relating to music history and music theory. Graduate Record Examination (GRE) General Test scores are required.

Proficiency Examinations All entering graduate students are required to take proficiency examinations immediately upon beginning their studies at Boston University. Proficiency examinations are given in the following areas: music theory including basic harmony, ear training, form and analysis, orchestration, and counterpoint.

The student who fails to achieve an acceptably high level on the proficiency examinations must fulfill prerequisite work in a manner to be determined and administered by the Department of Music faculty. Students may not register for advanced courses in areas of deficiency until the deficiencies have been resolved. Prerequisite coursework may not be credited toward degree requirements. Proficiency examinations are given only at the regularly scheduled dates, two times each year. Schedules are available at the College of Fine Arts.

MA in Music

The degree in Master of Arts in Music is for (1) students who are working toward entrance to a program for the PhD; (2) performers with academic interests and needs: conductors, organists, and others; (3) students preparing for various positions in the music industry, e.g., music publishing, music criticism, concert management, music broadcasting, and music recording; (4) students working in cognate areas of the humanities that require deeper insight into music; and (5) musicians who need a wider knowledge of music literature and historical principles to satisfy their personal interests and growth.

A minimum of 32 credits is required for the degree of Master of Arts.

Prerequisites Candidates in all fields of specialization must possess an undergraduate degree in music or its equivalent. Students accepted for the program may be required by the faculty to take prerequisite courses if their undergraduate degree was not taken with a concentration in the field of specialization chosen at the graduate level.

Fields of Specialization and Coursework Candidates choose one of the following fields of specialization: musicology, ethnomusicology, music theory, composition, or music education.

CFA MU 649 Music Research Techniques is required of composition and music education majors.

Musicology 3 credits in CFA MU 749 Research and Bibliography; 6 credits in period music history (CFA MU 721 to 727); 3 credits in period music seminars (CFA MU 821 to 826); 6 credits in either CFA MU 831, 832 Medieval and Renaissance Notation I, II or CFA MU 851, 852 History of Music Theory I, II; 3 credits in CFA MU 701 Advanced Tonal Analysis or CFA MU 702 Advanced Analysis in Contemporary Music or CFA MU 601 Analytical Techniques I; 3 credits in CFA MU 921 Research and Directed Study; 4 credits in approved non-music electives, and 4 credits in approved music electives.

Music Theory 3 credits in CFA MU 749 Research and Bibliography; 6 credits in CFA MU 701 and CFA MU 702 Advanced Tonal Analysis and Advanced Analysis in Contemporary Music; 3 credits in either CFA MU 801 or CFA MU 802 Seminar in Theory; 3 credits in CFA MU 620 Schenkerian Analysis I; 3 credits in CFA MU 852 History of Music Theory II; 3 credits in either CFA MU 851 History of Music Theory I or CFA MU 720 Schenkerian Analysis II; 3 credits in an advanced musicology course; 2 credits in a composition course chosen from CFA MU 605 Fugue, CFA MU 606 Modal Counterpoint, CFA MU 705 Advanced Topics in Counterpoint, and CFA MU 706 Advanced Tonal Composition; 2 credits in CFA MU 912 Research and Directed Study in Theory/Composition; and 4 credits in approved electives.

Composition 18 credits to be chosen from CFA MU 575 Graduate Composition, CFA MU 705 Advanced Topics in Counterpoint, and CFA MU 703, 704 Orchestration I, II; 6 credits in advanced music history; 8 credits from approved electives.

Music Education 12 credits in music education; 9 credits in music history and music theory; 11 credits in approved electives; and CFA MU 961, 962.

Language Requirement German and one other foreign language are required for musicology and ethnomusicology majors. One foreign language required for theory majors.

Comprehensive Examination Musicology majors must pass a comprehensive examination in music theory (one-hour exam) and a comprehensive examination in musicology (two-hour exam). The comprehensive examination in musicology will test the student’s knowledge in the following areas: (1) styles of Western art music from the Middle Ages through the 20th century; (2) basic research methods in musicology; and (3) recent developments in the field of musicology and ethnomusicology.

Terminal Project Musicology majors must write a thesis. The student will first submit to the Chairman of the department a proposal consisting of: (1) a description of the subject to be addressed and the methods of research involved, (2) a chapter outline, and (3) a bibliography. After the proposal has been approved, the candidate enrolls in CFA MU 921 Research and Directed Study. The candidate submits two copies of the final draft to the Chairman of the department.

Composition majors must write an orchestral composition requiring a minimum of 15 minutes in performance or an instrumental, vocal, or chamber ensemble composition requiring a minimum of 20 minutes in performance time.

Music education majors may present a thesis or, with the approval of the faculty in the Department of Music, take comprehensive examinations.

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PhD in Musicology

The Doctor of Philosophy degree in Musicology or Ethnomusicology is designed for those who are preparing themselves (1) for research and writing; (2) for college or university teaching in musicology; or (3) to be executives of music firms requiring concentrated knowledge and experience of music and music research, including editing and publishing music of all periods and styles. The curriculum for this degree is structured in breadth as well as in depth and is therefore of equal value to conductors, music school administrators, and performers and pedagogues at the very highest levels of scholarship and performance.

A minimum of 32 credits is required for the degree of Doctor of Philosophy in musicology, 42 credits for the PhD with double concentration in musicology and theory.

Prerequisites Candidates in musicology or ethnomusicology must possess a master’s degree usually with a concentration in musicology or its equivalent. Deficiencies must be made up without credit. Candidates in the double concentration must possess a master’s degree with a major in musicology, music theory, or composition. Additional prerequisites may be required if deemed necessary by the faculty.

Fields of Specialization and Course Requirements Candidates choose one of the following fields of specialization: musicology or the double concentration in music history and music theory.

Musicology/Ethnomusicology Candidates elect 3 credits in courses in period music history not taken in the master’s program; 9 credits in period music seminars (CFA MU 821 – 826); 6 credits in either CFA MU 831/832 or CFA MU 851/852, depending on which were taken at the master’s level; 4 credits approved nonmusic electives; 4 credits in music theory; and 6 credits in CFA MU 921 Research and Directed Study in Music (dissertation).

Double Concentration Candidates in Musicology and Music Theory elect 6 credits in period music history courses; 6 credits in period seminars (CFA MU 821 – 825); 6 credits in CFA MU 851, 852 History of Music Theory; 9 credits from: CFA MU 617 Pedagogy of Music Theory; CFA MU 701 Advanced Tonal Analysis; CFA MU 702 Advanced Analysis in Contemporary Music; CFA MU 705 Advanced Topics in Counterpoint; CFA MU 706 Advanced Tonal Composition; CFA MU 801, 802 Seminars in Theory; 6 credits in either CFA MU 921 Research and Directed Study in Musicology, or CFA MU 912 Research and Directed Study in Music Theory; 3 credits in approved music theory electives; 6 credits in approved music history or theory electives, determined on the basis of previous coursework.

Language Requirement The candidate must demonstrate a reading knowledge of German and one other foreign language.

Qualifying Examination The student may take the qualifying examinations for the doctorate on the completion of a minimum of 30 credits applicable toward the degree. The student must have the written approval of the advisor for each attempt at these examinations. As part of the evaluation of the written and/or oral examinations, the examiners may specify areas for further study above the minimum credit requirement for the degree, whether or not the examinations were passed. In the case of an unsuccessful attempt, the examiners may specify such further requirements before allowing the student to repeat the examinations. The six-hour minimal requirement of research and directed study may be undertaken only after the successful completion of the examinations.

The qualifying examination, written and oral, consists of four sections: (1) topics in the applicant’s primary area of research; (2) topics in a secondary area; (3) ethnomusicology (if not chosen already), aesthetics, performance practice, critical theory, etc.; (4) theory/analysis. The examination may not be taken more than three times. Application must be made to the director of the Department by the specified date on the College of Fine Arts calendar.

Residency Requirement Every doctoral candidate must be enrolled as a full-time student for at least one academic year. See General Requirements for the PhD on this website.

Dissertation Prospectus See the General Requirements for the PhD section on this website.

Dissertation The candidate must write a dissertation that constitutes an original contribution to the field of musical knowledge.

Dissertation Defense On completion of the dissertation, the candidate must pass an oral defense on the subject matter and the background of the dissertation.

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Courses

The schedule of courses to be offered by the School of Music during a given semester may be found in the “College of Fine Arts” section of the Class Schedule.

Graduate Research Techniques

CFA MU 649 Music Research Techniques

Topics include the library, basic research materials, primary and secondary sources, reading and writing about music, editions and editing, and sound recordings. 2 cr.

CFA MU 749 Research and Bibliography

Methods and materials of research in music; bibliography and bibliographical aids; individual treatment in special areas; style in formal writing; leading historians of past and present; introduction to music. 3 cr.

Musicology

CFA MU 621 History and Literature of the Symphony Orchestra I

Orchestral music from Corelli to Schubert; the concerto grosso, the Mannheimers, the Berliners, Viennese classicism, Sturm und Drang, and early romantic symphony. 3 cr.

CFA MU 622 History and Literature of the Symphony Orchestra II

Orchestral music from Mendelssohn to Mahler; changing concepts of the symphony after Beethoven; further developments in instrumentation; and the symphonic tone poem; emphasis on major symphonies and orchestral works of the nineteenth and twentieth centuries. 3 cr.

CFA MU 624 History and Literature of the Keyboard I

From the backgrounds in organ, clavichord, harpsichord, and music of the Baroque period to the sonatas and character pieces of Schubert. 3 cr.

CFA MU 625 History and Literature of the Keyboard II

From the piano music of Mendelssohn to contemporary repertory. Emphasis on impact of virtuosity and perfection of idiomatic writing in the keyboard style of the nineteenth century. 3 cr.

CFA MU 626 History and Literature of the Concerto

Comparison of Baroque, Classic, romantic, and twentieth-century approaches to the concerto. Role of virtuoso in development of the form. 3 cr.

CFA MU 627 History and Literature of the Art Song

German Lied, French art song, and other European art songs in the nineteenth and twentieth centuries; emphasis on Schubert, Schumann, Brahms, Wolf, Mussorgsky, Fauré, and Debussy. 3 cr.

CFA MU 628 History and Literature of Large Choral Forms

Development of larger choral forms from the Renaissance to the present: oratorios, cantatas, masses, and combined forms — sacred and secular. 3 cr.

CFA MU 629 History and Literature of the Opera I

Beginnings of Baroque opera in Florence through culmination of Classic opera in Vienna. Stylistic and historical study of representative works by major composers from important centers of opera in Europe: the camerata and Monteverdi, A. Scarlatti and Neapolitan opera, Purcell and Handel, Gluck and his reforms, Lully and French opera, and the operas of Mozart. 3 cr.

CFA MU 630 History and Literature of the Opera II

The number opera, comic opera, and return to tragedy. Rossini, Donizetti, and Bellini; sociopolitical backgrounds of Italian opera in the nineteenth century; Verdi’s Aida, Otello, Falstaff; verismo and its exponents. Influence of Wagner on Italian opera; Giacomo Puccini. 3 cr.

CFA MU 631 History and Literature of the Opera III

Romantic opera and music drama. Operas of Cherubini, Spontini, Auber, Meyerbeer, Berlioz, Weber, Gounod, Bizet, Massenet, and Humperdinck. Music drama and influence of Wagner. 3 cr.

CFA MU 633 History and Literature of Chamber Music I

Chamber music from its beginnings through the classic period. Emphasis on Haydn, Mozart, and Beethoven. 3 cr.

CFA MU 634 History and Literature of Chamber Music II

Chamber music from the beginning of the romantic period through the twentieth century. Emphasis on Schubert, Mendelssohn, Brahms, Bartók, and Schönberg. 3 cr.

CFA MU 635 Music of Claudio Monteverdi

The achievements of the greatest figure of the transitional era between the Renaissance and the baroque, featuring his nine published volumes of madrigals, his Scherzi musicali, surviving dramatic works, and his church music. 3 cr.

CFA MU 636 Music of Johann Sebastian Bach

His life and work in Arnstadt, Mulhausen, Weimar, Cöthen, and Leipzig. Works for keyboard, orchestra, solo, choral, and combined media; the late works. Function of Bach’s music in his church and collegium musicum activities; recent scholarship. 3 cr.

CFA MU 637 Music of George Frideric Handel

His operas, oratorios, concerti grossi, organ and clavier works, and solo and chamber pieces. Apprenticeship in Hamburg, Italian travels, and work in Hanover and in England. 3 cr.

CFA MU 638 Music of Franz Joseph Haydn

Emphasis on the symphonies, chamber music, songs, oratorios, and masses. Haydn’s contributions to symphonic form in the classic era; his activities at Esterháza, Vienna, and London. 3 cr.

CFA MU 639 Music of Wolfgang Amadeus Mozart

Early training and travels: Salzburg and Vienna; Mozart and Haydn. Emphasis on Mozart’s contributions to literature of the symphony, chamber music, concerto, sonata, opera, song, and mass; recent Mozart research and chronology. 3 cr.

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CFA MU 640 Music of Ludwig van Beethoven

His work in relation to his life and times; contributions to expansion of classic symphonic and sonata principles and development techniques. Emphasis on his symphonies, chamber music, sonatas, and concertos; Beethoven’s influence on the later nineteenth-century musicians. 3 cr.

CFA MU 641 Music of Franz Peter Schubert

Early training and influences. The songs; chamber music, symphonies, and stage works. Religious music and piano music. The new critical edition with emphasis on the latest research and findings. 3 cr.

CFA MU 642 Music of Johannes Brahms

The classical romantic. Brahms and Beethoven; the symphonies and germinal motivic construction. Brahms and Schumann; chamber music, songs, and requiem. Brahms and Wagner; the composer as musicologist. 3 cr.

CFA MU 643 Music of Richard Wagner

Rienzi to Lohengrin. Aesthetics of the music drama; Der Ring des Nibelungen, the Leitmotiv device; Wagner’s prose works. The neo-German controversy in the writings of Hanslick, Kurth, Lorenz, and other analysts; Tristan and the path to the future. 3 cr.

CFA MU 644 Music of Arnold Schönberg

Early period in the post-Wagnerian tradition: Verklärte Nacht, Gurre-lieder. Expressionism and atonality: Erwartung, Pierrot Lunaire. The twelve-tone technique: Five Piano Pieces, String Quartet No. 3; Schönberg as theorist. American period: the late works; influence on the contemporary scene. 3 cr.

CFA MU 645 Music of Igor Stravinsky

Training with Rimsky-Korsakov and early works for the Diaghilev Ballet. Neoclassic period: from the Octet to the Violin Concerto; his writings about music. American period: from Dumbarton Oaks to The Rake’s Progress. His compositions in the serial techniques. 3 cr.

CFA MU 649 Music Research Techniques

The library, basic research materials, primary and secondary sources, reading and writing about music, editions and editing, and sound recordings. 2 cr.

CFA MU 721 Music in the Middle Ages

The Greek heritage. Music from Gregory the Great to the death of Dunstable, religious and secular monody: Gregorian chant, troubador and trouvère music. Origin and development of medieval polyphonic forms and techniques. Major musical manuscript and theoretical writings. 3 cr.

CFA MU 722 Music in the Renaissance Period

Sacred and secular music from the fifteenth to early seventeenth centuries. Development of larger religious and secular polyphonic forms: masses, psalmody, hymnody, chanson, frottola, madrigal. Early instrumental forms: dance, canzone, ricercar, fantasia. Music of Dufay, Ockeghem, Josquin, Gesualdo, Lassus, Palestrina, Gabrieli, and Byrd. 3 cr.

CFA MU 723 Music in the Baroque Period

Music in the seventeenth and first half of the eighteenth centuries: from Monteverdi and Schütz to Bach and Handel. Rise of new forms and growth of instrumental music: opera, oratorio, cantata, trio-sonata, solo sonata, concerto grosso, aria, fugue, and dance suite. 3 cr.

CFA MU 724 Music in the Classic Period

Galant style of the eighteenth century. Musical sensibility and emergence of the classical idiom. The Mannheimers and early Italian symphonists; Carl Philipp Emanuel Bach in Berlin and further developments in Paris, London, and Vienna. Haydn, Mozart, and Beethoven. 3 cr.

CFA MU 725 Music in the Romantic Period

The nineteenth century. Intellectual and literary foundations of the romantic movement. Beethoven’s legacy. Expansion of the symphony and orchestra. Romantic expression through the Lied, symphonic poem, character pieces, programmaticism, virtuosity, cyclical treatment. Music of Schubert, Mendelssohn, Schumann, Brahms, Berlioz, Liszt, Wagner, and Bruckner. 3 cr.

CFA MU 726 Music in the Twentieth Century I

Schönberg, Berg, and Webern. Dissolution of the tonal system and development of the serial principle of construction. The Viennese atonalists during late German romanticism and French impressionism. 3 cr.

CFA MU 727 Music in the Twentieth Century II

Excluding the twelve-tone and serialist composers. Bartók, Hindemith, Stravinsky, Prokofiev, and Ives. Relationship to traditional harmonic principles and to formal structures of the past. Influence of folk and national materials. 3 cr.

CFA MU 732 History of Performance Practice

Choral and instrumental performance practices from medieval times to the present. Ornamentation and improvisation. Notation problems. Pitch, tuning, and temperament. Tempi and dynamics. Early instruments and early music. Traditional interpretation. Style and period. Growth and development of the orchestra. Editorial practices. 3 cr.

CFA MU 733 Medieval Polyphony

The creation and development of polyphonic music, from its uncertain origins in the ninth century through the schools of Compostela, St. Martial, and Notre Dame, all the way to the secular and sacred works of the late-fourteenth-century “mannerists.” 3 cr.

CFA MU 734 History of Musical Instruments

Musical instruments from earliest times to the present. Classification by types. Analysis of construction and performance limitations: range, idiomatic techniques, special effects, materials, and acoustical properties. Relation to social, political, economic, and scientific factors during specific epochs. 3 cr.

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CFA MU 738 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 MU 739 Sixteenth-Century Secular Vocal Forms

French chanson, German Lied, Italian frottola and madrigal, vilanelle, English madrigal and ayre, the air de cour. Dissemination of styles. 3 cr.

CFA MU 740 English Secular Music of the Seventeenth Century

From the late Elizabethan period to the death of Purcell. English virginal school, madrigal, and ayre. Early English consort music. The declamatory continuo song. Music for theatre, masque, and early opera. Publications of John Playford. Music of Byrd, Ferrabosco, Coperario, Dowland, Morley, William and Henry Lawes, Gibbons, Locke, Blow, and Purcell. 3 cr.

CFA MU 741 Music Under the Tsars and Soviets

Musical effects of the Westernization of Russia by Peter the Great and his successors. Relations of Russian language to Russian music. Russian music from Glinka to Scriabin and its influence on the West. Music in the Soviet Union. Special emphasis on works of Mussorgsky and Tchaikovsky. 3 cr.

CFA MU 742 Impressionism in Music

Music of Satie, Debussy, Ravel, Scriabin, Respighi, Griffes, and other impressionists in and outside of France. Techniques and devices of impressionism. Sources of the style. Major impressionistic works and their influence on music of the twentieth century. 3 cr.

CFA MU 743 The German Postromantics

Music in Germany and Austria after Wagner and to the end of the Romantic style. Postromantic expression; idealism and realism. Disintegration of classic harmony and development of new concepts of tonality; works of Mahler, R. Strauss, Wolf, Reger, Pfitzner, and Schönberg. 3 cr.

CFA MU 744 American Music

Early music in the colonies. Various attempts to create an “American” style. Diversity of influences: European, African American, Indian, Spanish-Mexican, religious, jazz, folk, minstrel, etc. Music of Billings, Lowell, Mason, Gottschalk, MacDowell, Ives, Gershwin, Copland, and others. 3 cr.

CFA MU 746 Music Aesthetics and Criticism

A survey of critical thought on music from the eighteenth through the twentieth centuries. Eighteenth-century theories of imitation and effect; aesthetics of opera; vocal vs instrumental music. Nineteenth-century controversies: absolute vs program music; music drama vs number opera. Composer-critics from E.T.A. Hoffmann, Schumann, Berlioz, and Wagner to Debussy, Schönberg, Ives, and Sessions. Major trends in twentieth-century criticism as seen in the writings of Tovey, Rosen, Kerman, Meyer, Adorno, and Dahlhaus. 3 cr.

CFA MU 749 Research and Bibliography

Methods and materials of research in music. Bibliography and bibliographical aids. Individual treatment in special areas. Style in formal writing. Leading historians of the past and present. Introduction to music. 3 cr.

CFA MU 821–826 Period Seminars in Music

Prereq: graduate standing as music major, corresponding 700-level courses in period music histories, or approval of instructor. Special problems in history and analysis of music. Individual research projects, special assignments. 3 cr.

CFA MU 821 Seminar: Music of the Middle Ages

CFA MU 822 Seminar: Music of the Renaissance Period

CFA MU 823 Seminar: Music of the Baroque Period

CFA MU 824 Seminar: Music of the Classic Perio

CFA MU 825 Seminar: Music of the Romantic Period

CFA MU 826 Seminar: Music of the Twentieth Century

CFA MU 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. 3 cr.

CFA MU 829 Contemplating Ethnomusicology

Examines the discipline of ethnomusicology as the study of music in relation to its cultural context. Topics include myth and meaning in world music, the West and the world, colonial and post-colonial musics and the globalization of world music, transcription and notation, performance practice and the learning process, culture and performing arts of Bali, Indonesia. 3 cr

CFA MU 831, 832 Medieval and Renaissance Notation I, II

Principles of mensural notation used in polyphonic ensemble music from the thirteenth through the sixteenth centuries. Practice in transcribing examples into modern notation. Transcription of lute and keyboard tablatures, and history and principles of earlier notational systems. 3 cr. each, 1st & 2nd sem.

CFA MU 851, 852 History of Music Theory I, II

Survey of work and contributions of musical theorists from ancient Greece to the present. Readings in original where possible. Emphasis on work of Ptolemy, Boethius, Guido, de Vitry, Tinctoris, Gafori, Glarean, Zarlino, Galilei, Cerone, Praetorius, Mersenne, Rameau, C. P. E. Bach, Kirnberger, Riepel, Koch, Weber, Marx, Hauptmann, Riemann, Schenker, and others. Individual projects. 3 cr.

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Theory and Composition

CFA MU 575 Graduate Composition

Original work in advanced problems of musical composition. May be repeated for credit. 3 cr.

CFA MU 601 Analytical Techniques I

Systematic and empirical investigations into formal and compositional procedures or selected masterworks from the tonal repertoire. Lectures, individual analytical projects. Credit not applicable to MusAD in Composition. 3 cr.

CFA MU 602 Analytical Techniques II

Methodology and critical discussion of the theory and techniques of Heinrich Schenker and his followers. Lectures leading to individual projects. Credit not applicable to MusAD in Composition. 3 cr.

CFA MU 603 Instrumentation II

Intermediate-level scoring for chamber combinations, orchestras and bands, and combined forms. 2 cr.

CFA MU 605 Fugue

Analysis and writing of examples of eighteenth-century styles of canons and fugues. 2 cr.

CFA MU 606 Modal Counterpoint

Analysis and writing of sixteenth-century vocal styles based on the practices of Palestrina, Lassus, and others. 2 cr.

CFA MU 607 Music for Theatre and Film

Not offered 2007/2008

CFA MU 609, 610 Theory Practicum

Not offered 2007/2008

CFA MU 615 Contemporary Techniques I

Analysis and original application of such techniques as polyharmony, atonality, pandiatonicism, linear counterpoint, multirhythms, and aleatory types. 2 cr. each, 1st & 2nd sem.

CFA MU 616 Contemporary Techniques II

Not offered 2007/2008

CFA MU 617, 618 Pedagogy of Music Theory I, II

Not offered 2007/2008

CFA MU 620 Schenkerian Analysis I

Introduction to the theory and analytic method developed by Heinrich Schenker and his followers. Exercises in Schenkerian technique leading to the analysis of short forms. Readings from Schenker and Schenker-oriented theorists.

CFA MU 701 Advanced Tonal Analysis

Prereq: CFA MU 601. Advanced work in tonal, structural, and rhythmic analysis; analysis of late nineteenth-century music. 3 cr, Fall semester, alternate years.

CFA MU 702 Advanced Analysis in Contemporary Music

Structural problems in tonal music; principles of serial organization, rhythm, texture, and form. Contemporary problems in style and syntax. 3 cr, Fall semester, alternate years.

CFA MU 703 Orchestration I

Not offered 2007/2008

CFA MU 704 Orchestration II

Prereq: CFA MU 603. Scoring for modern orchestras, ensembles, choruses, bands, and combined media. Variable cr, 1st & 2nd sem.

CFA MU 705 Advanced Topics in Counterpoint

Not offered 2007/2008

CFA MU 706 Advanced Tonal Composition

Prereq: CFA MU 301. Advanced compositional projects imitating styles and procedures of various homophonic genres, including variation, rondo, and sonata; problems of continuity in tonal movements. 2 cr.

CFA MU 709 Advanced Techniques of Computer and Experimental Music

Not offered 2007/2008

CFA MU 710 Special Topics in Theory and Analysis

Close study of specifically defined areas in theory and analysis. Individual papers and projects assigned by the instructor. (May be repeated for credit.) var. cr.

CFA MU 719 Doctoral Proseminar

Preparation for doctoral qualifying examination in music theory; may be required by a department prior to student’s applying to take qualifying examinations. Students may be required to repeat course without credit. 3 cr.

CFA MU 720 Schenkerian Analysis II

Not offered 2007/2008

CFA MU 801, 802 Seminar in Theory

Prereq: CFA MU 601 or equivalent. CFA MU 801: speculative studies in tonal music; investigations into unique and general problems of musical structure, materials, organization, and aesthetics. CFA MU 802: parallel studies in twentieth-century areas. 3 cr. each, Spring semester, alternate years.

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Music Education

CFA MU 764 Instrumental Music in Schools

Organization of beginning instrumental program; articulation of instrumental instruction in elementary, junior high, and senior high school. 2 cr.

CFA MU 771 Humanities and Related Arts in Education

For teachers of music, art, literature, and social studies, and administrators. Objectives, organization and content, resources, and use of instructional media. 3 cr.

CFA MU 787 Programmed Instruction in Music Listening

Advanced study in programmed instructional materials for use in the elementary and secondary school music listening programs. 3 cr.

CFA MU 861 History and Philosophy of Music Education

Music history and pedagogy, correlation of philosophies in music and education, development of attitudes and methodology, U.S. and European antecedents. 3 cr.

CFA MU 862 Curriculum Organization in Music Education

Philosophies and objectives of music in public education; scope and sequence of curriculum appropriate for general choral and instrumental instruction. 3 cr.

CFA MU 864 Critique in Music Education

Required of all master’s candidates who plan to do a thesis. Survey of literature and research in music education; formulation in bibliography; intensive and extensive study in one area by each student, culminating in a project using research technique. May be repeated for credit with consent of instructor. 3 cr.

CFA MU 865 Administration and Supervision of Music Education

Nature and scope of supervision; relationships, procedures, techniques; organization and improvement of curriculum; administration; development of evaluative criteria. 3 cr.

CFA MU 866 Contemporary Trends in Music Education

Potentials of trends and practices based on changing objectives, content, processes, and evaluation in music education; study of experimental and innovative programs. 3 cr.

CFA MU 867 Doctoral Seminar

Scope and sequence development of specific college courses in music, preparation and exchange of course syllabi, discussion of evaluation criteria used in subject matter and skill courses, and laboratory work in specific areas of college curriculum. May be repeated for credit. 3 cr.

CFA MU 868 Seminar: Teaching of Music in Higher Education

Historical and psychological development of music offerings at the college level; comparative analysis of curricula in the major divisions of music; relationship of music to general education, professional fields, and other subjects. 3 cr.

CFA MU 869 Administration of Music in Higher Education

Historical development of music teaching in higher education, administrative policies, faculty organization, and teacher load; academic and musical standards, student relations, equipment standards, physical environment, and community relations and functional programs. 3 cr.

Directed Study or Research

Hours arranged; all courses may be repeated for credit.

CFA MU 849 Musicology and Research

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. 3 cr.

Published by Trustees of Boston University
One Sherborn Street
Boston, MA 02215

31 October 2007
Boston University
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