Fall 2017


MH 106 – Music and Culture
T-R 3:30-4:45 FLR 123
Survey of music’s dynamic interface with culture and society, past and present, including music’s relationship to politics, race, religion, and identity. In this course, we will approach music as the study of a cultural product, as a human activity deeply enmeshed in social, political, economic, philosophical, religious, ecological, and individual contexts. We’ll ask what examining music can tell us about cultures and history, and what examining cultures and history can tell us about different musics. Ultimately, we’ll ask what it even means to talk about “music” or “culture” in the first place.

MH 201/MH 211 – History and Literature of Music I (Coelho) 
TR 12:30-1:45 CFA 216
Historical survey of music from Antiquity through the Baroque; 1st sem. Required of all CFA and CAS music majors. 3/4cr

MH 327/MH 427 – The Symphony and Concerto, 1750-1950 (Sholes)
MWF 11:15-12:05 CFA B36
Prereq: CFA MH 201/211 and 202/212. This course examines the evolution of the symphony and concerto during the Classical and Romantic Eras and the first half of the Twentieth Century. It addresses biographical, cultural, and performance contexts; evolution of form and style; and issues of influence and reception. Repertory includes (among others), Vivaldi, J. S. Bach, Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Berlioz, Schumann, Brahms, Liszt, Dvořák, Mahler, Tchaikovsky, Rachmaninoff, Shostakovich, Stravinsky, Schoenberg, Bartók, and Copland. 3/4cr

MH 331/MH 431 – Music and Social Protest (Abe)
TR 5:00-6:15 pm, CFA 216
This course 3/4cr.

MH 332/MH 432 –Jazz Music (Yudkin)
TR 11-12:15  CFA 154
An overview of jazz in all its aspects. Allows students with no previous musical experience to explore the history of jazz through reading, listening, writing assignments, concert attendance, research, and direct involvement with performers. Topics include the historical periods of jazz, biographies of significant jazz musicians (including Louis Armstrong, Dave Brubeck, Miles Davis, Duke Ellington, Billie Holiday, Wynton Marsalis, and Sara Vaughan), repertoire from a variety of styles, oral and literate traditions, and jazz as an art form.

MH 336/MH 436 –Musical Cultures of the World (Abe)
TR 11-12:15  CFA 165
This course offers both an introductory look at several selected regions/countries among the diverse musical cultures around the world. Through these musical practices, we will investigate the ways in which many of these styles are the product of long running intra/intercultural dialogues, struggles, and negotiation processes that continue to produce new hybrid forms.  Over the course of the semester, students will gain an understanding of the myriad ways people use music to construct and individual and group identities, the diverse ways groups incorporate music into their lives, and how to understand music within a broader historical, political, and economic context.  A variety of scholars and performing artists will be invited to give a workshop on music/dance and discuss their lives as musicians. 3/4cr. No prereq.

MH 561 A1- World Music Ensemble: Balinese Music  (Heimarck)
T 6:30-9:15 CFA B36
This ensemble will explore the intricate shadow play music of Bali, Indonesia, Students will  learn to play this music on the original instruments.  Enrollment is open to all university students, graduate and undergraduate,  no prereq. 1cr


MH 402 – Graduate Music History Review (Rowley)
MW 10:10-11

MH 561 A1- World Music Ensemble:  Music from Bali  (Heimarck)
T 6:30-9:15 CFA B36
This ensemble will explore the intricate shadow play music of Bali, Indonesia, Students will  learn to play this music on the original instruments.  Enrollment is open to all university students, graduate and undergraduate,  no prereq. 1  cr.

MH 563 – World Music and Culture: Performance and Culture of Africa (Haas)
W 2:30-5:15 CFA B36
Read, discuss, and begin to understand African music through performance and discussion taught in the oral tradition. Enrollment is open to all students, and no previous musical experience is necessary. No prereq. [Var cr.]

MH 611 A1 – Music Research Techniques (Sholes)
M 2:30-4:15  / Mugar 205
This course is an introduction to basic methods and materials of scholarly research in music. Topics will include writing about music; library, archival, and online research; historiography and criticism; the history of musicology; the recording as text; and scholarly approaches to popular music. 2 cr.

MH 611 B1 – Music Research Techniques (Sholes)
W 2:30-4:15  / Mugar 205
For description, see above.

MH 620 – Baroque Music and Rhetoric (Gordon)
M 2:30-5:15 FLR 133
Traditional methods of analysis—especially a modal/tonal analysis—do not reveal much that is meaningful about music composed between 1600 and 1750.  This course presents a method of analysis based on rhetoric, which provides an historically informed approach to defining not only the essence of baroque style in general but differences between various national styles and the composers’ application of rhetorical principles to the craft of musical composition. The course is structured chronologically and by national styles, with an emphasis on music from England, Italy, France, and Germany.  Students will read about the principles of rhetoric, analyze pieces of their choosing, and focus primarily on how the various aspects of rhetoric can be applied to a successful performance.  3 cr.

MH 629 – Early Music Studies – Fall Mini-courses Mini-courses offered by the Center for Early Music Studies are taught by eminent figures in the field of early music, and offer an intensive, laboratory-style immersion in early music scholarship and performance on selected topics, composers, and repertories, covering vocal and instrumental styles from the Middle Ages to the end of the 18th century. 1 cr. Can be repeated for credit. Fall 2017 offerings are as follows:

MH 629 A1 – Singing and Playing Bach (Joshua Rifkin)
December 2-3, 2017: 10 – 1 pm and 2 – 5 pm both days

These sessions, for singers – and instrumentalists – interested in performing the vocal works of J. S. Bach, will concentrate on the interpretation of recitatives and arias, but potentially of ensemble movements as well. I intend to devote the first session to recitatives, considering questions of textual style and content; text, music, and notation; and manner(s) of accompaniment. Work on arias will follow. For singers, this will again focus on textual-musical relationships, although obviously from a somewhat different angle. For instrumentalists, we shall consider their role both as solo actors and partners to the voice.

As indicated, if there is a sufficient number and distribution of singers to form an ensemble, we shall also look into questions of delivery in choral numbers. We shall have appropriate keyboard instruments for continuo realization. Pitch will be a’ = 415 Hz, possibly also a’ = 465 Hz if early cantatas will figure among the repertory.

I shall appreciate it if participants let me know in advance any specific items they have in mind to work on – and also if they have questions not mentioned above that they would like to see addressed.

MH 629 B1 Recording Early Music, with Grammy Award-Winning Producer Brad Michel
September 30-October 1, 2017: 10 – 1 pm and 2 – 5 pm both days

A hands-on practical approach towards understanding the relationship between performance and recording, and making a good quality recording using personal electronics.

MH 631 –  Nineteenth-Century Virtuosos (Vajjhala)
M 2:30-5:15 / CFA 154
Are virtuosos a different order, separate from proficient and even excellent musicians?  Is virtuosity admirable, or a quality only a philistine would venerate?  Perhaps something in between?  In this course, we will broach these and other questions in the context of the nineteenth century.  Though the designation “virtuoso” had been in use previously, it was in the Romantic era that the term became the nebulous, contentious one it is today.  In its broadest iteration, the objective of this course is to historicize the different guises of virtuosity, and thus to encourage you to develop your own critical apparatus for reading, writing, and thinking about issues of virtuosity. 3 cr.

MH 711 A1- Research and Bibliography (Kostrzewski) 
T 8:00-10:45 am / MUG 205
This course is an introduction to basic methods and materials of scholarly research in music. Topics will include writing about music; library, archival, and online research; historiography and criticism; the history of and contemporary trends in musicology; the recording as text; and scholarly approaches to popular music and music for film. 3 cr

MH 82o A1 – Proseminar in Musicology & Ethnomusicology (Vajjhala)
T 8:00-10:45 am / FLR 281

In this course, we will turn our critical lens onto the (sub-)disciplines of historical musicology and ethnomusicology.  Our study will include
– mapping historiographical trends
– examining influential methodologies
– interrogating the study of music within the academy itself

Assignments will consist of in-class presentations, weekly writing tasks, and other activities that will help prepare you as scholars and teachers of music.

MH 722 / 822 A1 – Josquin Desprez: Music of the Lost Years (Rifkin)
T 3:30-6:15 / FLR 281
Research of the last two decades has done much to clarify the life and works of Josquin Desprez (ca. 1440–1521). We know considerably more about the stations of his life, and we have a better sense of both what music he wrote – or didn’t write – and when he wrote it.

But gaps remain. A particularly crucial one concerns the years between Josquin’s departure from the papal chapel in 1495 and his appointment as maestro di cappella at the northern Italian court of Ferrara in 1503. Although we get fleeting glimpses of him in his native France and, perhaps, in Italy during the intervening years, we cannot really trace his movements. More frustrating still, we have trouble defining a body of music written during this period; and to judge by pieces we can assign with confidence to earlier or later phases of his life, it seems clear that these “lost years” marked a significant – and particularly influential – transition in his work.

Through an examination of biographical evidence, studies of manuscript and early printed sources, and intensive stylistic investigations, I hope to bring us closer to answers concerning the music of a figure whose artistic stature and fascination remain undiminished five centuries after his lifetime.

MH 724 / MH 824 – Seminar in the Music of Mozart (Yudkin)
W 2:30-5:15 / FLR

This course

MH 727 A1/827 A1-  Selected Topics in Musicology: Notation: Context, Theory, and Performance (Cuthbert)
M 2:30-5:15 / FLR 281 
This seminar explores many questions about music notation, across time and cultures. Why has music notation developed in the West the way it has? How did it look in the distant past and how is it still changing today? How is notation different in other cultures? How has notation adapted to a global world? How can music notation be represented by a computer?  Is notation a language? Why have some communities (esp. in popular music) rejected notation? Performance, theory, ethnographical, compositional, historical, and other perspectives on notation will all be welcome in discussion and papers. 3/4 credits

MH 771/871 –  Selected Topics in Ethnomusicology: Sounding the Sacred:  Ethnomusicological Approaches to Sacred Sound   (Heimarck)
R 12:30-3:15 / FLR 281 
This course will investigate connections between music and mysticism utilizing theories of the sacred that inform sacred journeys, sacred text, sacred music, performance and ritual. We will apply these theories towards a deep consideration of qawwali- Sufi devotional music of India and Pakistan, and the Bhakti traditions in India, including kirtan singing and Saiva-Siddhanta philosophy. We will also explore the mantras and philosophy used by the Balinese puppeteer or dalang and the Saiva or Buddha priests in Bali, Indonesia. Finally, we will consider the mystical traditions of Iran, with a particular focus on Persian Sufi poetry (ghazal) and music practices such as zikr, the reciting or recollection of God’s name. 3/4 cr