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  • CFA ME 203: Introduction to Music Teaching and Learning
    Development of a personal orientation to music teaching and learning through course readings, discussions, observations of varied music teaching contexts, and peer teaching experiences. Critical exploration of contemporary music education practices. Includes an exploration of music teacher identity and an overview of the historical, philosophical, psychological, and sociological foundations of music education. Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Philosophical Inquiry and Life's Meanings.
    • Philosophical Inquiry and Life's Meanings
  • CFA ME 306: Elementary General Music Methods
    Use research and theory on musical development to select instructional approaches, plan learning activities, and create assessments for kindergarten through grade 5 general music. Practice pedagogical skills in class and in field placements. Required for Music Education Majors who seek licensure. 4 cr. This course fulfills a single unit in each of the following BU Hub areas: The Individual in Community, Teamwork/Collaboration.
    • The Individual in Community
    • Teamwork/Collaboration
  • CFA ME 307: Secondary General Music Methods
    Philosophical foundations and objectives of music programs in grades 5 through 12. Development of teaching materials and presentation of representative lessons; techniques of analysis and evaluation. Learners will participate in a semester-long Living Learning Community alongside Boston- residents as a way to study local and global issues that may be addressed by art educators 2cr. [Required for Music Education Majors.] Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Global Citizenship and Intercultural Literacy.
    • Global Citizenship and Intercultural Literacy
  • CFA ME 330: Music Education Lab Instrumental 1
    This laboratory is designed to prepare students to provide group instruction in instrumental music. Students will progress through a variety of rehearsal techniques (including adaptations) related to teaching grade 0.5-2 (beginning) music for bands and orchestras.
  • CFA ME 331: Music Education Lab Choral (Elementary/Middle School)
    Choral lab students will engage in peer teaching. Student learning outcomes include upper elementary and middle school choral repertoire, rehearsal strategies, conducting, Professional Standards for Teachers, differentiated instruction, and strategies for incorporating English Language Learners. Effective Spring 2026, this course fulfills a single requirement in the following BU HUB area: Creativity/Innovation.
    • Creativity/Innovation
  • CFA ME 344: Technology for Musicians
    Students will obtain essential skills in technologies to support music careers. Topics will include computer notation, audio and MIDI recording and editing, document design, self-promotion and responsible uses of social media. Students will also explore technologically enhanced and supported performance. Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Digital/Multimedia Expression.
    • Digital/Multimedia Expression
  • CFA ME 382: Intro to Access and Equity in Music Education
    This class will focus on differentiated instruction in the music classroom. Students will learn to develop pedagogical strategies for teaching students who are English Language Learners, have developmental disabilities, exhibit social/emotional issues, or have advanced musical abilities and interests.
  • CFA ME 408: Supporting Students with Dis/Abilities in Music
    In this course students will identify major issues embedded in communities that affect how individuals with disabilities are included or excluded through the social forces and social structures that exist in society, particularly in school settings and music education. Students will examine major social theories related to identity in the disability community, and the role of individuals both internally and externally to the disability community. Effective Spring 2026, this course fulfills a single unit in the following BU Hub area: Global Citizenship and Intercultural Literacy, Social Inquiry I.
    • Global Citizenship and Intercultural Literacy
    • Social Inquiry I
  • CFA ME 411: Practicum 1 K-5
    Undergraduate Prerequisites: Prior to student teaching practicum, students must complete all licens ure courses with a grade of C or higher, earn a cumulative GPA of 2.7, and pass the MTEL exams. - Pre-K-5. Supervised student teaching in grades K-5, weekly seminar, individual conferences with University supervisor. Prior to student teaching practicum, students must complete all licensure courses with a grade of C or higher, earn a minimum CUM GPA of 2.70, and pass the Massachusetts Tests for Teacher Licensure (MTEL).Six weeks; minimum 150 hours required. 4 cr. each semester.
  • CFA ME 412: Practicum 2 5-8
    Undergraduate Prerequisites: Prior to student teaching practicum, students must complete all licens ure courses with a grade of C or higher, earn a cumulative GPA of 2.7, and pass the MTEL exams. - Supervised student teaching in 5-8; weekly seminar, minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor. Prior to student teaching practicum, students must complete all licensure courses with a grade of C or higher, earn a minimum CUM GPA of 2.70, and pass the Massachusetts Tests for Teacher Licensure (MTEL). 4 cr. each semester.
  • CFA ME 413: Practicum 3 8-12
    Undergraduate Prerequisites: Prior to student teaching practicum, students must complete all licens ure courses with a grade of C or higher, earn a cumulative GPA of 2.7, and pass the MTEL exams. - Supervised student teaching in grades 8 through 12; six weeks, minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor. Prior to student teaching practicum, students must complete all licensure courses with a grade of C or higher, earn a minimum CUM GPA of 2.70, and pass the Massachusetts Tests for Teacher Licensure (MTEL). 4 cr. each semester.
  • CFA ME 430: Music Education Lab Instrumental 2
    This laboratory is designed to prepare students to provide group instruction in instrumental music. Students will progress through a variety of rehearsal techniques (including adaptations) related to teaching grade 3-4 (intermediate) music for bands and orchestras.
  • CFA ME 431: Music Education Lab Choral (High School)
    Choral lab students will engage in peer teaching. Student learning outcomes include upper middle and high school choral repertoire, rehearsal strategies, conducting, Professional Standards for Teachers, differentiated instruction, and strategies for incorporating English Language Learners.
  • CFA ME 460: Special Topics in Music Education
    Topics will vary by semester. Topics include such diverse areas as teaching marching band, beginning jazz improvisation, producing musicals, etc. 1 credit, repeatable to a maximum of 5 credits.
  • CFA ME 499: Independent Study: Undergraduates
    Individual projects arranged between undergraduate students and faculty, often in areas outside of the regular curriculum. Plans must be submitted in advance of registration. Variable credit.
  • CFA ME 506: Elementary General Music Methods
    Use research and theory on musical development to select instructional approaches, plan learning activities, and create assessments for kindergarten through grade 5 general music. Practice pedagogical skills in class and in field placements. Required for Music Education Majors who seek licensure. 4 cr. This course fulfills a single unit in each of the following BU Hub areas: The Individual in Community, Teamwork/Collaboration.
    • The Individual in Community
    • Teamwork/Collaboration
  • CFA ME 507: Secondary General Music Methods
    Philosophical foundations and objectives of music programs in grades 5 through 12. Development of teaching materials and presentation of representative lessons; techniques of analysis and evaluation. Learners will participate in a semester-long Living Learning Community alongside Boston- residents as a way to study local and global issues that may be addressed by art educators 2cr. [Required for Music Education Majors.] Effective Fall 2018, this course fulfills a single unit in the following BU Hub area: Global Citizenship and Intercultural Literacy.
    • Global Citizenship and Intercultural Literacy
  • CFA ME 513: Instrumental Lab Ensemble Non-Licensure
    INSTLABENSNONLS
  • CFA ME 530: Music Education Lab Instrumental 3
    This laboratory is designed to prepare students to provide group instruction in instrumental music. Students will progress through a variety of rehearsal techniques (including adaptations) related to teaching grade 4-5 (intermediate-advanced) music for bands and orchestras.
  • CFA ME 531: Music Education Lab Choral (Elementary/Middle School)
    Effective Spring 2026, this course fulfills a single requirement in the following BU HUB area: Creativity/Innovation.
    • Creativity/Innovation
  • CFA ME 544: Technology for Musicians
    Students will obtain essential skills in technologies to support music careers. Topics will include computer notation, audio and MIDI recording and editing, document design, self-promotion and responsible uses of social media. Students will also explore technologically enhanced and supported performance. Effective Fall 2020, this course fulfills a single unit in the following BU Hub area: Digital/Multimedia Expression.
    • Digital/Multimedia Expression
  • CFA ME 582: Intro to Access and Equity in Music Education
    This course description is currently under construction.
  • CFA ME 608: Supporting Students With Dis-Abilities
    The purpose of this course is to provide pre-service and in-service educators with research-based strategies they can use to include all students in their music classrooms, ensembles, and private studios. Students will examine barriers to inclusion as well as current theories and pedagogies regarding disability rights and education. Topics covered will include ableism, crip theory, Universal Design for Learning, lesson planning and assessment for all learners. This course is open to all majors.
  • CFA ME 611: Practicum 1 K-5
    Undergraduate Prerequisites: Prior to student teaching practicum, students must complete all licens ure courses with a grade of C or higher, earn a cumulative GPA of 2.7, and pass the MTEL exams. - Pre-K-5. Supervised student teaching in grades K-5, weekly seminar, individual conferences with University supervisor. Prior to student teaching practicum, students must complete all licensure courses with a grade of C or higher, earn a minimum CUM GPA of 2.70, and pass the Massachusetts Tests for Teacher Licensure (MTEL).Six weeks; minimum 150 hours required. 4 cr. each semester.
  • CFA ME 612: Practicum 2 5-8
    Undergraduate Prerequisites: Prior to student teaching practicum, students must complete all licens ure courses with a grade of C or higher, earn a cumulative GPA of 2.7, and pass the MTEL exams. - Supervised student teaching in 5-8; weekly seminar, minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor.Prior to student teaching practicum, students must complete all licensure courses with a grade of C or higher, earn a minimum CUM GPA of 2.70, and pass the Massachusetts Tests for Teacher Licensure (MTEL). 4 cr. each semester.
  • CFA ME 613: Practicum 3 8-12
    Undergraduate Prerequisites: Prior to student teaching practicum, students must complete all licens ure courses with a grade of C or higher, earn a cumulative GPA of 2.7, and pass the MTEL exams. - Supervised student teaching in grades 8 through 12; six weeks, minimum of 150 clock hours; weekly seminar; individual conferences with University supervisor. Prior to student teaching practicum, students must complete all licensure courses with a grade of C or higher, earn a minimum CUM GPA of 2.70, and pass the Massachusetts Tests for Teacher Licensure (MTEL). 4 cr. each semester.
  • CFA ME 618: Supporting Students with Dis/Abilities in Music
    In this course students will identify major issues embedded in communities that affect how individuals with disabilities are included or excluded through the social forces and social structures that exist in society, particularly in school settings and music education. Students will examine major social theories related to identity in the disability community, and the role of individuals both internally and externally to the disability community.
  • CFA ME 630: Music Education Lab Instrumental 2
    MUSED LAB INS2
  • CFA ME 631: Music Education Lab Choral (High School)
    Choral lab students will engage in peer teaching. Student learning outcomes include upper elementary and middle school choral repertoire, rehearsal strategies, conducting, Professional Standards for Teachers, differentiated instruction, and strategies for incorporating English Language Learners. (3 credits)
  • CFA ME 701: History and Philosophy in Music Education: Perspectives and Practice
    Introduction to historical and philosophical foundations of music education. An intensive reading and research seminar course in the history of educational thought and practices in music education in the United States from the Colonial Period to modern times. The course has two distinct disciplinary components; historical research and philosophical discourse in music education.
  • CFA ME 702: Psychology and Sociology in Music Education: Perspectives and Applications
    The purpose of this course is to critically examine psychological and sociological concepts as they relate to music and education. Topics include key issues and concepts in psychology and sociology; psychology as related to music educational processes; problems encountered in the sociology of music education; and cultural influences that affect both the psychology of the individual and sociological aspects of group dynamics. 4.0 credits.
  • CFA ME 711: Introduction to Music Education Research
    Overview of music education research. Research design and methodology to include development of hypotheses, problems and subproblems, qualitative research, survey, observational, causal comparative, experimental, evaluation, and historical research. Ability to understand, interpret, and use research in teaching and learning. Designed primarily for master's degree students.
  • CFA ME 730: Music Education Lab Instrumental 3
    MUSED LAB INS3
  • CFA ME 740: Introduction to Music Education Research
    In this course, students become acquainted with a variety of research that informs music education, learn both to critique and apply that research, and develop their scholarly writing skills.
  • CFA ME 741: History and Philosophy in Music Education: Perspectives and Practice
    The purpose of this course is to examine and discuss historical and contemporary philosophical ideas and problems in music and music education. A goal is for students to develop a sharpened sensitivity to past and present thought (primarily, but not limited to historical and philosophical thought) in the field of music education in order to better inform their own curricular and instructional choices.
  • CFA ME 742: Introduction to Theories in Music Education
    In this 7-week course, doctoral students are introduced to major theoretical perspectives that shape research, practice, and policy in music education. Through critical reading, discussion, and guided application, students will examine foundational philosophical, social, cultural, and educational theories that inform how problems, practices, and phenomena in music education are understood and studied.
  • CFA ME 750: Theoretical and Cultural Applications in the Music Classroom
    The purpose of this course is to cultivate historical and cultural understandings of varied repertoire and musical engagements. Throughout the course, current understandings in music theory, music analysis, musical transmission, and socio- historical contexts will be both examined and interrogated.
  • CFA ME 753: Introduction to Early Childhood Music Education
    This course will provide an overview of early childhood development and education. Students will then investigate the musical development of very young children, and explore the components of research-based, developmentally appropriate early childhood music education. Special attention will be paid to the role of play in childhood and designing and implementing play-based musical experiences.
  • CFA ME 759: Curriculum in Music Education: Vision and Design
    This is the final course in the Master of Music in Music Education degree program, and it lasts for 14 weeks. In the course, students focus on the development of a site-specific music curriculum, including the philosophical, psychological, and sociological foundations for that curriculum as well as the prospective implementation and assessment of the project. Because the nature of the project is to bring together elements from all previous coursework, it is graded as the Comprehensive Examination for the degree program.
  • CFA ME 799: 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. 4.0 credits.
  • CFA ME 841: Quantitative Research Methods
    PreReq: CFA ME859 Quantitative research methods and their application to educational research contexts; quantitative research design, sampling techniques, reliability and validity, descriptive and inferential statistics, quantitative studies in music education, and using software to conduct statistical analysis.
  • CFA ME 842: Qualitative Research Methods
    PreReq: CFA ME859 This course introduces graduate students to key issues and concepts in qualitative research. Students develop skills in conducting interviews, and observations; they gain experience with ethnographic and narrative techniques including transcribing, coding, interpreting data and presenting results of analysis.
  • CFA ME 850: Music Education, Justice, and Equity
    This course builds on other social justice-based courses offered by the Music Education Department: CFA ME 545: Power, Marginalization, and Privilege in Music Education; ME 751 Community Music; and ME 550 Empowering Song -- Music with Heart, Body, and Mind. Although this course is a companion to the above courses, it is self-contained and discrete. For students who have taken any of the above-mentioned courses, they may already be awakened to the issues of systemic marginalization. For others, this course may serve as a general introduction to social justice and music education. This course intends to cover a body of equity and justice theories as a means of impelling a reconsideration of music education curricula to deepen the students' reflection, and to foster a strong connection between justice and music education. Students will participate in group discussions and individual reflections to increase awareness of justice and equity particularly as they relate to themselves as music educators. As part of this process, students will engage in project development. Upon completion of the course, students should be better prepared to engage in acts of social justice and to work for music education as a force for social change.
  • CFA ME 859: Problems, Theory, & Literature 1
    PreReq CFA ME750: In this course students begin the process of transitioning from their roles as graduate students to their roles as scholars. Topics and activities include scholarly reading and writing; theories and conceptual frameworks; constructing a research problem, rationale, and research questions; and creating an outline for a scholarly literature review.
  • CFA ME 899: Independent Project/Directed Study
    Specialized, individually tailored and guided work on projects not connected with a thesis, dissertation or other terminal document, but of particular interest to the graduate student. Variable credit.
  • CFA ME 921: Research and Directed Study in Music Education
    Students will refine a research problem and rationale, engage critically with theoretical frameworks and relevant scholarly literature, and align appropriate research methods. Section A1 (for online DMA students) is a week-long residency on campus in Summer II; all other courses must be completed prior to enrollment. Section B1 (for on-campus DMA students) is to be completed in the last semester of coursework, Fall or Spring sem. 1 cr.
  • CFA MH 105: Music Appreciation
    Basic materials of music; analysis of masterpieces of music with reference to cultural background; group attendance of concerts with preliminary discussion period. Course does not presuppose a technical knowledge of music.
  • CFA MH 106: Music and Culture
    This course introduces music across history, genre, and cultures, examining music's relationship to politics, race, religion, and identity. We'll approach music as a human activity enmeshed in social, political, economic, philosophical, religious, ecological, and individual contexts. Effective Fall 2019, this course fulfills a single unit in the following BU Hub area: Aesthetic Exploration.
    • Aesthetic Exploration
  • CFA MH 211: History & Literature of Music 1
    Historical survey of music tracing the history, performance, cultural significance, and development of musical styles from the Middle Ages to approximately the end of the Baroque. Required for all students in the BM and BA Music routes. Effective Fall 2018, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Historical Consciousness, Research and Information Literacy.
    • Aesthetic Exploration
    • Historical Consciousness
    • Research and Information Literacy
  • CFA MH 212: History & Literature of Music 2
    Historical survey of music from 1750 to the present. Effective Fall 2018, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Historical Consciousness.
    • Aesthetic Exploration
    • Historical Consciousness
  • CFA MH 401: Graduate Music History Review
    Review of music history and literature from the Middle Ages to present. 2 cr.
  • CFA MH 403: Latinos Making Music in the United States
    What impact have Latinos and Latinas had on the popular music of the United States? More than you might think. Not only have Latinos in the United States been instrumental in creating globally popular Spanish-language music like salsa, norteno, and reggaeton, they are also central, if usually unacknowledged, in the histories of jazz, rock and hip hop. The history of US music is usually told as the story of interactions between black and white Americans, so what does a multi-ethnic, multi-lingual music history reveal about music in the United States' To answer these questions, we will trace the participation of Latinos, alongside other ethnic groups, in the creation of US popular music from the 19th to the 21st centuries, surveying the musical styles of Latinos in the US and discussing the role of these musics in articulating race, class, gender and sexual identities for US Latinos, their circulation along migration routes, their role in identity politics and ethnic marketing, and their commercial crossover to Anglo audiences. But then, what is Latino in the first place' Many Latinos are of Mexican descent, others from the Caribbean, and others from elsewhere. Some are Spanish-dominant and some only speak English. Some have been here for generations an others arrived last year. Some have been reticent to highlight their Latino identities, and others have put Latino identity and identity politics at the center of their musical projects. How do these different ways of being Latino manifest themselves in musical activities and musical taste? and how, since the early 2000s boom of Latin artists like Shakira, Enrique Iglesias, and Jennifer Lopez, has the music industry sought to market to all of them? Above all, how can we tell these stories in all their richness and complexity? Case studies may include Mexican- American/Chicano, Puerto Rican/Nuyorican and Cuban/American musics; Latin music in golden age Hollywood; Latin dance crazes from mambo to the Macarena; rock en espanol; reggaeton, race politics, and the creation of the "Hurban" market; and the transnational Latin music industries of Los Angeles, New York, and Miami. 4cr Effective Spring 2020, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Global Citizenship and Intercultural Literacy.
    • Aesthetic Exploration
    • Global Citizenship and Intercultural Literacy
  • CFA MH 404: Approaches to Sacred Music East and West
    This course aims to develop a cultural awareness of diversity and global citizenship through a deeper understanding of diverse religious beliefs and sacred music practices. Students will explore civic engagement through participation in several musical subcultures in the Boston area. Effective Fall 2019, this course fulfills a single unit in each of the following BU Hub areas: The Individual in Community, Global Citizenship and Intercultural Literacy, Research and Information Literacy.
    • Global Citizenship and Intercultural Literacy
    • The Individual in Community
    • Research and Information Literacy
  • CFA MH 408: Bob Dylan: Music and Words
    Undergraduate Prerequisites: First Year Writing Seminar (e.g., WR 100 or WR 120) - This course examines Bob Dylan's music and lyrics from 1962 to 1975 in the context of his life, artistic influences, and milieu. We will explore the wealth of criticism and reaction his songs have inspired, paying special attention to questions concerning the nature of his art--for example, his dependence on musical tradition or the relationship between song lyrics and poetry--and past and current critical discussion about his legacy. Effective Fall 2019, this course fulfills a single unit in the following BU Hub areas: Aesthetic Exploration, Writing-Intensive Course.
    • Aesthetic Exploration
    • Writing-Intensive Course
  • CFA MH 409: Music of Black Americans
    The course will study genres of Music of Black Americans in the United States and their appearance in and fusion with literature by African Americans. Emphasis on listening, live performances, student presentations, readings, and discussions. Topics include spirituals, ragtime, blues, jazz, popular music, rhythm and blues, rap, and classical music. Effective Spring 2022, this course fulfills a single unit in the following BU Hub area: Aesthetic Exploration.
    • Aesthetic Exploration
  • CFA MH 412: Popular, Forgotten, and Misunderstood: Popular music of the 1950s
    Undergraduate Prerequisites: First-Year Writing Seminar (CAS WR 120 or equivalent) - "Popular, Forgotten, and Misunderstood: Popular music of the 1950s" seeks to stimulate critical reflections about how popular music of "the Fifties" mirrors, challenges, and complicates conventional wisdom about the era (1945-63). Contemporary representations of the immediate post-world war two period often view the era with nostalgia and/or a sense of distance. We will continually question what people are nostalgic for and/or what they are seeking to distance themselves from. 4 cr
    • Critical Thinking
    • Historical Consciousness
    • Writing-Intensive Course
  • CFA MH 420: Western Composers and Bali
    This course considers the fascination of Western composers with Indonesian gamelan music. Starting with the Paris World's Fair of 1889, we will explore subsequent works by Debussy, Britten, Glass, McPhee, Tenzer, and Ziporyn. Through reading, listening, and analysis, we will unpack the vast array of Balinese and Javanese gamelan musical influences within the compositions of American, Canadian, and European composers since 1903, while considering the historical context. Students will also learn to perform Balinese music on authentic instruments and they will compose music as a creative project. Effective Spring 2022, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Historical Consciousness, Creativity/Innovation.
    • Aesthetic Exploration
    • Creativity/Innovation
    • Historical Consciousness
  • CFA MH 432: History of Jazz
    No prereq; open to all students. A chronological study of the history of -- and topics in -- jazz, from its beginnings to the present, focusing on styles, major performers and recordings, individuality and sound, instruments, voices, and forms, as well as social and cultural issues, such as race, popularity and commercialism, the individual versus and within the group, American identity and global rejection/admiration. Effective Fall 2018, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Social Inquiry I, Critical Thinking.
    • Aesthetic Exploration
    • Critical Thinking
    • Social Inquiry I
  • CFA MH 433: Popular Music and Culture
    This course engages with special topics in popular music and culture, varying depending on the semester. Topics might include specific artists or bodies of work, historical periods, theoretical issues, or methodological and disciplinary concerns about popular music studies.
  • CFA MH 435: Music of Africa
    No prereq; open to all students. A survey of traditional and popular music traditions throughout Sub-Saharan Africa and the diaspora. Emphasis is on music making within its cultural context. Effective Spring 2021, this course fulfills one unit in each of the following BU Hub areas: Global Citizenship and Intercultural Literacy, Digital/Multimedia Expression, and Creativity/Innovation. 4 cr
    • Creativity/Innovation
    • Digital/Multimedia Expression
    • Global Citizenship and Intercultural Literacy
  • CFA MH 436: Musical Culture
    This course offers both an introductory look at four selected regions/countries among the diverse musical cultures around the world: West Africa, Bulgaria, Brazil, and Korea. 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. Because of the vast array of people and cultures within each selected area, this course is necessarily selective and introductory. A variety of scholars and performing artists will be invited to give a workshop on music/dance and discuss their lives as musicians. Over the course of the semester, you will gain an understanding of the myriad ways people use music to construct and individual group identities, the diverse ways groups incorporate music into their lives, and how to understand music within a broader historical, political, and economic context. You will also be introduced to basic musical concepts and terminology, and acquire listening skills that will enable you to better encounter and understand music in this course and beyond. Effective Fall 2019, this course fulfills a single unit in each of the following BU Hub areas: Aesthetic Exploration, Global Citizenship and Intercultural Literacy, Research and Information Literacy.
    • Aesthetic Exploration
    • Global Citizenship and Intercultural Literacy
    • Research and Information Literacy
  • CFA MH 480: Music and Mysticism
    MUSIC&MYSTICISM
  • CFA MH 499: Directed Study: Undergraduates
    Individual projects arranged between undergraduate students and faculty, often in areas outside of the regular curriculum. Plans must be submitted in advance of registration. Variable credit.
  • CFA MH 561: World Music Ensemble
    Learn to perform traditional world music in the context of an ensemble taught by specialists of African, Balinese, Latin American, and many other types of world music. The specific musical style and type of group will change with each semester. Improve your rhythmic skills; lower performance anxiety. Enrollment is open to all students. No previous musical experience is necessary. 1 cr. May be repeated for credit.
  • CFA MH 563: World Music and Culture
    Read, discuss, and begin to understand many traditions of World 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.]
  • CFA MH 609: African-American Spirituals and Their Influence on Contemporary Art, Music, Literature and Dance
    Examines how Spirituals have served as essential touch points for all styles of African-American music, ranging from gospel to classical, and are even frequently samples in hip-hop. Students will study how African American classical composers, including Florence Price, visual artist Aaron David, choreographer Alvin Ailey and American novelist Toni Morrison have utilized spirituals as reference material through direct quotations, themes, variations and performances. By focusing on this musical expression and the strength of human spirit expressed through this music, students will learn how enslaved peoples maintained their dignity, resisted the dehumanizing impact of slavery, and fought to preserve key cultural and linguistic elements even in the midst of the horrible oppression of slavery. Finally, students will examine why Spirituals have played a significant role as vehicles for protest at intermittent points during the twentieth and early twenty-first centuries around the world including Russia, Eastern Europe, China and South Africa. Some of today's well-known pop artists continue to draw on the spirituals tradition in the creation of new protest songs. Examples include Bob Marley's 'Redemption Song' and Bill Bragg's 'Sing their souls back home.'
  • CFA MH 610: Writing about Music
    This course provides students with the tools to write about music across genres. Relying on existing examples, from various historical periods, of program notes, album liner notes, concert and album reviews, and academic, creative, and journalistic writing about music, students will learn the conventions of these different formats of musical writing and hone their own writing skills in order to write about music in the ways necessitated by their professional and personal goals.
  • CFA MH 611: Music in Contemporary Life
    Explores the role of music and sound as social practice, political catalyst, market commodity, site of nostalgia, environment, identity tool, and technology of the self. Enables students to write about sound and music. Addresses music as mood manipulation; noise pollution; musical taste and identity; gendered music; 'urban tribes' and musical subcultures; amateur vs. specialist music-making; the music industry; music as power; notions of authenticity; sound technology. Case studies may include: gym, study, and slow jam playlists; karaoke; the racial politics of crossover; Guitar Hero; music conservatories; mood music and 'cock rock'; barbershop quartets; amateur brass bands; suburban heavy metal; Muzak; advertising jingles; car and café soundscapes.
  • CFA MH 612: Popular Music
    This special topics engages with aspects of popular music. The specific topic will vary by semester.
  • CFA MH 613: Special Topics: Music, Media, Technology
    This special topics engages with music, media, and technology. The specific topic will vary by semester.
  • CFA MH 614: Special Topics: Music, Dance, and the Body
    This special topics engages with themes related to music, dance, and the body. The specific topic will vary by semester.
  • CFA MH 620: Topics in Musical Style
    This course will use original sources, a range of recordings, musicological scholarship, and performer testimonials to examine issues in early music performance through a series of case studies from ca. 1600 to around 1900. We will look at the pertinent scholarship involved in preparing performances, the controversies that arise, and possible solutions. In dealing with music before 1600, issues of instrumentation, notation, ornamentation, and context are both complicated and crucial, and we will examine the relevant scholarship and recordings. After 1800, performance issues can be just as difficult to confirm. One of the goals of the course is to introduce you to the value of using original sources and the many issues - execution, context, flexibility, tempo and other markings and choice of instrument - that arise from them, so that your own performances take into account the various historical issues that are critical for performing, and teaching, this repertoire. The seminar-style course will be based around weekly assignments, student presentations, and classroom discussion.
  • CFA MH 623: History and Literature of Opera
    Rossini, Donizetti, and Bellini; sociopolitical backgrounds of Italian opera in the nineteenth century; Verdi: Aida, Otello, Falstaff; verismo and its exponents. Influence of Wagner on Italian opera; Giacomo Puccini. 3 cr.
  • CFA MH 629: Early Music Studies
    Mini-course offered by the Center for Early Music Studies. Taught by eminent figures in the field of early music, this course is 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.
  • CFA MH 630: Special Topics: Music in Europe
    This special topics engages with aspects of music in Europe. The specific topic will vary by semester.
  • CFA MH 631: Individual Composers
    This course will study the work of a single composer in depth, analyzing the work as a product both of individual style and of historical and cultural context. 3 cr. May be repeated for credit.
  • CFA MH 632: Special Topics: Music: Medieval and Renaissance
  • CFA MH 633: Special Topics: Music: Baroque
    This special topics engages with the Western European Art music from the Baroque period. The specific topic will vary by semester.
  • CFA MH 634: Special Topics: Music in the Classical Period
    This course explores topics related to Western Art Music in the Classical Period.
  • CFA MH 635: Special Topics: Music: Romantic Period
    This special topics engages with aspects of Western art music of the Romantic period. The specific topic will vary by semester.

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Beyond the Bulletin