Graduate level course offerings (academic area)

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Revision as of 22:43, 17 November 2007 by Mam25 (talk | contribs) (Theory)
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for 2007-2008


Composition

Fall:

  • 560
  • 660
  • 661
  • 760
  • 761
  • 585: Composer Studies


Winter:

  • 560
  • 660
  • 760

Musicology

FALL 2007

Music 614: Proseminar

  • Proseminar in Musicology (Christina Gier)

This course provides an intensive orientation to a several approaches to scholarship within the branch of music studies known as musicology. No such course can claim to be comprehensive, but we will survey a broad range of approaches in both traditional and recently developed areas of study. The goal of the course is that you will emerge from it conversant with a variety of issues and appraoches in musicology and better prepared to evaluate scholarship critically and conceptualize your own research.


Music 615: Seminar in Musicology I


WINTER 2008

Music 584: Advanced Studies in Music and Society


Music 587: Advanced Period Studies


Music 616: Seminar in Musicology II

  • Musical Lives: Beyond the Great Composers (David Gramit)

What role has music played in shaping people’s lives and their sense of self? Whose musical experiences have mattered in accounts of music history? How have cultural values shaped accounts of those musical lives that “matter”? What alternatives are there for considering musical life stories? What special challenges does historical study bring to the study of musical lives?

Biography has occupied a prominent but generally limited position within historical musicology. Biographies of great composers are one of the oldest (if sometimes not most respected) genres in the field, but little attention has been directed toward either the issues surrounding biography and autobiography in music or the study of the place of music in the lives of other participants in musical culture. This seminar will explore the place of biographical studies in music history. Participants will consider examples of music-biographical literature and the small musicological literature on biography and autobiography; relevant literature from related disciplines, including social history, the sociology of music, and ethnomusicology; theoretical literature on the genres of biography and autobiography; and selected case studies, involving both collective and individual biography—-as well as engaging in their own research project.

Theory

WINTER 2008

Music 556: Seminar in Music Theory

  • Schenkerian Analysis in History and Practice (Maryam Moshaver)

This course focuses on two interrelated perspectives necessary to understanding Schenkerian theory. The first is a genealogy of Schenker’s analytical approach, and his understanding of the interaction between the harmonic and contrapuntal dimensions of music as elaborated in his theoretical writings, analytical essays and graphs. This study, and familiarity with the notational devices used in graphic analysis will contribute to developing the practical knowledge necessary for both interpreting published analytical graphs, and producing original ones. The second area of focus is from a comparative perspective, which, taking as its starting point Schenker’s often fierce intolerance of the theoretical output of his contemporaries, investigates the implications of Schenkerian theory through considering alternative analytical approaches to tonal music, especially those of Riemann, Kurth and Schoenberg. As a conclusion to the course, we will consider the extensions of Schenkerian practice to pre-tonal and non-tonal repertories. Besides Schenker’s own writings, readings will include essays by Salzer, Jonas, Oster, Zuckerkandl, Schachter, Forte, Katz, Narmour, Wason, Dubiel, Blasius, Snarrenberg, Keiler, Lerdahl, and Korsyn among others.


Music 651: Seminar in Music Analysis

  • Music and Text (Maryam Moshaver)

This seminar examines the many problems and registers of text-music interaction, with a focus on Romantic and Symbolist repertories of the 19th century. Beginning with the mimetic model, where music is seen to imitate or express in its own medium the images and sentiments presented in a poetic text, the seminar will focus on the critiques and radical transformations of this model in the philosophical aesthetics of the 19th century, as well as in the compositional practice Schubert, Schumann, Liszt, Wagner, Wolf, and Debussy. Readings include works by Rousseau, Lessing, Goethe, Novalis, Schlegel, Hoffmann, Hanslick, Nietzsche, Wagner, Baudelaire, Mallarmé, Poe, Adorno, and Goehr among others. On the musical side, in addition to in-class analyses of selected works (focusing on the interaction of poetic form with the thematic, harmonic, and textural parameters of music), we will discuss the musico-poetic analytical approaches proposed by Daverio, Rosen, Hoeckner, McCombie, Perry, Ferris, Kramer, Kurth, and others.

Ethnomusicology and World Music

Please see

Mandatory ethics training for graduate students


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