Music

Faculty of the Department of Music

Thomas Forrest Kelly, Harvard College Professor and Morton B. Knafel Professor of the Humanities (Chair ) (on leave spring term)
Kay Kaufman Shelemay, G. Gordon Watts Professor of Music (Acting Chair, spring term only)
Reinhold Brinkmann, James Edward Ditson Professor of Music (on leave fall term)
Mauro Calcagno, Assistant Professor of Music (on leave 2002-03)
David E. Cohen, Associate of Dudley House, Assistant Professor of Music
Mario Davidovsky, Fanny P. Mason Professor of Music (on leave fall term)
David N. Fallows, Visiting Professor of Music (University of Manchester)
Joshua Fineberg, Assistant Professor of Music
Alexander J. Fisher, Lecturer on Music
Edward Gollin, Lecturer on Music
Robert D. Levin, Dwight P. Robinson, Jr. Professor of the Humanities (Head Tutor)
David Lewin, Walter W. Naumburg Professor of Music
Lewis Lockwood, Fanny Peabody Research Professor of Music
Jameson N. Marvin, Senior Lecturer on Music
Ingrid Monson, Quincy Jones Professor of African-American Music (on leave fall term)
Jeff William Nichols, Associate Professor of Music
Karen Painter, Associate Professor of Music (Assistant Head Tutor) (on leave fall term)
Bernard Rands, Walter Bigelow Rosen Professor of Music
Ruth A. Solie, Visiting Professor of Music (Smith College)
Kurt Stallmann, Assistant Professor of Music
Daniel Stepner, Preceptor in Music
John Stewart, Senior Preceptor in Music
Richard Wolf, Assistant Professor of Music (Assistant Head Tutor) (on leave 2002-03)
Christoph Wolff, William Powell Mason Professor of Music
James D. Yannatos, Senior Lecturer on Music

Undergraduates considering a concentration in Music should meet with the Head Tutor to discuss the program. Prospective concentrators in Music are encouraged to take Music 51 in their freshman year; Music 51 is a prerequisite of Music A. Music A is required of concentrators, and should be taken as early as possible. Students who know they are going to concentrate in Music and do not have piano background should consult with the instructor of Music A immediately upon arrival at Harvard. In order to obtain concentration credit for a course for which such credit is not normally given, students must petition the Department at the beginning of the semester. For students not intending to concentrate in Music, the department ordinarily offers Music 1 and Music 2 every year. Other courses may be taken with permission of the instructor. See also listings in Afro-American Studies, Core Curriculum, Folklore and Mythology, General Education, and Medieval Studies.

Primarily for Undergraduates

*Music Ar. Musicianship
Catalog Number: 4859 Enrollment: Limited to concentrators; the Earlab is open to students concurrently taking another course in the Music Concentration Program.
John Stewart
Half course (fall term; repeated spring term). Hours to be arranged.
Consists of two parts: (1) Basic piano skills involving sight reading, score reading, figured bass realization, harmonization of melodies. Individual or small-group instruction; and (2) Earlab (sight singing, rhythmic studies, melodic/harmonic dictation, and other exercises). Two class meetings per week. In addition, individual instruction in piano playing is given to those not proficient at the keyboard.
Note: Music concentrators are required to enroll in two terms of Music A, starting in the fall term. A special examination is required of Music concentrators to meet the Musicianship requirement. While credit is awarded for suitable progress in the course, concentrators may find it necessary to repeat (audit) all or portions of Music A in order to prepare for this exam (see Concentrator’s Handbook).
Prerequisite: Music 51. However, concentrators are urged to participate (unofficially) in the Earlab portion from the freshman year on.

Music 1a. Introduction to Music I
Catalog Number: 8071
Alexander J. Fisher
Half course (fall term). M., W., (F.), at 10. EXAM GROUP: 3
This course explores about one thousand years of music history (ca. 800-1800), from the medieval through the Classical period. Particular emphasis is given to the liturgical and stylistic context of Gregorian chant and early polyphony; text-music relationships in Renaissance and early baroque compositions; and the works of J. S. Bach, Handel, Haydn, and Mozart.
Note: Music 1a can be taken independently of Music 1b. No prerequisites; no prior knowledge of music is presumed.

Music 1b. Introduction to Music II
Catalog Number: 4952
Alexander J. Fisher
Half course (spring term). M., W., (F.), at 11. EXAM GROUP: 5
Music 1b continues the survey started in Music 1a, beginning with the transition from the Classical to the Romantic period. The course will explore the history of music in its stylistic and cultural contexts, including aspects of form, composition, social significance, and politics. Composers studied will include Beethoven, Schubert, Robert and ClaraSchumann, Liszt, Berlioz, Mahler, Wagner, Bizet, Verdi, Schoenberg, Berg, Stravinsky, Debussy, and later twentieth-century figures.
Note: Music 1b can be taken independently of Music 1a. No prerequisites; no prior knowledge of music presumed.

Music 2. Fundamentals of Music Theory I
Catalog Number: 0645 Enrollment: Limited to 48.
Joshua Fineberg
Half course (fall term). M., W., F., at 2. EXAM GROUP: 7
Open to all students. Provides a practical foundation in basic skills of reading, writing and hearing of classical Western music. Teaching takes place in groups of 10-12, divided according to background, with full group lectures once every second week. While reading knowledge of simple musical notation is helpful, there will be at least one section for students with no previous experience.
Note: May not be counted for concentration. This course has been completely restructured.

Music 3. Fundamentals of Music Theory II
Catalog Number: 5805 Enrollment: Limited to 48.
Joshua Fineberg
Half course (spring term). M., W., F., at 2. EXAM GROUP: 7
The first part of the course concentrates on increasing understanding and fluency in writing within the musical language of “common practice tonality.” The second part of the course looks at twentieth-century techniques for composing music. The final project is a short composition that will be performed during reading period. Teaching takes place in groups of 10-12, divided according to background, with full group lectures once every second week.
Note: May not be counted for concentration credit. This course has been completely restructured.
Prerequisite: Music 2 or permission of the instructor.

Music 4. Introduction to Composition
Catalog Number: 2239 Enrollment: Limited to 16.
Jeff William Nichols
Half course (fall term). M., 2–4, W., at 2. EXAM GROUP: 7, 8
Open to students with little or no prior experience in composition. Explores phrase structure, harmony, counterpoint, and form in a variety of idioms through exercises and short compositions. Also covers basic principles of instrumentation and score preparation.
Note: May not be counted for concentration credit.
Prerequisite: Music 2 or equivalent or permission of the instructor.

Music 5. Intermediate Composition
Catalog Number: 2376
Michael Gandolfi
Half course (spring term). M., 2–4, W., at 2. EXAM GROUP: 7, 8
Continues the exploration of basic compositional principles begun in Music 4, but with a focus on strategies of large-scale organization in music. Students write three pieces during the semester, each exemplifying a different principle of formal structure (e.g. rondo, through composition, and “moment form”).
Note: May not be taken for concentration credit. May be taken independently of Music 4 with permission of the instructor.

*Music 51. Theory I
Catalog Number: 3649
Edward Gollin (fall term) and John Stewart (spring term)
Full course. Tu., Th., at 1, and additional hours to be arranged. EXAM GROUP: 15
Elementary counterpoint and harmony; small forms and chorale harmonization. Concentration on written exercises, ear training, and keyboard.
Note: Music 51 or its equivalent is required of all concentrators. Students planning to concentrate in Music are encouraged to take the course in their freshman year. In any case, concentrators should plan to meet this requirement by no later than the end of the sophomore year.
Prerequisite: Basic theory and ear training skills. For more specific information, consult instructor before the first class meeting.

*Music 91r. Supervised Reading and Research
Catalog Number: 1298
Robert D. Levin and members of the Department
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Open to students wishing to pursue supervised study in an area not covered by the courses currently offered. Students must submit a study proposal to the faculty member with whom they wish to study and a signed proposal to the Department Administrator. May be counted for concentration only with the prior approval of the Department.

*Music 92r. Senior Project
Catalog Number: 2744
Robert D. Levin and members of the Department
Half course (fall term; repeated spring term). Hours to be arranged.
For students doing a Senior Project, when a pertinent regularly listed course does not exist, or is not being offered during the student’s senior year.
Note: Students considering this course should read carefully and well in advance the relevant material in Handbook for Students, under the section of “Fields of Concentration: Music”. Students should note, in particular #3 in the section marked ‘Basic requirements’: “a brief written prospectus . . . must be approved and signed by the instructor, and submitted to the Head Tutor no later than the second week of the semester.” The prospectus must clarify, when appropriate, why no regularly listed course being offered during the student’s senior year is pertinent to the proposed work.

*Music 93r. Supervised Reading and Research
Catalog Number: 8849
James D. Yannatos
Half course (fall term; repeated spring term). Hours to be arranged.
Open to students wishing to pursue supervised study in chamber music. Students must submit a study proposal to Professor Yannatos and a signed proposal to the Department Administrator.
Note: May not be taken Pass/Fail. May not be counted for concentration.

*Music 97r. Tutorial—Sophomore Year: Music History and Repertory
Catalog Number: 0113
Mauro Calcagno
Full course (indivisible). M., W., F., at 10, with additional meeting to be arranged.
For concentrators only. An intensive survey of Western music throughout its history and of selected non-Western musical traditions, providing methods of further study of music in historical and cultural contexts as well as basic knowledge of repertory.
Note: Music 97r is required of all concentrators and should be taken in the sophomore year or earlier by permission. Each half of the course culminates in an examination testing students’ knowledge of a large listening repertory. These examinations must be passed in order to receive credit for the course.
Prerequisite: Music 51 (may be taken concurrently).

*Music 98r. Tutorial — Junior Year
Catalog Number: 5601
Robert D. Levin and members of the Department
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Open to junior candidates for honors in Music who have written permission to enroll from the instructor with whom they wish to work, and also from the Head Tutor in Music. With permission, may be taken for a second term.

*Music 99r. Tutorial — Senior Year
Catalog Number: 1765
Robert D. Levin and members of the Department
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Open to senior candidates for honors in Music who have written permission to enroll from the instructor with whom they wish to work, and also from the Head Tutor in Music. May be counted toward concentration credit only by honors candidates.

For Undergraduates and Graduates

Music 121a. Choral Conducting
Catalog Number: 1550
Jameson N. Marvin
Half course (spring term). M., W., 1–2:30.
An investigation of choral literature of varying styles and genres with emphasis on conducting technique and score analysis.
Note: May not be counted for concentration.
Prerequisite: Choral or ensemble experience; ear training, keyboard, and theory background helpful.

[Music 121b. Advanced Choral Conducting]
Catalog Number: 1675
Jameson N. Marvin
Half course (spring term). Hours to be arranged.
Development of the conductor’s ear, analytical and interpretive skills, rehearsal techniques, and further development of conducting technique related to choral literature from the Renaissance through the 20th century.
Note: Expected to be given in 2002–03.
Prerequisite: Music 121a, Music 51, or conducting and musicianship background.

*Music 125a (formerly *Music 158a). Beginning Orchestration and Conducting
Catalog Number: 8397
James D. Yannatos
Half course (fall term). Th., 2–4. EXAM GROUP: 16, 17
Studies in basic conducting skills related to exercises in 17th- and 18th-century orchestration. Demonstration of stringed instruments.
Note: May not be counted for concentration credit.
Prerequisite: Music 51 or permission of instructor.

*Music 125b. Advanced Orchestration and Conducting
Catalog Number: 8304
James D. Yannatos
Half course (spring term). Th., 2–4. EXAM GROUP: 16, 17
Advanced conducting skills related to studies in tonal, polytonal, atonal, 12-tone and avant-garde orchestration. Demonstration of wind, brass, and percussion instruments.
Prerequisite: Music 154 or permission of instructor.

[Music 126b. Advanced Conducting]
Catalog Number: 4868
James D. Yannatos
Half course (spring term). Hours to be arranged.
Workshop for aspiring conductors with some experience. The technical aspects of conducting and rehearsing in relation to an understanding of the score will be studied with practical classroom exercises using piano and various instrumental groups.
Note: Expected to be given in 2002–03.
Prerequisite: Music 125a, Music 154, and/or permission of the instructor.

*Music 154. Theory II
Catalog Number: 4771
David E. Cohen
Full course. M., W., F., at 11. EXAM GROUP: 4
Tonal harmony, voice leading, and form in the late 18th century (fall term) and the 19th century (spring term), explored through analysis of selected works and compositional exercises. Fall term includes an introduction to species counterpoint.
Note: Required of all concentrators. May not be counted for credit toward an advanced degree.
Prerequisite: Music 51 or equivalent.

Music 155. Modal Counterpoint
Catalog Number: 7710
Edward Gollin
Half course (spring term). M., W., F., at 11. EXAM GROUP: 4
Written work in the Palestrina Style.
Prerequisite: Music 154 or permission of instructor.

Music 156. Tonal Counterpoint
Catalog Number: 3930
Jeff William Nichols
Half course (fall term). M., W., F., at 11. EXAM GROUP: 4
Written work in the Bach Style.
Prerequisite: Music 154 or equivalent.

Music 157x. Tonal Analysis
Catalog Number: 6830
Kurt Stallmann
Half course (fall term). Th., 4–6. EXAM GROUP: 18
Detailed examination of representative tonal compositions.
Note: For undergraduates who have completed Music 154 or equivalent, and strongly recommended for incoming graduate students in composition and musicology.
Prerequisite: Music 154 or permission of instructor.

Music 157y. Analysis of 20th-Century Music
Catalog Number: 4397
Michael Gandolfi
Half course (spring term). Hours to be arranged.
Detailed examination of representative 20th-century compositions.
Prerequisite: Music 154 or permission of instructor.

*Music 160ar. Composition: Proseminar
Catalog Number: 2685
Bernard Rands
Half course (fall term). Hours to be arranged. EXAM GROUP: 3, 4
Work in original composition. Weekly readings and critiques of student compositions. Aims for one concert of new works each term. Occasionally, short exercises given dealing with specific compositional problems.
Prerequisite: Music 154 or permission of instructor.

Music 160br. Composition: Proseminar
Catalog Number: 0949
Bernard Rands
Half course (spring term). Hours to be arranged.
Continuation of Music 160ar.
Prerequisite: Music 154 or permission of instructor.

Music 167r. Electro-Acoustic Composition
Catalog Number: 2357
Kurt Stallmann
Half course (fall term). W., 4–6. EXAM GROUP: 9
Composition and performance involving the electronic medium, analog and digital. Course work centers on projects realized in the electronic studio using synthesizers and computers and includes study of relevant aspects of acoustic and electronic theory. Compositions since 1948 in the genres of musique concrete, “pure” and “live” electronic music, music for instruments and tape and multi-disciplinary works are also studied. Computer music techniques such as synthesis, sampling, MIDI sequencing, digital recording and editing, and live performance techniques are also covered in this course.
Prerequisite: One course in music theory/composition or permission of the instructor.

[Music 178r. Performing Music: India, Iran and Zimbabwe]
Catalog Number: 6366 Enrollment: Limited to 14.
Richard Wolf
Half course (spring term). Hours to be arranged.
This course uses hands-on performance as a point of departure for examining tonal and rhythmic systems of selected musical cultures. Featured this semester are the special listening and performance challenges of three musical traditions: Persian classical, south Indian classical (Karnatak), and Zimbabwean mbira. Examinations include performance and listening; semester project may involve fieldwork, instrument making, or deeper research into one of the three traditions
Note: Expected to be given in 2002–03. Permission of instructor.

*Music 180r. Performance and Analysis: Seminar
Catalog Number: 2294 Enrollment: By audition only, prior to the first meeting.
Robert D. Levin and Daniel Stepner
Half course (fall term; repeated spring term). M., 7–10 p.m.; additional meeting time to be arranged. EXAM GROUP: 9
Representative chamber music of the past and present is prepared for performance in class sessions and private coachings. Intensive class analysis as the basis of musical expression and interpretation.
Note: Open to singers and instrumentalists.

*Music 182. 17th- and 18th-Century Performance Practice
Catalog Number: 1460
Robert D. Levin
Half course (fall term). Tu., 2–4. EXAM GROUP: 16, 17
Articulation, ornamentation, improvisation, and other stylistic domains are considered from the perspectives of historical evidence and modern performance.
Note: May be counted for music concentration credit for Music 192r.
Prerequisite: Music 154 or permission of instructor.

[Music 183 (formerly Music 183). 19th-Century and 20th-Century Performance Practice ]
Catalog Number: 0117
Robert D. Levin
Half course (fall term). Hours to be arranged.
Evolution of performance style from the Classical era to the present day. The decline in the creative role of the performer; the profound changes in the nature of articulation; dynamics; vibrato; virtuosity; performance techniques; the proliferation of myriad individual compositional styles; and the rapid technological developments in musical instruments are explored. Includes examination of contemporary treatises and performance styles. A dialogue between scholarship and performance is encouraged.
Note: Expected to be given in 2002–03. May be counted for music concentration credit for Music 193r.

*Music 190rr. Proseminar: Topics in World Music
Catalog Number: 1312
Richard Wolf
Half course (fall term). F., 12–4:30. EXAM GROUP: 5, 6, 7, 8, 9
The Musical Cultures of Iran. Course focuses on classical, folk, and ritual based musical traditions of Iran using readings, recordings, and modest hands-on performance. Issues include the influence of Islam on the development and contexts for music, the codification of the radif system, relationships between “folk” and “classical” music, the connection between poetic and musical meters, and the life of Persian music in the Boston area. Studetns will be encouraged to supplement their understandings by taking up a Persian instrument (the department owns a set) and learning from musicians in the local Iranian community. Projects may be fieldwork or library based.
Note: By permission of instructor.

Music 190sr. Topics in World Music: Proseminar
Catalog Number: 5605
Deborah Pacini-Hernández
Half course (spring term). Tu., 10–12. EXAM GROUP: 12, 13
/iLatino Popular Music./n Course surveys the production, dissemination and consumption of the most important forms of popular music - e.g. mambo, boogaloo, salsa, conjunto, corrido and banda, to contemporary rock and rap - listened to and danced by U.S. Latinos from World War I to the present. Course work examines the historical and social contexts from which these musical forms have emerged, highlighting the intricate relationship between popular music, migration and the formation of social and cultural identities.

Music 191r. Topics in Medieval and Renaissance Music: Proseminar
Catalog Number: 2524
Mauro Calcagno
Half course (fall term). Tu., 10–11:30. EXAM GROUP: 12, 13
The Madrigal, 1530-1640. An investigation of the secular genre that best embodied the aristocratic ideals of the Renaissance, and made Italy the leader of the European musical scene. Consideration of the artistic, social, and political contexts in which the madrigal developed in cities such as Florence, Rome, Venice, Mantua, Ferrara, and Naples. Focus on composers such as Arcadelt, Willaert, Marenzio, Rore, Gesualdo, and Monteverdi, and their musical “readings” of poems by Petrarch, Tasso, Ariosto, and others. Survey of the English madrigal during the Elizabethan age, including Morley, Weelkes, and Wilbye. Issues of performance, gender, subjectivity, and the role of the printing press in the rise of the genre.
Note: For music concentrators or by permission of instructor.

Music 191rr. Topics in Medieval and Renaissance Music: Proseminar
Catalog Number: 5698
David N. Fallows (University of Manchester)
Half course (spring term). W., 1–3. EXAM GROUP: 6, 7
The Music of Jean Ockeghem.
Note: For music concentrators or by permission of instructor.

Music 192r. Topics in Music from 1600-1800: Proseminar
Catalog Number: 2944
Jen Yen Chen
Half course (fall term). Tu., 3–5. EXAM GROUP: 17, 18
Mozart’s Vienna. Examines the music and culture of Vienna during the years of Mozart’s residence (1781-1791). A selection of the important masterworks composed by Mozart during this decade will be closely studied, and consideration will also be given to the music of other leading composers active in Vienna in this period (Salieri, Hofmann, Vanhal, et al.). The notion of a "High Classical" style which reached its maturity at this time, as well as the impact upon musical life of political and social developments such as the Enlightenment policies of Emperor Joseph II and the increasingly important role of an emergent bourgeois class in the patronage of music, will be investigated with a view to developing a comprehensive view of a distinctive musical culture.

Music 192rr (formerly Music 192r). Topics in Music from 1600-1800: Proseminar
Catalog Number: 3375
Christoph Wolff
Half course (spring term). Tu., 1–3. EXAM GROUP: 15, 16
A critical study of Mozart’s "Die Zauberflöte" and its context: musical, literary, dramaturgical, and philosophical issues.
Note: For music concentrators or by permission of instructor.
Prerequisite: Music 51.

Music 193r. Topics in Music from 1800 to the Present: Proseminar
Catalog Number: 3741
Karen Painter
Half course (fall term). M., 2–4. EXAM GROUP: 7, 8
Mahler in Context. This seminar will examine the major works of Gustav Mahler (symphonies and songs), exploring their break from traditions of the 19th century and influence on compositional developments in the 20th century. A range of theoretical models (narrative, film theory, cultural criticism) will be developed in the interpretation and analysis of the music.

Music 193rr. Topics in Music from 1800 to the Present: Proseminar
Catalog Number: 2618
Edward Gollin
Half course (spring term). Th., 10–12. EXAM GROUP: 12, 13
The Music of Béla Bartók. The course will explore the work of Béla Bartók from a variety of perspectives: analytical, ethnomusicological, compositional. We will consider Bartók’s collection and transcription of folk music and its relation to his own compositions, as well as examine the influence of contemporary Western art music (e.g. Strauss, Scriabin, Debussy, Ravel).
Note: Offered for both undergraduate music concentration credit and graduate credit.
Prerequisite: Music 51; Music 154 (may be taken concurrently).

[Music 194r (formerly Music 190r). Special Topics: Proseminar]
Catalog Number: 2846
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Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2002–03.

Cross-listed Courses

Literature and Arts B-51. First Nights: Five Performance Premieres
[Literature and Arts B-54. Chamber Music from Mozart to Ravel]
[Literature and Arts B-64. The Symphonic Century: Orchestral Music from 1820 to 1914]
Literature and Arts B-65. Music in Fin-de-siècle Vienna: The Origins of Modernism
Literature and Arts B-78. Soundscapes: Exploring Music in a Changing World
Literature and Arts B-80. The Swing Era
[*Visual and Environmental Studies 151cr. Timelines: Sound and the Moving Image: Studio Course]

Primarily for Graduates

*Music Bhf. Exercises in Tonal Writing and Analysis
Catalog Number: 3045
Edward Gollin
Half course (throughout the year). Hours to be arranged.
Includes theory (level of Music 154) as well as keyboard and ear training.
Note: Required of all graduate students. This requirement must be met before admission to the General Examination.

Music 201. Current Methods in Musicology
Catalog Number: 3973
Richard Wolf (fall term) and Christoph Wolff (spring term)
Full course. Fall: Th., 10-12; Spring: M., 2-4. EXAM GROUP: Fall: 12, 13; Spring: 7, 8
An introduction to scholarship, drawing upon the history, theoretical frameworks, and the working methods of historical musicology and ethnomusicology. Fall semester focuses on the introduction to the scholarly study of music with emphasis on the history and methodologies of ethnomusicology. Theories of music in culture, field methods, analytical and notational strategies, and critical tools for scholarship. The spring semester focuses on issues of musical biography, autobiography, and the multi-faceted problems of the relationship between life and works, based on representatives 17th and 18th century examples.
Note: Either semester may be taken independently by students from other departments with permission of the instructor.

[Music 203. Primary Musical Sources at Harvard]
Catalog Number: 5657
Christoph Wolff
Half course (spring term). Hours to be arranged.
A critical examination of manuscript and printed scores, parts, and tablatures, letters and other musical documents from the 14th to the 20th centuries in the Houghton and Isham Libraries.
Note: Expected to be given in 2002–03.

[Music 205. Medieval Notation]
Catalog Number: 4440
Thomas Forrest Kelly
Half course (fall term). Hours to be arranged.
A survey of Western musical notation to 1400.
Note: Expected to be given in 2002–03.

[Music 206r. Research Methods in Ethnomusicology: Seminar]
Catalog Number: 6891
Kay Kaufman Shelemay
Half course (spring term). Hours to be arranged.
An introduction to the theories and methods of ethnomusicological fieldwork, including changing conceptions of the research site, ethical concerns, interview techniques, the ethnography of musical performance, and data analysis and interpretation.
Note: Expected to be given in 2002–03. Individual research project required.

[*Music 207r. Ethnomusicology: Seminar]
Catalog Number: 2149
Richard Wolf
Half course (spring term). Hours to be arranged.
Ethnomusicology of Space and Time. Plumbs theoretical literature in ethnomusicology and allied disciplines on music’s role in making and feeling space, place and time. Indian and Pakistani case studies used as illustrations, but readings are not limited historically or geographically.
Note: Expected to be given in 2002–03. Permission of instructor.

Music 208r. Ethnomusicology: Seminar
Catalog Number: 2232
Kay Kaufman Shelemay
Half course (fall term). W., 2–4. EXAM GROUP: 7, 8
Music and Memory. An ethnomusicological approach to the study of memory, focusing on the musical construction of remembrance.
Note: Permission of instructor required for undergraduates.

Music 209r. Ethnomusicology: Seminar
Catalog Number: 4022
Ingrid Monson
Half course (spring term). M., 10–12. EXAM GROUP: 3, 4
Music of Africa and the African Diaspora: Intersections of Race, Gender, Culture and Performance. Musics from West Africa, South Africa, the Caribbean, and the United States are explored with particular attention to how race, ethnicity, and gender inflect one another in the performance and reception of music and dance from Africa and the African diaspora. This seminar emphasizes an interdisciplinary approach to cultural analysis and will include approaches drawn from the fields of ethnomusicology, African and African American studies, gender studies, anthropology and postcolonial studies.
Note: Permission of instructor required for undergraduates.

[Music 211r. Topics in Medieval Music: Seminar]
Catalog Number: 4433
Thomas Forrest Kelly
Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2002–03.

Music 212r. Chant: Seminar
Catalog Number: 4984
Leo Treitler (City University of New York)
Half course (spring term). Tu., 3–5. EXAM GROUP: 17, 18
Getting to Know Medieval Song. Historical/critical studies of liturgical change, sacred song and secular song traditions of the medieval West. Performance and the means of transmission--oral and written--will be major considerations. The seminar will work throughout toward an awareness of what it is to try to know the music and musical practice and thought of a culture so distant from our own.
Note: Permission of instructo required for undergraduates.
Prerequisite: Permission of instructor required for undergraduates.

[Music 213r. Topics in Medieval Polyphony: Seminar]
Catalog Number: 5802
Thomas Forrest Kelly
Half course (spring term). Hours to be arranged.
Major repertories in early polyphony: Winchester, Saint Martial, Notre Dame. The study of liturgical practice, style, notation, and repertory content in early but substantial repertories.
Note: Expected to be given in 2002–03.

*Music 214r. Renaissance Music: Seminar
Catalog Number: 7825
David Fallows (University of Manchester, UK)
Half course (spring term). F., 1–3. EXAM GROUP: 6, 7
Josquin des Prez.
Note: Permission of instructor required for undergraduate concentrators.

Music 215r. Baroque: Seminar
Catalog Number: 6817
Christoph Wolff
Half course (fall term). M., 2–4. EXAM GROUP: 7, 8
Bach’s B-Minor Mass and related repertoire: a critical examination of primary sources, compositional techniques, stylistic issues, and historical aspects.

Music 215rr. Baroque: Seminar
Catalog Number: 5057
Mauro Calcagno
Half course (spring term). Th., 1–3. EXAM GROUP: 15, 16
Opera in Venice, 1637-1678. The roots of modern operatic experience: relationships between composers and librettists, text and music, plots and their sources, theaters and audiences.

[Music 216r. 18th-Century Music: Seminar]
Catalog Number: 6868
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Half course (spring term). Hours to be arranged.
Topic to be announced.
Note: Expected to be given in 2002–03.

Music 217r. 19th-Century Music: Seminar
Catalog Number: 3702
Ruth Solie
Half course (fall term). Th., 1–3. EXAM GROUP: 15, 16
Historiography of Music. Emphasis on musicological attitudes toward and treatments of the 19th century as a period in music history.
Note: Permission of instructor required for undergraduate concentrators.

[Music 218r (formerly Music 218rr). 20th-Century Music: Seminar]
Catalog Number: 0774
Reinhold Brinkmann
Half course (spring term). Hours to be arranged.
Music and Fascist Ideology.
Note: Expected to be given in 2002–03. Permission of instructor required for undergraduate concentrators.

Music 219r (formerly Music 219br). 19th and 20th Century Music: Song (Lied, mélodie) from Schubert Through Ives
Catalog Number: 2275
Reinhold Brinkmann (spring term) and Karen Painter (fall term)
Half course (fall term; repeated spring term). Fall: Tu., 1–3; Spring: W., 3–5. EXAM GROUP: Fall: 15, 16; Spring: 8, 9
Opera in the 20th Century. Seminar will explore a range of operas from different compositional and aesthetic schools --Strauss’s Elektra, Pfitzner’s Palestrina, Berg’s Wozzeck, Hindemith’s Mathis der Maler, Birtwistle’s Punch and Judy, Betsy Jolas’s Schliemann, and Adam’s Nixon in China. Seminar presentation may focus on recent productions of the traditional repertoire.

Music 220ar. History of Music Theory: Seminar
Catalog Number: 2119
David E. Cohen
Half course (fall term). Th., 3–5. EXAM GROUP: 17, 18
Music Theory from the Italian Renaissance to the French Enlightenment. History of music theory from the period of the Italian Renaissance (c. 1500) to the earlier treatises of Rameau (1720’s). Counterpoint, thoroughbass, triadic harmony. Modes and keys. Speculative theory and acoustics. Influences from Humanism and the Scientific Revolution.

Music 220br. History of Music Theory: Seminar
Catalog Number: 1580
David E. Cohen
Half course (spring term). Th., 3–5. EXAM GROUP: 17, 18
Music Theory from Rameau to Riemann. History of music theory from Rameau in the mid-eighteenth century through Hugo Riemann (c. 1900). Theories of harmony, melody, form, meter, and rhythm, and aesthetics. Influences from contemporary philosophy and science.

[Music 222ar. Schenkerian Analysis I]
Catalog Number: 4055
David E. Cohen
Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2002–03.

[Music 222br. Schenkerian Analysis II]
Catalog Number: 0593
David E. Cohen
Half course (spring term). Hours to be arranged.
Continuation of Music 222ar.
Note: Expected to be given in 2002–03.
Prerequisite: Music 222ar or permission of instructor.

Music 230ar. Topics in Music Theory I
Catalog Number: 5712
David Lewin
Half course (fall term). Tu., 10–12. EXAM GROUP: 12, 13
Music and Text.

Music 230br. Topics in Music Theory II
Catalog Number: 6696
David Lewin
Half course (spring term). Tu., 10–12. EXAM GROUP: 12, 13
Music and Text.

*Music 261r (formerly *Music 268r). Composition: Seminar
Catalog Number: 3326 Enrollment: Limited to 10.
Bernard Rands
Full course (indivisible). Hours to be arranged.
Note: Open only to students prepared for work in original composition.

*Music 262r (formerly *Music 269r). Composition: Seminar
Catalog Number: 4457 Enrollment: Limited to 10.
Mario Davidovsky
Full course (indivisible). Hours to be arranged.
Note: Open only to students prepared for work in original composition.

Music 264r. Electronic Music Composition: Seminar
Catalog Number: 1939
Mario Davidovsky
Full course (spring term). Hours to be arranged.
Intensive work in computer music concentrating on the application of traditional electronic techniques in the computer realm. Includes use of UNIX-based software synthesis tools cmix and csound, and the real-time mixing program, RT.
Prerequisite: Previous knowledge of electronic music techniques, or permission of instructor.

Music 265r. Orchestration
Catalog Number: 2379 Enrollment: Limited to 8.
Joshua Fineberg
Half course (fall term). Th., 1–4. EXAM GROUP: 15, 16, 17
This course focuses on composing for orchestral instruments in large ensembles and orchestras. It alternates classroom meetings and practical sessions with instrumentalists.
Note: Open to composition graduate students, or by permission of instructor.

[Music 270r. Special Topics]
Catalog Number: 3727
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Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2002–03.

[Music 271r. Fromm Seminar in Composition]
Catalog Number: 1311
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Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2002–03.

Music 272r. Special Topics
Catalog Number: 2059
Joshua Fineberg
Half course (spring term). Th., 1–3. EXAM GROUP: 15, 16
The Emancipation of Timbre. Seminar on the role of timbre in contemporary music. Focus is on music since 1970; some time will be spent on sound perception and analysis. It also deals with timbre in the common-practice and modernist repertoires.

Graduate Courses of Reading and Research

*Music 300. Reading and Research for Advanced Students
Catalog Number: 2504
Reinhold Brinkmann 7971, David E. Cohen 1714, Mario Davidovsky 1146, Joshua Fineberg 3749, Thomas Forrest Kelly 1324, Robert D. Levin 3482, David Lewin 1238, Ingrid Monson, Karen Painter 3615, Bernard Rands 1900, Kay Kaufman Shelemay 3483, Kurt Stallmann 2453, Richard Wolf 1386, and Christoph Wolff 4532
Individual work on specific topics not included in the announced course offerings.

*Music 301. Reading and Research
Catalog Number: 6543
Reinhold Brinkmann 7971 (on leave fall term), David E. Cohen 1714, Mario Davidovsky 1146 (on leave fall term), Joshua Fineberg 3749, Thomas Forrest Kelly 1324 (on leave spring term), David Lewin 1238, Lewis Lockwood 7099 (fall term only), Jeff William Nichols 1456 (fall term only), Karen Painter 3615 (on leave fall term), Bernard Rands 1900, Kay Kaufman Shelemay 3483, Kurt Stallmann 2453, Richard Wolf 1386 (on leave 2002-03), and Christoph Wolff 4532
Individual work in preparation for the General Examination for the Ph.D. degree.
Note: May not be counted toward course requirements for Ph.D. degree.

*Music 309. Doctoral Colloquium
Catalog Number: 2260
Kay Kaufman Shelemay
Half course (spring term). Th., 2–4.

*Music 310. Direction of Doctoral Dissertations
Catalog Number: 1819
Reinhold Brinkmann 7971 (on leave fall term), Mario Davidovsky 1146 (on leave fall term), Thomas Forrest Kelly 1324 (on leave spring term), Robert D. Levin 3482, David Lewin 1238, Lewis Lockwood 7099 (fall term only), Ingrid Monson 1591 (on leave fall term), Bernard Rands 1900, Kay Kaufman Shelemay 3483, and Christoph Wolff 4532
Note: May not be counted toward course requirements for the Ph.D. degree.