Music

Faculty of the Department of Music

Ingrid Monson, Quincy Jones Professor of African-American Music, Supported by the Time Warner Endowment (Chair)
Carolyn Abbate, Fanny Peabody Professor of Music
Mauro Calcagno, Associate Professor of Music
Sean Gallagher, Associate Professor of Music (on leave fall term)
Elliott John Gyger, Assistant Professor of Music (fall term only)
Christopher Hasty, Walter W. Naumburg Professor of Music
Thomas Forrest Kelly, Morton B. Knafel Professor of Music (Head Tutor)
Robert D. Levin, Dwight P. Robinson, Jr., Professor of Music (on leave 2007-08)
Jameson N. Marvin, Senior Lecturer on Music
Carol J. Oja, William Powell Mason Professor of Music
Matthew G. Peattie, Lecturer on Music
Alexander Rehding, Professor of Music
Sindhumathi Revuluri, Assistant Professor of Music
Kay Kaufman Shelemay, G. Gordon Watts Professor of Music and Professor of African and African American Studies, Associate of Currier House (on leave 2007-08)
Anne C. Shreffler, James Edward Ditson Professor of Music (on leave 2007-08)
Daniel Stepner, Preceptor in Music
John Stewart, Senior Preceptor in Music
Hans Tutschku, Professor of Music
Richard K. Wolf, Professor of Music
Christoph Wolff, Adams University Professor (on leave 2007-08)
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 term. 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 African and African American Studies, Core Curriculum, Folklore and Mythology, General Education, and Medieval Studies.

Primarily for Undergraduates

*Music Ar. Musicianship
Catalog Number: 4859
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, and improvisation. 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: Limited to concentrators; the Earlab is open to students concurrently taking another course in the Music Concentration Program. 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.

[Music 1a. Introduction to Western Music from the Middle Ages to Mozart]
Catalog Number: 8071
Sean Gallagher
Half course (spring term). M., W., (F.), at 2. EXAM GROUP: 7
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: Expected to be given in 2008–09. Music 1a can be taken independently of Music 1b. No prior knowledge of music is presumed. This course, when taken for a letter grade, meets the Core area requirement for Literature and Arts B.

Music 1b. Introduction to Western Music from Beethoven to the Present
Catalog Number: 4952
Sean Gallagher
Half course (spring term). M., W., (F.), at 2. EXAM GROUP: 7
Music 1b continues the survey started in Music 1a, beginning with the transition from the Classical to the Romantic period. Explores the history of music in its stylistic and cultural contexts, including aspects of form, composition, social significance, and politics. Composers studied include Beethoven, Schubert, Robert and Clara Schumann, 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 prior knowledge of music presumed. This course, when taken for a letter grade, meets the Core area requirement for Literature and Arts B.

Music 2. Foundations of Tonal Music I
Catalog Number: 0645 Enrollment: Limited to 60.
Nicholas Paul Vines
Half course (fall term). M., W., F., at 3. EXAM GROUP: 8
Seeks to develop a greater understanding of musical language, the conceptual foundations of musical literature, and of how critical listening and analysis can be performed. We will make use of traditional prose analysis in the form of written essays as well as musically specific writing and analytical techniques. While reading knowledge of simple musical notation is helpful, there will be at least one section for students with no previous experience.
Note: Open to all students. May not be counted for concentration. This course, when taken for a letter grade, meets the Core area requirement for Literature and Arts B.

[Music 3. Foundations of Tonal Music II]
Catalog Number: 5805 Enrollment: Limited to 48.
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Half course (spring term). Hours to be arranged.
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 20th-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: Expected to be given in 2008–09. May not be counted for concentration credit.
Prerequisite: Music 2 or permission of the instructor.

Music 4. Introduction to Composition
Catalog Number: 2239 Enrollment: Limited to 16.
Julie Rohwein
Half course (spring term). M., at 2, Th., 3–5. EXAM GROUP: 7, 17, 18
Open to students with little or no prior experience in composition. Explores ways of thinking about and organizing basic compositional elements such as melody, harmony, rhythm and instrumental color, as well as developing skills of score preparation and analytical listening. The primary focus of the course is a series of short compositional exercises, culminating in a somewhat longer final project. Workshop performances of students’ music take place throughout the term.
Note: May not be counted for concentration credit.
Prerequisite: Music 2 or equivalent or permission of the instructor.

*Music 51. Theory I
Catalog Number: 3649
John Stewart
Full course. Tu., Th., at 1, and additional hours to be arranged. EXAM GROUP: 15
The harmonic/contrapuntal language of the Bach Chorales in connection to music of the latter half of the 18th century, 19th century, jazz, pop, rock, and other musics. Course proceeds via frequent composition exercises and keyboard harmony assignments. Second semester considers specific issues of fugue and the harmony of instrumental counterpoint in Bach’s The Well-Tempered Clavier. A close reading of Stravinsky’s Poetics of Music leads to a substantial final composition project in any style or genre.
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. Concentrators should plan to meet this requirement by no later than the end of the sophomore year.
Prerequisite: Basic theory and ear training skills. Basic keyboard and sight reading of a Bach Chorale required.

*Music 91r. Supervised Reading and Research
Catalog Number: 1298
Thomas Forrest Kelly 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 Assistant to the Head Tutor. May be counted for concentration only with the prior approval of the Department.

*Music 92r. Senior Project
Catalog Number: 2744
Thomas Forrest Kelly 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 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 term.” 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 Head Tutor.
Note: May not be taken Pass/Fail. May not be counted for concentration.

*Music 97r. Music History and Repertory
Catalog Number: 0113
Matthew Benjamin Gelbart (spring term) and Thomas Forrest Kelly
Full course (indivisible). M., W., F., at 1. EXAM GROUP: 6
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, preferably 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
Thomas Forrest Kelly 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
Thomas Forrest Kelly 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.
Students will conduct the class/choir to gain experience in building and refining their conducting technique. Through repertoire from the 16th - 20th century, students will develop clear, precise and expressive conducting gestures.
Note: May not be counted for concentration credit.
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.
Score Analysis and Interpretation: learning to understand the symbolic notation of musical gesture. Development of the mental-aural image of the score: preparing the conductor’s ear for rehearsal. Rehearsing: how to hear, how to listen, how to fix. Further development of conducting technique: clarity, precision, and informed expressivity revealing musical gesture.
Note: Expected to be given in 2009–10.
Prerequisite: Music 121a, Music 51, or conducting and musicianship background.

*Music 125a. Beginning Orchestration and Conducting
Catalog Number: 8397
James D. Yannatos
Half course (fall term). Th., 2–4.
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.
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 2008–09.
Prerequisite: Music 125a, Music 154, and/or permission of the instructor.

Music 154. Theory II
Catalog Number: 4771
Alexander Rehding (fall term) and Nicholas Paul Vines (spring term)
Full course. Tu., Th., 10–11:30. EXAM GROUP: 12, 13
Continues the work of Music 51 with emphasis on Classical style (Mozart, Haydn, Beethoven). Concepts are developed through composition, keyboard and analytical exercises. Topics include harmony, phrase structure, form, sonata procedures. Spring term also explores chromatic harmony in 18th- and 19th-century music.
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
Mary Lee Greitzer
Half course (spring term). Tu., Th., 3–4:30.
Study of representative styles and genres of 16th-century polyphony. Detailed analytic work will be combined with compositional exercises.
Prerequisite: Music 154 or permission of instructor.

Music 156. Tonal Counterpoint
Catalog Number: 3930
Mary Lee Greitzer
Half course (fall term). Tu., Th., 3–4:30.
Written work in the Bach style.
Prerequisite: Music 154 or equivalent.

[Music 157x. Tonal Analysis]
Catalog Number: 6830
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Half course (spring term). Hours to be arranged.
Detailed examination of representative tonal compositions.
Note: Expected to be given in 2008–09. For undergraduates who have completed Music 154 or equivalent.
Prerequisite: Music 154 or permission of instructor.

Music 157y. Analysis of 20th-Century Music
Catalog Number: 4397
Christopher Hasty
Half course (spring term). Tu., 1–3.
Intensive survey of compositional styles and techniques of the last 100 years. Traditional pitch-centered analysis, including set theory, as well as approaches focusing on rhythm, timbre, gesture, and other elements.
Prerequisite: Music 154 or permission of instructor.

Music 158r. Interpreting Musical Performance
Catalog Number: 9813
Christopher Hasty
Half course (fall term). M., 2–4.
Analyzing Performance. Detailed analysis of selected pieces of music aimed at discovering and evaluating possibilities for execution and perception. Repertory will include fully notated music and music that has no tradition of notation. Among the questions to be addressed are those of perception, notation, and the adequacy of conventional analytic categories.
Prerequisite: Music 154 or permission of instructor.

*Music 160r. Composition: Proseminar
Catalog Number: 8026
Brian Ferneyhough
Half course (spring term). W., 1–3.
Open to students prepared for individual work in composition. Focus on the string quartet, including contemporary repertoire survey, short exercises, and a final project of modest dimensions. Incorporates readings and final performance of students’ work.
Prerequisite: Music 154 or permission of instructor.

[*Music 161r. Advanced Composition]
Catalog Number: 6714 Enrollment: Music concentrators only.
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Half course (spring term). Hours to be arranged.
Advanced course in musical composition. Consists of a mixture of one-on-one and group meetings. Listening Lab included.
Note: Expected to be given in 2008–09.
Prerequisite: Music 154 or equivalent.

*Music 167r. Electro-Acoustic Composition
Catalog Number: 3806 Enrollment: Limited to 12.
Hans Tutschku
Half course (fall term). Tu., 2–4.
Composition/performance involving analog and digital electronic medium. Projects realized using recording gear and computers; study of relevant aspects of acoustic and electronic theory; compositions since 1948 of musique concrete, acousmatic and live-electronic music; synthesis, sampling, digital recording, and live performance techniques.
Prerequisite: One course in theory/composition or permission of instructor.

[Music 171r. Electronic Composition as Collaborative Art]
Catalog Number: 0522
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09.

*Music 180r. Performance and Analysis: Seminar
Catalog Number: 2294 Enrollment: By audition only, prior to the first meeting.
Yehudi Wyner and Daniel Stepner
Half course (fall term; repeated spring term). M., 7–10 pm and an additional meeting 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 182r (formerly *Music 182). 17th- and 18th-Century Performance Practice ]
Catalog Number: 1460
Robert D. Levin
Half course (fall term). Hours to be arranged.
Articulation, ornamentation, improvisation, and other stylistic domains are considered from the perspectives of historical evidence and modern performance.
Note: Expected to be given in 2008–09.
Prerequisite: Music 154 or permission of instructor.

[Music 183r (formerly Music 183). 19th-Century and 20th-Century Performance Practice ]
Catalog Number: 0117
Robert D. Levin
Half course (spring 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 and rapid technological developments are explored. Examination of contemporary treatises and performance styles. A dialogue between scholarship and performance is encouraged.
Note: Expected to be given in 2009–10. May be counted for music concentration credit for Music 193r.
Prerequisite: Music 154 or permission of instructor.

[Music 190r. Topics in World Music: Proseminar]
Catalog Number: 1312
Virginia Danielson
Half course (fall term). Tu., 3–5.
Popular and Classical Music from the Middle East. Using case studies primarily from the Arab world and Turkey, this course explores significant musical styles from Beduin sung poetry to rai and Arab rap. It includes study of classical music systems and aesthetics as well as global popular styles, touching upon the issues of music and devotional life, women in musical life, star performers and the commerce of music and, possibly, dance.
Note: Expected to be given in 2008–09. For music concentrators or permission of instructor.

[*Music 190rs. Topics in World Music: Proseminar]
Catalog Number: 7577
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09.

Music 191r. Topics in Medieval and Renaissance Music: Proseminar
Catalog Number: 2524
Thomas Forrest Kelly
Half course (fall term). W., 3–5.
Chant. Chant in medieval society, and the role of chant (Gregorian and other) in ritual and liturgy. Members of the seminar will be expected to sing, but no previous singing experience or knowledge of musical notation is required. The seminar will examine sources of Gregorian chant in the Houghton Library.
Note: For music concentrators or permission of instructor.

[Music 191rs. Topics in Medieval and Renaissance Music: Proseminar]
Catalog Number: 2871
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Half course (spring term). Hours to be arranged.
Medieval and Renaissance Instrumental Music.
Note: Expected to be given in 2008–09.

Music 192r. Topics in Music from 1600–1800: Proseminar
Catalog Number: 6726
Mauro Calcagno
Half course (spring term). W., 3–5.
Staging Baroque Opera: Monteverdi and Cavalli. Examination of contemporary productions (on video) of L’Incoronazione di Poppea, Il ritorno d’Ulisse, Gli amori di Apollo e Dafne, La Calisto, and Il Giasone, focusing on the relationships between text (libretto and score) and performance, with consideration of seventeenth-century cultural contexts.
Note: For music concentrators of by permission of instructor.

[Music 193r. Topics in Music from 1800 to the Present: Proseminar]
Catalog Number: 3741 Enrollment: Limited to 12.
Carol J. Oja
Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2008–09. For music concentrators or permission of instructor.

Music 193rs. Topics in Music from 1800 - Present - (New Course)
Catalog Number: 5935
Sindhumathi Revuluri
Half course (fall term). Tu., 2–4.
Fin-de-siècle France. Study of various, often conflicting, trends in the music and culture of fin-de-siècle France, from the 1889 World’s Fair to WWI, including the exotic, the modern, and the national, all in the context of empire.

Music 193rt. Topics in Music from 1800 to the Present
Catalog Number: 3230
Sindhumathi Revuluri
Half course (spring term). Th., 1–3.
Global Pop Music. Exploration of current trands and issues in popular music production from around the world, including fusion, sampling, and local and global scenes, through consideration of a broad range of contemporary examples such as MIDival PunditZ, Sigur Rós, Youssou N’Dour, Daddy Yankee, Jay Chou, M.I.A., Sepultura and others.

[Music 193ru (formerly Music 192r). Topics in Music from 1800-Present]
Catalog Number: 2944
Carolyn Abbate
Half course (spring term). M., 2–4.
Wagner.
Note: Expected to be given in 2008–09. For music concentrators or permission of instructor.

Music 194r. Special Topics: Proseminar
Catalog Number: 2846
Jason Stanyek
Half course (spring term). F., 1–3.
Brazilian Music and Globilization. A study of Brazil’s social and political history through its music and dance traditions, emphasizing questions of identity and performance in the international and transnational geographies of globalization.

Music 194rs. Special Topics: Proseminar
Catalog Number: 8586
Richard K. Wolf
Half course (fall term). Tu., 1–2:30; Th.; 1:00 - 2:30.
Gamelan in Performance and Composition. Students explore instruments of the gamelan orchestra in Indoneasian and international musical contexts. In twice weekly meetings, students learn to perform on Harvard’s own gamelan and read about its musical structure and social-cultural contexts. Final projects are papers or compositions.
Note: No previous experience with the gamelan necessary.

[Music 194rt. Special Topics: Proseminar]
Catalog Number: 8523
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09.

[Music 194ru. Special Topics: Proseminar]
Catalog Number: 7341
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09.

Cross-listed Courses

Foreign Cultures 79. Historical and Musical Paths on the Silk Road
Literature and Arts B-51. First Nights: Five Performance Premieres
Literature and Arts B-62. The Politics of Music - (New Course)
[Literature and Arts B-63. Bach in His Time and Through the Centuries]
[Literature and Arts B-68. Opera]
[Literature and Arts B-78. Soundscapes: Exploring Music in a Changing World]
Literature and Arts B-82. Sayin’ Something: Jazz as Sound, Sensibility, and Social Dialogue
Literature and Arts B-85. American Musicals and American Culture - (New Course)

Primarily for Graduates

Music Bhf. Exercises in Tonal Writing and Analysis
Catalog Number: 3045
Nicholas P. Vines
Half course (throughout the year). F., 9:30–11. EXAM GROUP: 2, 3
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 201a. Current Methods in Historical Musicology
Catalog Number: 4975
Carolyn Abbate
Half course (spring term). Tu., 10–12.
An introduction to scholarship, drawing upon the history, theoretical frameworks, and working methods of historical musicology. The course will focus on aspects of critical biography, historical terminology, and musical philology.
Note: May be taken independently by students from other departments with permission of instructor.

Music 201b. Current Methods in Ethnomusicology
Catalog Number: 3995
Richard K. Wolf
Half course (fall term). M., 1–3.
Focuses on the introduction to 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.
Note: May be taken independently by students from other departments with permission of instructor.

[Music 206r. Research Methods in Ethnomusicology: Musical Ethnography]
Catalog Number: 6891
Kay Kaufman Shelemay
Half course (fall 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 2008–09. Individual research project required. Open to undergraduates with permission of instructor.

Music 207r. Ethnomusicology: Seminar
Catalog Number: 2149
Jason Stanyek
Half course (fall term). F., 1–3.
Aurality, New Media and the Politics of Presence.
Note: Open to undergraduates with permission of instructor.

Music 207rs. Ethnomusicology: Seminar
Catalog Number: 8999
Richard K. Wolf
Half course (spring term). M., 10–12, Tu., at 11:30.
Theory & Structure of South Indian Music. Students analyze rhythmic and melodic structures of musical genres, examine local explanatory tools and assess alternate theories of Karnatak Music. Students may supplement their analysis by learning to sing or play the vina.
Note: Open to undergraduates with permission of instructor.

[Music 208r. Ethnomusicology: Seminar]
Catalog Number: 2232
Kay Kaufman Shelemay
Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2008–09. Open to undergraduates with permission of instructor.

Music 209r. Ethnomusicology: Seminar
Catalog Number: 4022
Ingrid Monson
Half course (spring term). W., 10–12. EXAM GROUP: 3, 4
Music and Mali. Examines the musical cultures and history of Malian music, including the traditional musics of the Mande hunters and the Senufo, as well as contempory Malian popular musics that have had a deep impact on "world music." A highlight of the course will be engagement with primary research materials on the music of Neba Solo, a Senufo composer and balafonist, who has modernized traditional Senufo music in Mali to wide acclaim.
Note: Open to undergraduates with permission of instructor.

[Music 212r. Chant: Seminar]
Catalog Number: 4984
Thomas Forrest Kelly
Half course (fall term). W., 3–5.
Note: Expected to be given in 2008–09. Open to undergraduates with permission of instructor.

Music 214r. Renaissance Music: Seminar
Catalog Number: 7825
Sean Gallagher
Half course (spring term). Th., 1–3:30.
Northern music & musicians in 15th-Century Italy.
Note: Open to undergraduates with permission of instructor.

[Music 214rs. Renaissance Music: Seminar]
Catalog Number: 6294
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09.

Music 215r. Baroque: Seminar
Catalog Number: 6817
Mauro Calcagno
Half course (spring term). Tu., 1–3.
Subjectivity and Narrativity from Madrigal to Opera (1580-1640). Examinations of intermedi and madrigal books in connection with issues raised by the early developments of opera, with attention to questions of performativity, construction of subjectivity, and narrative strategies.
Note: Open to undergraduates with permission of instructor.

[Music 216r. 18th-Century Music: Seminar]
Catalog Number: 6868
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09. Open to undergraduates with permission of instructor.

Music 217r. 19th-Century Music: Seminar
Catalog Number: 9814
Thomas Forrest Kelly
Half course (spring term). W., 3–5.
Paris in the 1830s. The decade of the 1830s in Paris, with special emphasis on music as exemplifying the social and artistic currents of a city at the center of European cultural life. Special emphasis on the opera, the theatre, and performances of particular importance.
Note: Open to undergraduates with permission of instructor.

Music 218r. 20th-Century Music: Seminar
Catalog Number: 0774
Carolyn Abbate
Half course (fall term). Tu., 10–12. EXAM GROUP: 12, 13
Opera and Interpretation.
Note: Open to undergraduates with permission of instructor.

[Music 218rs. 20th-Century Music: Seminar]
Catalog Number: 0301
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Half course (fall term). Hours to be arranged.
Note: Expected to be given in 2008–09.

Music 219r. 19th- and 20th-Century Music
Catalog Number: 2275
Carol J. Oja
Half course (fall term). Tu., 1–3.
Historiography of American Music. An exploration of a series of pioneering studies that cut across genres, time periods, and thematic strands, ranging from the Bay Psalm Book to William Billings, Stephen Foster, slave songs, women’s history, and rock. Students will concurrently undertake micro-projects about local musics, both past and present.
Note: Open to undergraduates with permission of instructor.

Music 219rs. 19th- and 20th-Century Music
Catalog Number: 1518
Sindhumathi Revuluri
Half course (spring term). M., 1–3.
Music and the moving image. The relationship between music and film over time, in national contexts, and its effect on other musical productions will be explored. The course considers how music functions alongside other moving images (dance, animation, sound art).

Music 220ar. History of Music Theory: Seminar
Catalog Number: 2119 Enrollment: Open to undergraduates with permission of instructor.
Christopher Hasty
Half course (fall term). W., 10–12. EXAM GROUP: 3, 4

[Music 220br. History of Music Theory: Seminar]
Catalog Number: 1580 Enrollment: Limited to 20.
Ingrid Monson
Half course (spring term). Tu., 4–6.
Note: Expected to be given in 2008–09. Open to undergraduates with permission of instructor.

Music 221r. Current Issues in Music Theory - (New Course)
Catalog Number: 5926
Alexander Rehding
Half course (fall term). Th., 1–3.
Current Issues in Music Theory. Exploration of music theory as institution, discipline, and practice. Discusses relevant questions ranging from pedagogy to cognition and semiotics. Guest lectures, research projects, and writing exercises introduce theorists (and other graduates) to the field.

[Music 222r. Schenkerian Analysis I]
Catalog Number: 4055
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Half course (spring term). Hours to be arranged.
Introduction to the theories and graphing techniques of Heinrich Schenker and his followers through the analysis of selected works.
Note: Expected to be given in 2008–09. Open to undergraduates with permission of instructor.

Music 230r (formerly Music 230ar). Topics in Music Theory I
Catalog Number: 5712
Christopher Hasty
Half course (spring term). W., 1–3.
Repetition. The seminar will consider important topics in musical repetition from a radically temporal standpoint.
Note: Open to undergraduates with permission of instructor.

Music 230rs. Topics in Music Theory II
Catalog Number: 6696 Enrollment: Limited to 20. Open to undergraduates with permission of instructor.
Allen Forte
Half course (spring term). Tu., 3–5. EXAM GROUP: 17, 18
The Life and Music of Cole Porter

[Music 235r. Cognitive Theories of Music]
Catalog Number: 9538
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Half course (spring term). Hours to be arranged.
Note: Expected to be given in 2008–09.

*Music 261r. Composition: Seminar
Catalog Number: 3326 Enrollment: Limited to 10.
Brian Ferneyhough (spring term) and Elliott John Gyger (fall term)
Full course. Hours to be arranged.
For first year graduate students prepared for work in original composition.

*Music 262r. Composition: Seminar
Catalog Number: 4457
Brian Ferneyhough (fall); Helmut Lachenmann (spring)
Full course. Fall: Th., 10–12. EXAM GROUP: Fall: 12, 13
For 2nd year and advanced graduate students prepared for work in original composition.

Music 264ra. Electronic Music Composition: Seminar
Catalog Number: 1939
Hans Tutschku
Half course (fall term). M., 2–4.
Sensors and Interactivity. Intensive work in computer music concentrating on traditional and recent electronic techniques.
Note: Music 264ra may be taken independently of Music 264rb.
Prerequisite: Previous knowledge of electronic music techniques, or permission of instructor.

Music 264rb. Electronic Music: Composition - (New Course)
Catalog Number: 3357
Hans Tutschku
Half course (spring term). Tu., 2–4. EXAM GROUP: 16, 17
Improvisation with Electronics. Intensive work in computer music concentrating on traditional and recent electronic techniques.
Note: Music 264rb may be taken independently of Music 264ra.
Prerequisite: Previous knowledge of electronic music techniques, or permission of instructor.

[Music 265r. Orchestration]
Catalog Number: 2379 Enrollment: Limited to 8.
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Half course (spring term). Hours to be arranged.
Focuses on composing for orchestral instruments in large ensembles and orchestras. It alternates classroom meetings and practical sessions with instrumentalists.
Note: Expected to be given in 2008–09. Open to composition graduate students or with permission of instructor.

Music 270r. Special Topics
Catalog Number: 3727
Brian Ferneyhough
Half course (fall term). Th., 10–12. EXAM GROUP: 12, 13

Music 271r. Fromm Seminar in Composition
Catalog Number: 1311
Helmut Lachenmann
Half course (spring term). Tu., 10–12. EXAM GROUP: 12, 13

Music 272r. Special Topics
Catalog Number: 2059 Enrollment: Limited to 8.
Elliott John Gyger
Half course (fall term). W., 3–5.
Choral Writing. Introduction to a cappella writing. Vocal production; range/register/tessitura; pitching/tuning; phonetics; speech; text setting; multiple texts/languages. Repertoire survey. Compositional exercises for readings by professional vocal octet.

Graduate Courses of Reading and Research

*Music 300. Reading and Research for Advanced Students
Catalog Number: 2504
Carolyn Abbate 5304, Mauro Calcagno 3871, Sean Gallagher 4415 (on leave fall term), Elliott John Gyger 4462 (fall term only), Christopher Hasty 4445, Thomas Forrest Kelly 1324, Robert D. Levin 3482 (on leave 2007-08), Ingrid Monson 1591, Carol J. Oja 4599, Alexander Rehding 4651, Sindhumathi Revuluri 5846 (fall term only), Kay Kaufman Shelemay 3483 (on leave 2007-08), Anne C. Shreffler 4656 (on leave 2007-08), Hans Tutschku 5147, Richard K. Wolf 1386, and Christoph Wolff 4532 (on leave 2007-08)
Individual work on specific topics not included in the announced course offerings.

*Music 301. Reading and Research
Catalog Number: 6543
Carolyn Abbate 5304, Mauro Calcagno 3871, Sean Gallagher 4415 (on leave fall term), Elliott John Gyger 4462 (fall term only), Christopher Hasty 4445, Thomas Forrest Kelly 1324, Ingrid Monson 1591, Carol J. Oja 4599, Alexander Rehding 4651, Sindhumathi Revuluri 5846 (fall term only), Kay Kaufman Shelemay 3483 (on leave 2007-08), Anne C. Shreffler 4656 (on leave 2007-08), Hans Tutschku 5147, Richard K. Wolf 1386, and Christoph Wolff 4532 (on leave 2007-08)
Individual work in preparation for the General Examination for the PhD degree.
Note: May not be counted toward course requirements for the PhD degree.

*Music 309. Doctoral Colloquium
Catalog Number: 2260
Alexander Rehding 4651
Half course (spring term). Hours to be arranged.

*Music 310. Direction of Doctoral Dissertations
Catalog Number: 1819
Carolyn Abbate 5304, Christopher Hasty 4445, Thomas Forrest Kelly 1324, Robert D. Levin 3482 (on leave 2007-08), Ingrid Monson 1591, Carol J. Oja 4599, Alexander Rehding 4651, Kay Kaufman Shelemay 3483 (on leave 2007-08), Anne C. Shreffler 4656 (on leave 2007-08), and Christoph Wolff 4532 (on leave 2007-08)
Note: May not be counted toward course requirements for the PhD degree.