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Courses for Music

Unify Course Listings

Instrumental Instruction and Performance Courses

Please note: In the instrumental lessons listed below, all offered on a weekly, individual basis, a course of half-hour lessons earns 1 point of credit, and a course of one-hour lessons earns 2 points of credit. Unless otherwise indicated, information on auditions and registration is posted during the fall registration period by the director of Music Performance Program.

MUSI W 1500x-W1501y Early Instruments

Keyboards: K. Cooper.Strings: R. Morley.Wind instruments: TBA. Prerequisite: an audition to be held during registration period in 618 Dodge. Contact the Music Performance Program for further details (854-1257) or access the Music Performance Program from the Music Department web page: www.music.columbia.edu.
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W1500
MUSI
1500
67797
001
TBA K. Cooper 0 / 2 [ More Info ]
MUSI
1500
11251
002
TBA R. Morley 0 / 2 [ More Info ]
Spring 2015 :: MUSI W1501
MUSI
1501
10153
001
TBA K. Cooper 0 [ More Info ]
MUSI
1501
10486
002
TBA R. Morley 0 [ More Info ]

MUSI BC 1501x-BC1502y Voice Instruction

Entrance by audition only. Call Barnard College, Department of Music during registration for time and place of audition (854-5096).
2 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC1501
MUSI
1501
04505
001
TBA G. Archer 13 [ More Info ]
Spring 2015 :: MUSI BC1502
MUSI
1502
04991
001
TBA G. Archer 25 [ More Info ]

MUSI W 1509x-W1510y Organ Instruction

Prerequisite: the instructor's permission.
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W1509
MUSI
1509
63271
001
TBA P. Maki 1 / 10 [ More Info ]
Spring 2015 :: MUSI W1510
MUSI
1510
28626
001
TBA P. Maki 2 [ More Info ]

MUSI W 1513x-W1514y Introduction To Piano

Prerequisite: the instructor's permission.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W1513
MUSI
1513
26887
001
TBA N. Ostbye 27 / 50 [ More Info ]
MUSI
1513
64011
002
TBA M. Skelly 18 / 50 [ More Info ]
MUSI
1513
75227
003
TBA R. Uchida 0 / 50 [ More Info ]
MUSI
1513
65537
007
TBA R. Uchida 0 / 50 [ More Info ]
Spring 2015 :: MUSI W1514
MUSI
1514
76116
001
TBA N. Ostbye 8 [ More Info ]
MUSI
1514
62880
002
TBA M. Skelly 4 [ More Info ]
MUSI
1514
65334
003
TBA R. Uchida 0 [ More Info ]

MUSI W 1515x-W1516y Elementary Piano Instruction

Prerequisites: MUSI W1513-W1514 or the equivalent, and the instructor's permission.
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W1515
MUSI
1515
19084
001
TBA N. Ostbye 2 / 50 [ More Info ]
MUSI
1515
24588
002
TBA M. Skelly 2 / 50 [ More Info ]
MUSI
1515
22673
007
TBA R. Uchida 0 / 50 [ More Info ]
Spring 2015 :: MUSI W1516
MUSI
1516
69419
001
TBA N. Ostbye 2 [ More Info ]
MUSI
1516
15512
002
TBA M. Skelly 2 [ More Info ]
MUSI
1516
60692
003
TBA R. Uchida 1 [ More Info ]

MUSI W 1517x-W1518y Keyboard Harmony and Musicianship

Prerequisite: the instructor's permission. Lessons emphasize the progressive development of a harmonic vocabulary representative of the techniques of the central tradition of 18th- and 19th-century music.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W1517
MUSI
1517
15902
001
TBA N. Ostbye 0 / 50 [ More Info ]
MUSI
1517
69571
002
TBA M. Skelly 0 / 50 [ More Info ]
Spring 2015 :: MUSI W1518
MUSI
1518
28964
001
TBA N. Ostbye 0 [ More Info ]
MUSI
1518
24465
002
TBA M. Skelly 1 [ More Info ]

MUSI W 1525x-W1526y Instrumental Instruction

Prerequisite: an audition to be held during the registration period in 618 Dodge. Contact the Music Performance Program for further details (212-854-1257) and Music Performance Program from the Music Dept web page at music.columbia.edu. Students participating in the orchestra are given preference when applying for private instrumental instruction.
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W1525
MUSI
1525
29194
001
TBA M. Goldberg 0 / 25 [ More Info ]
MUSI
1525
27967
002
TBA E. Bailen 2 / 25 [ More Info ]
MUSI
1525
62864
003
TBA Y. Bond 3 / 25 [ More Info ]
MUSI
1525
11893
004
TBA R. Ramakrishnan 0 / 25 [ More Info ]
MUSI
1525
25846
005
TBA J. Wilson 2 / 25 [ More Info ]
MUSI
1525
22612
006
TBA W. Sutter 0 / 25 [ More Info ]
MUSI
1525
62786
007
TBA A. Blustine 1 / 25 [ More Info ]
MUSI
1525
14313
008
TBA J. Rieske 0 / 25 [ More Info ]
MUSI
1525
71311
009
TBA S. Kahn 2 / 25 [ More Info ]
MUSI
1525
76314
010
TBA S. Palma-Nidel 0 / 25 [ More Info ]
MUSI
1525
13321
011
TBA S. Rotholz 1 / 25 [ More Info ]
MUSI
1525
14835
012
TBA B. Gemeinhardt 0 / 25 [ More Info ]
MUSI
1525
64732
013
TBA A. Kampela
M. Cappelli
4 / 25 [ More Info ]
MUSI
1525
23319
014
TBA P. Cohen 0 / 25 [ More Info ]
MUSI
1525
23082
015
TBA J. Han 1 / 25 [ More Info ]
MUSI
1525
64242
016
TBA K. Cooper 0 / 25 [ More Info ]
MUSI
1525
60992
017
TBA V. Bodner 0 / 25 [ More Info ]
MUSI
1525
75210
018
TBA M. Truesdell 1 / 25 [ More Info ]
MUSI
1525
16490
019
TBA L. Kosma 2 / 25 [ More Info ]
MUSI
1525
74740
020
TBA M. Seltzer 0 / 25 [ More Info ]
MUSI
1525
73266
021
TBA G. Flowers 0 / 25 [ More Info ]
MUSI
1525
72941
022
TBA R. Stewart 0 / 25 [ More Info ]
MUSI
1525
15784
023
TBA S. Adams 1 / 25 [ More Info ]
MUSI
1525
69630
024
TBA A. Neu 1 / 25 [ More Info ]
MUSI
1525
73980
025
TBA J. Thompson 0 / 25 [ More Info ]
MUSI
1525
70790
026
TBA C. Beroukhim 2 / 25 [ More Info ]
MUSI
1525
29781
027
TBA D. Fulmer 2 / 25 [ More Info ]
MUSI
1525
73530
028
TBA L. Kim 1 / 25 [ More Info ]
MUSI
1525
65830
029
TBA M. Otani 4 / 25 [ More Info ]
MUSI
1525
28629
030
TBA R. Rood 2 / 25 [ More Info ]
MUSI
1525
62242
031
TBA B. Jones 1 / 25 [ More Info ]
MUSI
1525
76444
032
TBA U. Okegwo 1 / 25 [ More Info ]
MUSI
1525
27566
033
TBA P. Bollenback 2 / 25 [ More Info ]
MUSI
1525
68765
034
TBA A. Moreno 3 / 25 [ More Info ]
MUSI
1525
27724
035
TBA V. Cherico 2 / 25 [ More Info ]
MUSI
1525
71230
036
TBA A. dos Santos 0 / 25 [ More Info ]
MUSI
1525
60068
037
TBA A. Milne 1 / 25 [ More Info ]
MUSI
1525
72995
038
TBA B. Barth 2 / 25 [ More Info ]
MUSI
1525
60993
039
TBA O. Mathisen 4 / 25 [ More Info ]
MUSI
1525
77372
040
TBA J. Gibson 2 / 25 [ More Info ]
MUSI
1525
18235
041
TBA D. Sickler 3 / 25 [ More Info ]
MUSI
1525
26813
042
TBA C. Correa 5 / 25 [ More Info ]
MUSI
1525
73498
043
TBA L. Traversa 1 / 25 [ More Info ]
MUSI
1525
68460
087
TBA O. Mathisen 1 [ More Info ]
MUSI
1525
72048
089
TBA D. Sickler 0 [ More Info ]
MUSI
1525
85285
091
TBA V. Lin 0 [ More Info ]
Spring 2015 :: MUSI W1526
MUSI
1526
61226
001
TBA M. Goldberg 0 [ More Info ]
MUSI
1526
26704
002
TBA E. Bailen 1 [ More Info ]
MUSI
1526
23694
003
TBA Y. Bond 1 [ More Info ]
MUSI
1526
15045
004
TBA R. Ramakrishnan 0 [ More Info ]
MUSI
1526
15976
005
TBA J. Wilson 0 [ More Info ]
MUSI
1526
76293
006
TBA W. Sutter 0 [ More Info ]
MUSI
1526
10040
007
TBA A. Blustine 1 [ More Info ]
MUSI
1526
77116
008
TBA J. Rieske 0 [ More Info ]
MUSI
1526
63222
009
TBA S. Kahn 0 [ More Info ]
MUSI
1526
60545
010
TBA S. Palma-Nidel 0 [ More Info ]
MUSI
1526
11852
011
TBA S. Rotholz 1 [ More Info ]
MUSI
1526
14131
012
TBA B. Gemeinhardt 0 [ More Info ]
MUSI
1526
18327
013
TBA A. Kampela
M. Cappelli
2 [ More Info ]
MUSI
1526
68502
014
TBA P. Cohen 1 [ More Info ]
MUSI
1526
60664
015
TBA J. Han 1 [ More Info ]
MUSI
1526
69015
016
TBA K. Cooper 0 [ More Info ]
MUSI
1526
26728
017
TBA V. Bodner 0 [ More Info ]
MUSI
1526
22793
018
TBA P. Rieppi 0 [ More Info ]
MUSI
1526
14367
019
TBA L. Kosma 0 [ More Info ]
MUSI
1526
69066
020
TBA M. Seltzer 1 [ More Info ]
MUSI
1526
10924
021
TBA G. Flowers 0 [ More Info ]
MUSI
1526
67747
022
TBA R. Stewart 0 [ More Info ]
MUSI
1526
15843
023
TBA S. Adams 1 [ More Info ]
MUSI
1526
72903
024
TBA A. Neu 0 [ More Info ]
MUSI
1526
61945
026
TBA C. Beroukhim 0 [ More Info ]
MUSI
1526
65569
027
TBA D. Fulmer 4 [ More Info ]
MUSI
1526
18792
028
TBA L. Kim 1 [ More Info ]
MUSI
1526
62105
029
TBA M. Otani 0 [ More Info ]
MUSI
1526
64945
030
TBA R. Rood 0 [ More Info ]
MUSI
1526
25837
031
TBA B. Jones 0 [ More Info ]
MUSI
1526
68355
032
TBA U. Okegwo 1 [ More Info ]
MUSI
1526
68580
033
TBA P. Bollenback 1 [ More Info ]
MUSI
1526
65365
034
TBA A. Moreno 0 [ More Info ]
MUSI
1526
12079
035
TBA V. Cherico 1 [ More Info ]
MUSI
1526
68105
036
TBA A. dos Santos 0 [ More Info ]
MUSI
1526
74876
037
TBA B. Barth 3 [ More Info ]
MUSI
1526
14384
038
TBA O. Mathisen 2 [ More Info ]
MUSI
1526
17566
039
TBA J. Gibson 1 [ More Info ]
MUSI
1526
22033
040
TBA D. Sickler 0 [ More Info ]
MUSI
1526
10049
041
TBA C. Correa 1 [ More Info ]
MUSI
1526
27427
042
TBA L. Traversa 1 [ More Info ]

MUSI V 1580x-V1581y Collegium Musicum

May be taken for Pass credit only. Prerequisite: an audition to be held during the registration period. Contact the department for further details (854-3825). Performance of vocal and instrumental music from the medieval, Renaissance, and baroque periods. The Collegium usually gives one public concert each term.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1580
MUSI
1580
78533
001
MW 7:30p - 10:00p
404 DODGE BUILDING
A. Levitsky 8 [ More Info ]
Spring 2015 :: MUSI V1581
MUSI
1581
60797
001
MW 7:30p - 10:00p
404 DODGE BUILDING
A. Levitsky 2 [ More Info ]

MUSI V 1591x-V1592y University Orchestra

Prerequisite: an audition to be held during registration period, by appointment at 618 Dodge. Contact the department for further details (854-5409). Students should bring two short works, or movements of longer works, of different stylistic periods; they will also be asked to read brief orchestral or chamber music excerpts at sight. The orchestra performs throughout the academic year in works spanning all periods of music including contemporary compositions. Distinguished guest soloists sometimes perform with the orchestra, and qualified student soloists may also have the opportunity either to perform or read concertos with the orchestra. Staff positions: a few persons interested in managerial work may gain experience as orchestra librarian and personnel manager.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1591
MUSI
1591
25951
001
Tu 6:30p - 9:30p
555 ALFRED LERNER HALL
J. Milarsky 76 / 100 [ More Info ]
Spring 2015 :: MUSI V1592
MUSI
1592
66798
001
Tu 6:30p - 9:30p
555 ALFRED LERNER HALL
J. Milarsky 42 / 75 [ More Info ]

MUSI V 1593x-V1594y Barnard-Columbia Chorus

Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature. Students who register for chorus will receive a maximum of 4 points for four or more semesters.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1593
MUSI
1593
07743
001
TuTh 6:05p - 8:00p
405 MILBANK HALL
G. Archer 4 [ More Info ]
Spring 2015 :: MUSI V1594
MUSI
1594
05085
001
TuTh 6:00p - 8:00p
TBA
G. Archer 4 [ More Info ]

MUSI V 1595x-V1596y Barnard-Columbia Chamber Singers

Prerequisite: auditions by appointment made at first meeting. Contact Barnard College, Department of Music (854-5096). May be taken for Pass credit only. Membership in the chorus is open to all men and women in the University community. The chorus gives several public concerts each season, both on and off campus, often with other performing organizations. Sight-singing sessions offered. The repertory includes works from all periods of music literature.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1595
MUSI
1595
07745
001
TuTh 8:00p - 9:30p
405 MILBANK HALL
G. Archer 5 [ More Info ]
Spring 2015 :: MUSI V1596
MUSI
1596
05333
001
TuTh 8:00p - 9:30p
TBA
G. Archer 1 [ More Info ]

MUSI V 1598x-V1599y Chamber Ensemble

Prerequisite: an audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257). Students registering for chamber music receive ensemble training with the performance associates. Student chamber ensembles perform a recital at the conclusion of each semester and are given other opportunities to perform throughout the academic year. See further mpp.columbia.edu for current list of Music Performance Associates.
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1598
MUSI
1598
76534
001
TBA D. Bradley-Kramer 4 / 50 [ More Info ]
MUSI
1598
21196
002
TBA P. Calleo
S. Wolfson
3 / 50 [ More Info ]
MUSI
1598
81772
003
TBA A. Kampela
M. Cappelli
4 / 50 [ More Info ]
MUSI
1598
81783
004
TBA S. Adams 7 / 50 [ More Info ]
MUSI
1598
92193
005
TBA E. Bailen 6 / 50 [ More Info ]
MUSI
1598
13031
006
TBA A. Blustine 9 / 50 [ More Info ]
MUSI
1598
11649
007
TBA Y. Bond 3 / 50 [ More Info ]
MUSI
1598
17449
008
TBA S. Kahn 2 / 50 [ More Info ]
MUSI
1598
22447
009
TBA A. Neu 4 / 50 [ More Info ]
MUSI
1598
26747
010
TBA M. Otani 6 / 50 [ More Info ]
MUSI
1598
28648
011
TBA S. Palma-Nidel 4 / 50 [ More Info ]
MUSI
1598
29582
012
TBA R. Ramakrishnan 1 / 50 [ More Info ]
MUSI
1598
92078
013
TBA R. Rood 3 / 50 [ More Info ]
MUSI
1598
61033
014
TBA S. Rotholz 9 / 50 [ More Info ]
MUSI
1598
83534
015
TBA W. Sutter 0 / 50 [ More Info ]
MUSI
1598
72200
016
TBA J. Thompson 2 / 50 [ More Info ]
MUSI
1598
73331
017
TBA J. Wilson 3 / 50 [ More Info ]
MUSI
1598
27212
018
TBA J. Han 2 / 100 [ More Info ]
MUSI
1598
25539
019
TBA K. Cooper 7 / 100 [ More Info ]
MUSI
1598
29599
020
TBA V. Bodner 0 / 100 [ More Info ]

MUSI V 1618x-V1619y Columbia University Jazz Ensemble

A small advanced jazz band. The repertoire will cover 1950's hard bop to more adventurous contemporary Avant Garde styles. Students will be required to compose and arrange for the group under the instructor's supervision.
Prerequisites: An audition to be held during the registration period, by appointment at 618 Dodge. Contact the Music Performance Program for further details (854-1257)
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1618
MUSI
1618
10179
001
TBA C. Correa 17 / 50 [ More Info ]
MUSI
1618
14933
002
TBA V. Lin 9 / 50 [ More Info ]
MUSI
1618
62997
003
TBA O. Mathisen 11 / 50 [ More Info ]
MUSI
1618
63954
004
TBA D. Sickler 18 / 50 [ More Info ]
MUSI
1618
71273
005
TBA A. Elsaffar 10 / 50 [ More Info ]
MUSI
1618
12877
006
TBA B. Barth 11 / 50 [ More Info ]
Spring 2015 :: MUSI V1619
MUSI
1619
72107
001
TBA C. Correa 9 / 50 [ More Info ]
MUSI
1619
27595
002
TBA V. Lin 4 / 50 [ More Info ]
MUSI
1619
24045
003
TBA O. Mathisen 1 / 50 [ More Info ]
MUSI
1619
70007
004
TBA D. Sickler 5 / 50 [ More Info ]
MUSI
1619
66585
005
TBA P. Bollenback 0 / 50 [ More Info ]
MUSI
1619
22599
006
TBA B. Barth 2 / 50 [ More Info ]

MUSI V 1625x-V1626y World Music Ensemble

Introduce students to specific non-western and non-classical styles and cultures through active participation in group lessons and rehearsal, culminating each semester in at least one public performance. Ensembles offered are: Bluegrass; Japanese Gagaku; Klezmer; Latin Music.
Prerequisites: Permission of the instructor.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1625
MUSI
1625
69378
001
TBA J. Kerr 6 / 50 [ More Info ]
MUSI
1625
64945
002
TBA L. Sasaki 1 / 50 [ More Info ]
MUSI
1625
12679
003
TBA J. Warschauer 4 / 50 [ More Info ]
MUSI
1625
60101
004
TBA A. dos Santos 9 / 50 [ More Info ]
MUSI
1625
66787
005
TBA J. Schlefer
M. Tokue
5 / 50 [ More Info ]
MUSI
1625
17158
006
TBA A. Elsaffar 4 / 50 [ More Info ]
Spring 2015 :: MUSI V1626
MUSI
1626
77243
001
TBA J. Shapiro 0 / 50 [ More Info ]
MUSI
1626
22454
002
TBA L. Sasaki 1 / 50 [ More Info ]
MUSI
1626
13159
003
TBA J. Warschauer 1 / 50 [ More Info ]
MUSI
1626
14510
004
TBA S. Cruz 1 / 50 [ More Info ]
MUSI
1626
69898
005
TBA J. Schlefer 1 / 50 [ More Info ]
MUSI
1626
76749
006
TBA A. Elsaffar 1 / 50 [ More Info ]

MUSI W 2515x-W2516y Intermediate Piano Instruction

Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.
1-2 points.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W2515
MUSI
2515
73734
001
TBA N. Ostbye 0 / 50 [ More Info ]
MUSI
2515
10986
002
TBA M. Skelly 10 / 50 [ More Info ]
MUSI
2515
75858
003
TBA R. Uchida 2 / 50 [ More Info ]
Spring 2015 :: MUSI W2516
MUSI
2516
67214
001
TBA N. Ostbye 0 [ More Info ]
MUSI
2516
71679
002
TBA M. Skelly 8 [ More Info ]
MUSI
2516
68745
003
TBA R. Uchida 0 [ More Info ]

MUSI W 3515x-W3516y Advanced Piano Instruction

Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission.
2 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W3515
MUSI
3515
16126
001
TBA N. Ostbye 0 / 50 [ More Info ]
MUSI
3515
64082
002
TBA M. Skelly 0 / 50 [ More Info ]
MUSI
3515
15001
003
TBA R. Uchida 4 / 50 [ More Info ]
MUSI
3515
71150
007
TBA R. Uchida 0 / 50 [ More Info ]
Spring 2015 :: MUSI W3516
MUSI
3516
23543
001
TBA N. Ostbye 0 [ More Info ]
MUSI
3516
69641
002
TBA M. Skelly 0 [ More Info ]
MUSI
3516
21245
003
TBA R. Uchida 3 [ More Info ]

Introductory Theory and Ear-Training Courses

MUSI V 1002x Fundamentals of Music

Introduction to music, including notation, written and aural skills, and basic conceptual resources of music theory. Exploration of scale, mode, rhythm, meter, texture and form, with reference to a diverse range of musics. (Through Spring 2014, this course was entitled Fundamentals of Western Music.)
Corequisites: Introductory Ear-Training (V1312, or higher, as determined by placement exam). BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1002
MUSI
1002
72907
001
MW 4:10p - 5:25p
622 DODGE BUILDING
R. Porterfield 11 / 25 [ More Info ]
MUSI
1002
71648
002
TuTh 4:10p - 5:25p
622 DODGE BUILDING
C. Bettendorf 23 / 25 [ More Info ]
Spring 2015 :: MUSI V1002
MUSI
1002
63000
001
MW 4:10p - 5:25p
TBA
R. Porterfield 11 / 30 [ More Info ]
MUSI
1002
76199
002
TuTh 4:10p - 5:25p
TBA
C. Bettendorf 28 / 30 [ More Info ]

MUSI V 1312x or y-V1312y Introductory Ear Training

A student may place into a higher level of this course by passing an examination given on the first day of the class. V1312 is an introduction to basic skills in sight reading. Instruction includes reading rhythms in simple meter, solfege recitation, and sight-singing simple melodies.
Lab Required.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V1312
MUSI
1312
65180
001
MW 12:10p - 1:00p
803 DODGE BUILDING
M. Joviala 12 / 12 [ More Info ]
MUSI
1312
70784
002
TuTh 3:10p - 4:00p
814 DODGE BUILDING
C. Bettendorf 7 / 12 [ More Info ]
Spring 2015 :: MUSI V1312
MUSI
1312
13255
001
MW 12:10p - 1:00p
803 DODGE BUILDING
M. Joviala 12 / 12 [ More Info ]
MUSI
1312
16173
002
TuTh 3:10p - 4:00p
814 DODGE BUILDING
C. Bettendorf 12 / 12 [ More Info ]
MUSI
1312
20221
003
TuTh 3:10p - 4:00p
TBA
Instructor To Be Announced 10 [ More Info ]

Main Theory Sequence

MUSI V 2318x Music Theory I

Elementary analysis and composition in a variety of modal and tonal idioms.
Prerequisites: MUSI V1002 or the equivalent, as well as placement exam administered in the first class meeting every semester the course is offered. (Through Spring 2014, this course was entitled Diatonic Harmony and Counterpoint I.) Corequisites: One course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.) Lab Required. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2318
MUSI
2318
11614
001
MW 1:10p - 2:25p
405 DODGE BUILDING
C. Mutch 14 / 25 [ More Info ]
MUSI
2318
66812
002
TuTh 1:10p - 2:25p
404 DODGE BUILDING
M. Kozak 7 / 25 [ More Info ]
Spring 2015 :: MUSI V2318
MUSI
2318
13062
001
MW 1:10p - 2:25p
TBA
P. Susser 24 / 24 [ More Info ]

MUSI V 2319y Music Theory II

Elementary analysis and composition in a variety of tonal idioms. (Through Spring 2014, this course was entitled Diatonic Harmony and Counterpoint II.) - M. Kozak, P. Susser
Prerequisites: V2318. Corequisites: One course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)
3 points A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2319
MUSI
2319
12276
001
MW 1:10p - 2:25p
622 DODGE BUILDING
P. Susser 22 / 25 [ More Info ]
Spring 2015 :: MUSI V2319
MUSI
2319
23729
001
TuTh 1:10p - 2:25p
TBA
M. Kozak 9 / 20 [ More Info ]
MUSI
2319
19218
002
MW 1:10p - 2:25p
TBA
C. Mutch 8 / 20 [ More Info ]

MUSI V 3321x Music Theory III

Intermediate analysis and composition in a variety of tonal idioms. (Through Spring 2014, this course was entitled Chromatic Harmony and Counterpoint I.)
Prerequisites: V2319. Corequisites: One course from Ear-training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.) Lab Required.
3 points A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3321
MUSI
3321
77017
001
MW 1:10p - 2:25p
620 DODGE BUILDING
E. Hisama 17 / 25 [ More Info ]
MUSI
3321
25267
002
TuTh 1:10p - 2:25p
620 DODGE BUILDING
J. Dubiel 8 / 25 [ More Info ]
Spring 2015 :: MUSI V3321
MUSI
3321
10312
001
MW 1:10p - 2:25p
TBA
J. Di Ponio 16 / 25 [ More Info ]

MUSI V 3322y Music Theory IV

Intermediate analysis and composition in a variety of tonal and extended tonal idioms. (Through Spring 2014, this course was entitled Chromatic Harmony and Counterpoint II.) - M. Kozak, P. Susser
Prerequisites: V3321. Corequisites: One course from Ear-Training I-IV (V2314, V2315, V3316, or V3317, as determined by placement exam.)
3 points A one-hour weekly lab is required, to be scheduled at the beginning of the term.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3322
MUSI
3322
66270
001
MW 1:10p - 2:25p
814 DODGE BUILDING
J. Di Ponio 12 / 25 [ More Info ]
Spring 2015 :: MUSI V3322
MUSI
3322
73245
001
MW 1:10p - 2:25p
TBA
E. Hisama 12 / 25 [ More Info ]
MUSI
3322
75547
002
TuTh 1:10p - 2:25p
TBA
J. Dubiel 7 / 25 [ More Info ]

Main Ear-Training Sequence

Please note: For the following ear-training labs, students must take a placement test at the beginning of the term and may not register without the permission of the ear-training coordinator.

MUSI V 2314x or y Ear Training, I

Designed to improve the student's basic skills in sight-singing, and rhythmic and melodic dictation with an introduction to four-part harmonic dictation.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2314
MUSI
2314
15174
001
MW 12:10p - 1:00p
814 DODGE BUILDING
R. Miller 10 / 12 [ More Info ]
MUSI
2314
21977
002
TuTh 12:10p - 1:00p
814 DODGE BUILDING
C. Bettendorf 9 / 12 [ More Info ]
Spring 2015 :: MUSI V2314
MUSI
2314
23335
001
MW 12:10p - 1:00p
620 DODGE BUILDING
P. Susser 11 / 12 [ More Info ]
MUSI
2314
68428
002
TuTh 12:10p - 1:00p
814 DODGE BUILDING
C. Bettendorf 12 / 12 [ More Info ]

MUSI V 2315x or y Ear Training, II

Techniques of sight-singing and dictation of diatonic melodies in simple and compound meter with strong emphasis on harmonic dictation.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2315
MUSI
2315
76151
001
MW 3:10p - 4:00p
405 DODGE BUILDING
M. Joviala 12 / 12 [ More Info ]
MUSI
2315
61438
002
TuTh 12:10p - 1:00p
405 DODGE BUILDING
R. Amir Arjomand 9 / 12 [ More Info ]
MUSI
2315
93147
003
TuTh 12:10p - 1:00p
803 DODGE BUILDING
M. Joviala 6 / 12 [ More Info ]
Spring 2015 :: MUSI V2315
MUSI
2315
62833
001
MW 3:10p - 4:00p
405 DODGE BUILDING
M. Joviala 10 / 12 [ More Info ]
MUSI
2315
61625
002
TuTh 12:10p - 1:00p
405 DODGE BUILDING
R. Amir Arjomand 7 / 12 [ More Info ]

MUSI V 3316x or y Ear Training, III

Sight-singing techniques of modulating diatonic melodies in simple, compound, or irregular meters that involve complex rhythmic patterns. Emphasis is placed on four-part harmonic dictation of modulating phrases.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3316
MUSI
3316
12186
001
MW 3:10p - 4:00p
814 DODGE BUILDING
R. Miller 10 / 12 [ More Info ]
MUSI
3316
73831
002
TuTh 12:10p - 1:00p
622 DODGE BUILDING
P. Susser 12 / 12 [ More Info ]
Spring 2015 :: MUSI V3316
MUSI
3316
72252
001
MW 3:10p - 4:00p
814 DODGE BUILDING
R. Miller 6 / 12 [ More Info ]
MUSI
3316
28943
002
TuTh 12:10p - 1:00p
622 DODGE BUILDING
P. Susser 10 / 12 [ More Info ]

MUSI V 3317x or y Ear Training, IV

Techniques of musicianship at the intermediate level, stressing the importance of musical nuances in sight-singing. Emphasis is placed on chromatically inflected four-part harmonic dictation.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3317
MUSI
3317
18670
001
MW 4:10p - 5:00p
814 DODGE BUILDING
R. Miller 9 / 12 [ More Info ]
MUSI
3317
75387
002
TuTh 4:10p - 5:00p
620 DODGE BUILDING
R. Amir Arjomand 7 / 12 [ More Info ]
Spring 2015 :: MUSI V3317
MUSI
3317
19295
001
MW 4:10p - 5:00p
814 DODGE BUILDING
R. Miller 10 / 12 [ More Info ]
MUSI
3317
22072
002
TuTh 4:10p - 5:00p
803 DODGE BUILDING
R. Amir Arjomand 7 / 12 [ More Info ]

MUSI W 4318y Ear Training, V

Advanced dictation, sight singing, and musicianship, with emphasis on 20th-century music.
1 point

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W4318
MUSI
4318
18100
001
MW 12:10p - 1:00p
620 DODGE BUILDING
P. Susser 11 [ More Info ]

Music History Courses

MUSI V 3128x History of Western Music I: Middle Ages To Baroque

Pre- or co requisite: V2318-V2319. Topics in Western music from Antiquity through Bach and Handel, focusing on the development of musical style and thought, and analysis of selected works. - S. Boynton, W. Frisch, G. Gerbino, K. Henson, E. Sisman
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3128
MUSI
3128
28382
001
TuTh 2:40p - 3:55p
622 DODGE BUILDING
S. Boynton 26 / 35 [ More Info ]

MUSI V 3129y History of Western Music II: Classical To the 20th Century

Pre- or co requisite: V2318-2319. Topics in Western music from the Classical era to the present day, focusing on the development of musical style and thought, and on analysis of selected works. - S. Boynton, W. Frisch, G. Gerbino, K. Henson, E. Sisman
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V3129
MUSI
3129
25848
001
TuTh 2:40p - 3:55p
TBA
M. McCoy 31 / 40 [ More Info ]

Music Composition Courses

MUSI V 3241x-V3242y Projects in Composition

Composition in more extended forms. Survey of advanced techniques of contemporary composition. (Previously called Advanced Composition.)
Prerequisites: MUSI V3310 or instructor's permission.
3 points Composition Faculty

MUSI W 4241x-W4242y Advanced Composition

Composition for larger ensembles, supported by study of contemporary repertoire.
Prerequisites: MUSI V3241-3242 and instructor's permission.
3 points Composition Faculty

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI W4242
MUSI
4242
77230
001
MW 2:40p - 3:55p
620 DODGE BUILDING
G. Lewis 11 / 40 [ More Info ]

Asian Music Humanities

AHMM V 3320x Introduction To the Musics of East Asia and Southeast Asia

Fulfills the requirement of a nontonal course for music majors. A topical approach to concepts and practices of music in relation to other arts in the development of Asian civilizations.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: AHMM V3320
AHMM
3320
14318
001
MW 6:10p - 7:25p
TBA
K. Fellezs 25 / 25 [ More Info ]
AHMM
3320
62478
002
MW 6:10p - 7:25p
TBA
A. Kielman 25 / 25 [ More Info ]

AHMM V 3321y Introduction to the Musics of India and West Asia

Fulfills the requirement of a nontonal course for music majors. A topical approach to concepts and practices of music in relation to other arts in the development of Asian civilizations.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: AHMM V3321
AHMM
3321
18554
001
MW 6:10p - 7:25p
622 DODGE BUILDING
M. Bilal 19 / 25 [ More Info ]
AHMM
3321
26410
002
MW 6:10p - 7:25p
620 DODGE BUILDING
N. Higgins 23 / 25 [ More Info ]

MUSI BC 3991xy Senior Project: Music Repertoire

Working with her advisor, a student will develop a vocal or instrumental recital program with representative musical works from a variety of historical periods. In order to satsify the requirement, the student will present an hour long public performance of the recital program. Students may also satisfy this requirement by composing original vocal or instrumental works.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC3991
MUSI
3991
02988
001
TBA G. Archer 2 [ More Info ]
Spring 2015 :: MUSI BC3991
MUSI
3991
09798
001
TBA G. Archer 3 [ More Info ]

MUSI W 4440y Music Exoticisms of the Former Soviet Union

In this course, we explore musical discourses of "civilization" and "barbarism" with a focus on examples from Ukraine, Russia, and Central Asia. The historical scope of the class includes key moments since the 18th century through the present day: from Catherine II's southward expansion into the territories of the Ukrainian Kozaks and the Crimean Khanate, through the era of romantic nationalism on the eastern borders of Austro-Hungary, through Soviet discourses of musical "progress," to the changing social and political landscapes of music in the post-Soviet era, to modern political discourses of indigenous rights. - M. Sonevytsky
4 points

Elective Courses in Music

MUSI BC 1001x-BC1002y An Introduction to Music

A survey of the development of Western music from 6th-century Gregorian Chant to Bach and Handel, with emphasis upon important composers and forms. Extensive listening required. y: A survey of the development of Western music from the first Viennese Classical school at the end of the 18th century to the present, with emphasis upon composers and forms. Extensive listening required. - G. Archer
Prerequisites: No previous knowledge of music is required. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC1001
MUSI
1001
03023
001
MW 2:40p - 3:55p
325 MILBANK HALL
G. Archer 13 [ More Info ]
MUSI
1001
07740
002
MW 6:10p - 7:25p
325 MILBANK HALL
K. Barbacane 15 [ More Info ]
Spring 2015 :: MUSI BC1002
MUSI
1002
04952
001
MW 2:40p - 3:55p
TBA
G. Archer 23 [ More Info ]
MUSI
1002
04976
002
MW 6:10p - 7:25p
TBA
K. Barbacane 10 [ More Info ]

MUSI V 2010y Rock

Prerequisite: HUMA W1123 or the equivalent. Historical survey of rock music from its roots in the late 1940s to the present day.
BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2016y Jazz

The musical and cultural features of jazz, beginning in 1900. - C. Washburne
BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V2016
MUSI
2016
74925
001
TuTh 1:10p - 2:25p
TBA
C. Washburne 66 / 104 [ More Info ]

MUSI V 2020x Salsa, Soca, and Reggae: Popular Musics of the Caribbean

A survey of the major syncretic urban popular music styles of the Caribbean, exploring their origins, development, and sociocultural context.
BC: Fulfillment of General Education Requirement: Cultures in Comparison (CUL).. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2021x Popular Musics of the Americas: Music in Contemporary Native

"Music in Contemporary Native America" is a historical, ethnographic, and topical examination of contemporary Native American musical practices and ideologies. The course emphasizes popular, vernacular, and mass mediated musics, and calls into question the simple distinction between "traditional" and "modern" aspects of Native American cultures. Our readings and class guests (several of whom will be Native American scholars) emphasize the importance of understanding Native 2 American perspectives on these topics. Three short papers and one substantial final project are required. Approximately 100-150 pages of reading per week. - A. Fox
BC: Fulfillment of General Education Requirement: Cultures in Comparison (CUL).. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2023y Beethoven

A study of the life and works of Ludwig van Beethoven, with emphasis on selected symphonies, string quartets, and piano sonatas. Also consider the changing nature of the critical reception of Beethoven and issues of classicism and romanticism in music. - E. Sisman
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2024x Mozart

The life, works, and cultural milieu of Wolfgang Amadeus Mozart, with emphasis on selected symphonies, string quartets, piano concertos, and operas. - E. Sisman
Prerequisites: HUMA W1123 or the equivalent.
3 points

MUSI V 2025y The Opera

The development of opera from Monteverdi to the present. IN FALL 2011, THE OPERA WILL BE OFFERED MON/WED 2:40-3:55 in 622 DODGE.
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 2030x Jewish Music of New York

With the arrival of the first Jewish immigrants in New York in the mid-1600s until today, Jewish music in the City has oscillated between preserving traditions and introducing innovative ideas. This course explores the variety of ways people have used music to describe, inscribe, symbolize, and editorialize their Jewish experience. Diverse musical experiences will serve as a window to address wider questions of identity, memory, dislocation, and connections to New York's dynamic and eclectic music culture. We will experience the City's Jewish soundscape by visiting various venues and meeting key players in today's music scene, in order to engage in the ongoing dialogues that define Jewishness in New York. Although a basic familiarity with Judaism and/or music is helpful for this course, it is by no means required. You do not need to know Jewish history to take this class, nor do you need to be musically literate. All translations will be provided, and all musical analysis will be well explained. - T. Frühauf
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2030
MUSI
2030
14312
001
MW 2:40p - 3:55p
716 HAMILTON HALL
T. Fruehauf 9 [ More Info ]

MUSI V 2034y Music and Myth

The course explores the relationship between music and myth in Western culture, from ancient Greek cosmogony to 20th-century opera. Special emphasis is placed on the way the West, in the footsteps of the ancients, strove to create ritualized images of itself and of its worldview. Specific topics include works by Monteverdi, Gluck, Beethoven, Schubert, Liszt, Offenbach, Wagner, Strauss, and Stravinsky. - G. Gerbino
3 points

MUSI V 2138x Music of Russia: A Survey

This course is detailed survey of Russian national and international composers from Glinka to Shostakovich, and will also address Russian realism, orientalism, the relationship between composers and poets of the Russian Symbolist era, the Ballets Russes, Soviet film music, and musical aesthetics. A knowledge of Russian is not required. - D. Bradley-Kramer
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2138
MUSI
2138
63017
001
MW 11:40a - 12:55p
405 DODGE BUILDING
D. Bradley-Kramer 5 [ More Info ]

MUSI V 2145x Russian Music from Glinka to Gubaidulina

Study of the principal musical trends and aesthetics of Russia's music from the 19th century to present which, in addition to art music, will also involve the study of opera, film, and ballet. Topics to be explored include the government's role in shaping a national music identity, the folk music that inspired much of Russia's art music, and the relationship between social realism and kitsch. Major composers studied: Glinka, Tchaikovsky, Rachmaninoff, Scriabin, Stravinsky, Shostakovich, and Prokofiev. - D. Bradley-Kramer
Prerequisites: Previous coursework in music (including HUMA W1123) or permission of the instructor.
3 points

MUSI V 2205x Introduction to Digital Music (Previously called MIDI Music Production Techniques)

An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). Teaches proficiency in elementary and advanced MIDI techniques. Challenges some of the assumptions about music built into the MIDI specifications and fosters a creative approach to using MIDI machines. - B. Garton
Prerequisites: HUMA W1123 or the equivalent. Permission of the instructor required. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2205
MUSI
2205
77702
001
TuTh 1:10p - 2:25p
318 PRENTIS HALL
B. Garton 18 / 16 [ More Info ]

MUSI V 2206y (Section 001) Introduction to Digital Music (Previously called MIDI Music Production Techniques)

An introduction to the potential of digital synthesis by means of the MIDI (Musical Instrument Digital Interface). Teaches proficiency in elementary and advanced MIDI techniques. Challenges some of the assumptions about music built into the MIDI specifications and fosters a creative approach to using MIDI machines. - N. Young
Prerequisites: HUMA W1123 or the equivalent. Permission of the Instructor Required.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V2206
MUSI
2206
20479
001
TuTh 1:10p - 2:25p
TBA
N. Young 0 / 18 [ More Info ]

MUSI V 2430x Listening and Sound in Cross-Cultural Perspective

The objective of this course is to explore the relationship between listening, sound, and music across different cultures and in different historical moments and contexts. This will be explored by studying the historical formation of the sound archive of different parts of the world and the emergence of new technologies in the early twentieth century, and how different cultures consider the relation between natural and musical sounds. - A. M. Ochoa
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V2430
MUSI
2430
86785
001
MW 11:40a - 12:55p
404 DODGE BUILDING
A. Ochoa 14 / 40 [ More Info ]

MUSI V 2582 Jazz improvisation: theory, history and practice

This course offers an introduction to jazz improvisation for instrumentalists. Through recordings, transcriptions, daily performance and selected readings, students will actively engage the history of jazz through their instruments and intellect. The idea of improvisation will be explored in an historical context, both as a musical phenomenon with its attendant theory and mechanics, and as a trope of American history and aesthetics. This class is for instrumentalists who wish to deepen their understanding of the theory, history and practice of jazz improvisation. The history of jazz will be used as a prism through which to view approaches to improvisation, from the cadences of the early Blues through the abstractions of Free Jazz and beyond. The student will be exposed to the theory and vocabularies of various jazz idioms, which they will also learn to place in their social and historical contexts.
BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).. Not offered in 2014-2015.
3 points

MUSI V 3023 Late Beethoven

An examination of the visionary works of Beethoven's last dozen or so years as a composer, beginning with the revision of his only opera, Fidelio, in 1814, and continuing with the late piano sonatas, cello sonatas, string quartets, Diabelli variations, Ninth Symphony, and the Missa Solemnis. Topics will include late style, romanticism, politics, deafness, and the changing nature of the musical work and its performance. - E. Sisman
Prerequisites: Music V2318-V2319 or permission of the instructor. Not offered in 2014-2015.
3 points

MUSI V 3030y Asian American Music Studies

This course will examine the diverse ways in which Asian Americans have understood and shaped their musical practices. We will explore the ways in which Asians have been represented via sound, text, and image, and will consider Asian Americans' participation in composed music traditions, jazz, traditional/folk music, diasporic music, improvised music, and popular musics. The course will reflect on readings from musicology, ethnomusicology, and music theory as well as fields outside of music in order to consider gender/sexuality, polyculturalism, and political activism. - E. Hisama
Prerequisites: One course in music or permission of instructor.
3 points

MUSI V 3127 Bach Vocal Music

Analysis of the vocal music of Johann Sebastian Bach in its historical and cultural context with particular focus on the sacred cantatas, the St. Matthew Passion and the B minor Mass. - G. Gerbino
3 points

MUSI V 3138 The music of Brahms

Survey of the music of Brahms, examining a wide range of genres as well as his historical and cultural position.
Prerequisites: HUMA W1123 or the equivalent, and the ability to read musical notation. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART).. Not offered in 2014-2015.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V3138
MUSI
3138
13092
001
MW 2:40p - 3:55p
TBA
W. Frisch 13 [ More Info ]

MUSI BC 3139xy Introduction to Vocal Repertoire: Technique in Singing and Performance

This course is designed for developing singers. Group vocalizing, learning of songs and individual workshop performances are aimed at improving the student's technical skill and the elements necessary to create a meaningful musical and dramatic experience. Attention to text, subtext, emotional and psychological aspects of a piece and the performer's relationship to the audience are included in the work. Repertoire is predominantly in English and comes from both classical and popular traditions Individual coaching sessions are available with the class accompanist and help strengthen the students' confidence and skill. The class culminates with an in-class performance. - J. P. Bjorlin
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC3139
MUSI
3139
05250
001
M 5:15p - 7:00p
405 MILBANK HALL
F 12:00p - 1:45p
405 MILBANK HALL
J. Bjorlin 21 [ More Info ]
Spring 2015 :: MUSI BC3139
MUSI
3139
04804
001
Tu 4:15p - 6:00p
TBA
F 2:00p - 3:45p
TBA
J. Mongiardo 5 [ More Info ]

MUSI BC 3140xy Vocal Repertoire, Technique and Expression

Vocal exercises and exploration of wide-ranging repertoires, styles, and languages of the Western European song tradition. The rich variety of English, French, Italian and German poetry and music from the Baroque period through the Twentieth Century allows the student to experience both the music and the cultural environment of each of these styles. Attention is given both to meaning oftext and musical interpretation. Individual coaching sessions are available with the class accompanist and help strengthen the students' confidence and skill. The class culminates with an in-class performance. - J. Mongiardo
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC3140
MUSI
3140
04279
001
Tu 4:15p - 6:00p
325 MILBANK HALL
F 2:00p - 3:45p
405 MILBANK HALL
J. Mongiardo 11 [ More Info ]
Spring 2015 :: MUSI BC3140
MUSI
3140
06010
001
M 5:30p - 7:15p
TBA
F 12:15p - 2:00p
TBA
J. Bjorlin 3 [ More Info ]

MUSI V 3142x Opera and Modernism

This course approaches the history of musical modernism through the lens of opera. Although we'll be consi dering many of the major stylistic movements of the twentieth century, we'll also be discussing how the sheer stubbornness of operatic tradition complicates narratives of development and progress. We'll be listening to six operas in their entirety: Claude Debussy's Pélleas et Mélisande, Alban Berg's Wozzeck, Igor Stravinsky's Oedipus Rex and The Rake's Progress, Benjamin Britten's The Turn of the Screw, and John Adams' Nixon in China. - A. Schwartz
3 points

MUSI BC 3145x Worldmuse Ensemble

Worldmuse Ensemble delves into compelling music from many genres such as world music, gospel, classical--old and new. We perform without a conductor, increasing awareness and interaction among ourselves and our audience. We collaboratively integrate music, dance, and theatre traditions (masks etc.). For experienced singers, and instrumentalists and dancers who sing. - J. McMahan
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI BC3145
MUSI
3145
03263
001
W 8:00p - 9:45p
TBA
F 2:15p - 4:00p
TBA
J. Bjorlin 1 [ More Info ]

MUSI V 3170y 20th Century Music

A multicultural survey of composers, improvisors, sounds, practices, and social issues in 20th century music. Engages form, genre, style, canon, media reception, constructions of gender and race, cultural nationalisms, and the impact of transnationalism and globalization. - G. Lewis
Prerequisites: HUMA W1123 or Instructor Permission
3 points

MUSI V 3302y Introduction to Set Theory

Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course. A study of the basic principles of set theory through the writings of Schoenberg, Babbitt, Forte, Martino, Lewin, et al. Concepts illustrated with examples from late 19th- and early 20th-century repertory. - Feld, Marlon
Prerequisites: MUSI V3322 and either V3126 or V3379, or instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V3302
MUSI
3302
68045
001
Tu 9:10a - 10:00a
620 DODGE BUILDING
Th 9:10a - 11:00a
620 DODGE BUILDING
J. Dubiel 4 / 25 [ More Info ]

MUSI V 3305x Theories of Heinrich Schenker

An examination of Schenker's concepts of the relation between strict counterpoint and free writing; "prolongation"; the "composing-out" of harmonies; the parallels and distinctions between "foreground," "middle ground," and "background"; and the interaction between composing-out and thematic processes to create "form." - D. Cohen
Prerequisites: Prerequisite: MUSI V3322 or instructor's permission. Fulfills the requirement of either the 3000-level advanced theory elective or the nontonal course.
3 points

MUSI V 3310y Techniques of 20th-Century Music

Materials, styles, and techniques of 20th-century music. Topics include scales, chords, sets, atonality, serialism, neoclassicism, and rhythm.
Prerequisites: MUSI V3322 or instructor's permission.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3310
MUSI
3310
12208
001
TuTh 4:10p - 5:25p
814 DODGE BUILDING
S. Di Castri 10 [ More Info ]

MUSI V 3330 Advanced Counterpoint

The study of baroque counterpoint in the style of J. S. Bach; general aspects of voice-leading; dances, inventions; canons; expositions of fugues.

- Alfred Lerdahl
Prerequisites: MUSI V3322 or instructor's permission. Fulfills the requirement of the 3000-level advanced theory elective. Not offered in 2014-2015.
3 points

MUSI V 3395x Listening to Hip-Hop

An interdisciplinary exploration of hip-hop music and culture from its beginnings to the present through historical, analytical, and critical perspectives. The course's primary focus will be on critical listening. - E. Hisama
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3395
MUSI
3395
24116
001
MW 2:40p - 3:55p
622 DODGE BUILDING
E. Hisama 27 / 30 [ More Info ]

MUSI V 3400y Topics in Music and Society

This course seeks to approach the study of music and society by comparatively studying repertories from different parts of the world, how the history of ideas and methods of studying such repertoires shaped them, the practices that constitute them and the ways they are understood and used by different peoples. Central to this course is the interrelationship between the constitution of a repertoire and the history of the construction of knowledge about it. - A. M. Ochoa
3 points Music Majors and Concentrators.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V3400
MUSI
3400
13954
001
TuTh 6:10p - 7:25p
622 DODGE BUILDING
A. Fox 35 [ More Info ]

MUSI V 3420x The Social Science of Music

An introduction to the field of ethnomusicology in the context of the intellectual history of music scholarship. IN FALL 2011, THIS COURSE WILL BE OFFERED TR 6:10-7:25 IN RM 622 DODGE.
Prerequisites: HUMA W1123 or the equivalent. BC: Fulfillment of General Education Requirement: Social Analysis (SOC).. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points

MUSI V 3435 Music and literature in Latin America

This course is about the relationship between popular music and literature in Latin America. It covers such topics as the relationship between the lettered city and popular culture as well as orality and the written word. In the course we will read novels and poetry by authors who have also been composers and/or musicologists and explore the production of composers who have also been recognized as important literary figures. - A. Ochoa
Not offered in 2014-2015.
3 points

MUSI V 3440 Survivors' Music

This course will examine the role of music in the lives of survivors of traumatic experiences and discover why music is a special expressive resource for such people. Examples from survivors' music about the nature of traumatic events that other expressive and documentary resources do not yield will be utilized. Course is interdisciplinary and the use of these examples to explore these issues is from a social, cultural, psychological and musicological perspective. Geared towards advanced undergraduates and graduate students from all disciplines. - J. Pilzer
Not offered in 2014-2015.

MUSI V 3462y Music, Gender and Performance

This seminar explores relationships between gender, music and performance from the perspective of ethnomusicology, cultural anthropology, critical music studies, feminist and queer theory and performance studies. We examine debates around issues of sex and gender and nature and culture through the lens of musical performance and experience. Some questions we consider include: In what ways is participation in particular music dictated by gendered conventions? What social purpose do these delineations serve? What might music tell us about the body? What is the relationship between performance and the ways in which masculinity and feminity, homosexuality and heterosexuality are shaped? How can we think about the concept of nation via gender and music? How might the gendered performances and the voices of musical celebrities come to represent or officially "speak" for the nation or particular publics? How does music shape our understanding of emotion, our experience of pleasure?

- E. Gray
Prerequisites: There are no prerequisites for this course.
3 points

MUSI V 3630y Recorded Sound

Main objective is to gain a familiarity with and understanding of recording, editing, mixing, and mastering of recorded music and sounds using Pro Tools software. Discusses the history of recorded production, microphone technique, and the idea of using the studio as an instrument for the production and manipulation of sound.

- T. Pender
Prerequisites: the instructor's permission. BC: Fulfillment of General Education Requirement: The Visual and Performing Arts (ART)..
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI V3630
MUSI
3630
12003
001
M 1:10p - 4:00p
318 PRENTIS HALL
T. Pender 7 / 7 [ More Info ]

MUSI BC 3990xy Senior Project: Senior Research

Working with her advisor, a student will expand the research project initiated in the Fall Senior Seminar for Music Majors (BC3992). In order to satisfy the requirement, the student will complete a fifty page research paper.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC3990
MUSI
3990
00573
001
TBA G. Archer 1 [ More Info ]
Spring 2015 :: MUSI BC3990
MUSI
3990
00573
001
TBA G. Archer 4 [ More Info ]

MUSI BC 3991xy Senior Project: Music Repertoire

Working with her advisor, a student will develop a vocal or instrumental recital program with representative musical works from a variety of historical periods. In order to satisfy the requirement, the student will present an hour long public performance of the recital program. Students may also satisfy this requirement by composing original vocal or instrumental works.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC3991
MUSI
3991
02988
001
TBA G. Archer 2 [ More Info ]
Spring 2015 :: MUSI BC3991
MUSI
3991
09798
001
TBA G. Archer 3 [ More Info ]

MUSI BC 3992y Senior Seminar for Music Majors

The goals of this seminar are a) to introduce senior music majors to ethnographic, bibliographic, and archival research methods in music and b) to help the same students develop, focus, implement, draft, revise, and polish a substantive, original piece of research (25-30 pages) which will serve as the senior project. The course will begin with a survey of academic literature on key problems in musicological research and writing, and will progress to a workshop/discussion format in which each week a different student is responsible for assigning readings and leading the discussion on a topic which s/he has formulated and deemed to be of relevance to her own research. - L. Ninoshvili
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI BC3992
MUSI
3992
02342
001
Th 6:10p - 8:00p
227 MILBANK HALL
K. Barbacane 7 [ More Info ]

MUSI V 3995x-3996y Honors Research

Open only to honors candidates in music. A creative/scholarly project conducted under faculty supervision, leading to completion of an honors essay, composition, or the equivalent. A formal proposal is required to be submitted and approved prior to registration; see the director of undergraduate studies for details.
3 points

MUSI V 3998x-V3999y Supervised Independent Study

A creative/scholarly project conducted under faculty supervision. Approval prior to registration; see the director of undergraduate studies for details.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI V3998
MUSI
3998
16274
001
TBA Instructor To Be Announced 0 / 0 [ More Info ]
Spring 2015 :: MUSI V3999
MUSI
3999
13435
001
TBA Instructor To Be Announced 0 / 0 [ More Info ]

MUSI W 4035y Animal Music

Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals. - R. Mundy
3 points

MUSI W 4102y Music and Writings of Wagner

The development of Wagner's musical-dramatic style and critical thought, with special reference to The Flying Dutchman, Lohengrin, Die Walküre, Tristan und Isolde, and Parsifal, as well as selected prose writings in translation. - W. Frisch
3 points

MUSI G 4122x Songs of the Troubadours

This interdisciplinary seminar approaches the songs of the troubadours as poetic and musical traditions. Together we will develop methods for analysis and interpretation, situate the songs within literary and social history, and address broad issues such as the nature of performance, the interplay between orality and writing, the origins of troubadour poetry, fin'amor, and gender. Students will learn to analyze the poetic and musical structure of the songs and to transcribe and edit them from medieval manuscripts. Weekly assignments in Paden's Introduction to Old Occitan will familiarize students with the language of the texts; one hour a week will be devoted to going over texts in the original language using Paden's book. Individually designed paper assignments will take students' backgrounds into account;; students from all departments are welcome. - S. Boynton
Prerequisites: Music Humanities; Music V3128.
3 points Music Majors and Concentrators.

MUSI W 4125x Puccini and the Twentieth Century

The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations. - A. Schwartz
3 points

MUSI W 4126y European Music in America 1825-1950

The aim of this course is to provide a deeper understanding of the musical interactions between Europe and the United States from the first performance of an Italian opera sung in its original language in America (Gioachino Rossini's Il barbiere di Siviglia, 1825) until Arnold Schoenberg's death in Los Angeles in 1951. The course will address issues such as identity and cultural pride through music, the concept of a musical canon in America, and reception of European culture in the United States. - D. Ceriani
3 points

MUSI W 4332x Computational Theories of Music and Music Cognition

This course will introduce students to recent research on computational modeling of music perception and cognition. Emphasis will be placed on research that was either carried out by music theorists or has some clear and immediate relevance to music theory. We will study several computational models that simulate the perception of different aspects of musical structure, including rhythm, melody, harmony, counterpoint, texture, and key. While we must devote some time to the mathematics of these models, our primary focus will be on the larger theoretical implications for music theory and music cognition. We will also spend some time discussing computational methodologies in general and what they can tell us about music and perception. - B. Duane
Prerequisites: Masterpieces of Western Music or Instructor's Permission.
3 points Music Majors and Concentrators.

MUSI G 4360y Analysis of Tonal Music

Fulfills the requirement of the 3000-level advanced theory elective. This course was previously offered as V3360, Pre-Tonal and Tonal Analysis. Detailed analysis of selected tonal compositions. This course, for advanced undergraduates and beginning graduates, is intended to develop understanding of tonal compositions and of theoretical concepts that apply to them, through study of specific works in various forms and styles.

- D. Cohen
Prerequisites: MUSI V3321 or the equivalent.
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI G4360
MUSI
4360
21533
001
Th 11:10a - 1:00p
620 DODGE BUILDING
A. Lerdahl 7 [ More Info ]

MUSI W 4435 Music and Performance in the African Postcolony

This course examines music and performance in various African contexts, focusing on the postcolonial period. It will explore the complex interactions between music, politics, nation, race, and mediation through case studies from Ghana, Nigeria, DRC, Kenya, Tanzania, Zimbabwe, Namibia, and South Africa. In addition, discussions will involve what is meant to speak about "African music," and class will theorize about the conditions of musical production in the context of postcolonialism.
Not offered in 2014-2015.
3 points

MUSI G 4461x Music and Place

This course provides an introduction to contemporary work on music and place from an ethnomusicological perspective. It situates ethnomusicological work and specific musical case studies from multiple geographical regions within an interdisciplinary theoretical framework that draws from the fields of cultural anthropology, cultural, media, and sound studies. - L. E. Gray
3 points

MUSI W 4540y Histories of Post-1960's Jazz

Historiographical issues surrounding the performance of jazz and improvised musics after 1960. Topics include genre and canon formation, gender, race, cultural nationalisms, economics and infrastructure, debates around art and the vernacular, globalization, and media reception. Reading knowledge of music is not required.
3 points

MUSI W 4626y Concepts of Musical Instrument in Electronic and Computer Music

A central aspect of composing with computer media is designing the software system with which we will work; in other words, the composer, performer and/or improviser is often responsible for designing and assembling his own instrument. Electronic and Computer Music practices challenge our views of what a musical instrument is and how it is expected to behave. Through the analysis of various documents by a wide range of musicians as diverse as Theremin, Schaeffer, Stockhausen, Mathews, Moore, Tenney, Risset, Buchla, Moog, Mumma, Martirano, Waisvisz, Rowe, and Puckette amongst others, we will attempt to understand what new conceptions of musical instrument may have emerged with electric and digital media, and explore software implementations of some of their designs towards a final paper or computer system. - J. Oliver
Prerequisites: MUSI V2205 or Consent of the Instructor.
3 points

MUSI G 6135y Music and the Critique of Modernity

This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity. - E. Salinas
3 points

MUSI G 6205y Billie Holiday: The Origins of a Style

This seminar will introduce students to the life and music of Billie Holiday. Because Holiday's style and repertoire drew on many sources and shifted radically several times throughout her life, attention will be paid to her sources among women singers in European, American, and African-American cabaret, Broadway musical theater, African American folk music, and Tin Pan Alley popular music. The nature of song itself will be considered, especially in terms of its social functions and how singers and audiences understand sung performances. We will also examine Holiday's autobiography, as well as films and documentaries of her life. - J. Szwed
Prerequisites: A Course in Jazz Studies or the equivalent.
3 points

MUSI G 6305y Introduction to Schenkerian Analysis

- J. Dubiel
3 points

MUSI G 6385y Analysis of Popular Music

Analysis of Western Popular music including pop, rock, soul, electronic dance music, and hip hop through recent approaches. Topics will include the applicability of analytical techniques designed for Western art music, the role of notation, relationship of text and context, and the roles of popular music in identity formation. - E. Hisama
3 points

MUSI G 6427x Music, Myth and Indigeneity

This course explores the relation between music, myth and indigeneity with particular emphasis on the work of Lévi-Strauss and musical ethnographies from indigenous South America. - A.M. Ochoa
3 points

MUSI G 6601 Interactive Sound and Video (Previously Basic Electroacoustics)

Prerequisite: instructor's permission. In this year-long sequence students gain familiarity with the materials used in electroacoustic music and the techniques and equipment that are employed to transform and organize these materials into compositions. Individual projects are assigned. - T. Pender
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G6601
MUSI
6601
99789
001
Th 3:10p - 5:00p
318 PRENTIS HALL
T. Pender 17 [ More Info ]

MUSI G 6610x Sound: Advanced Topics I (Previously Computer Music I)

Prerequisite: MusicG6601-G6602 or permission of the instructor. This year-long sequence explores advanced topics relating to the production of music by computer. Although programming experience is not a prerequisite, various programming techniques are enlisted to investigate interface design, algorithmic composition, and computer analysis of digital audio. Some familiarity with computer music hardware/software is expected. - B. Garton
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G6610
MUSI
6610
16952
001
Tu 5:30p - 8:00p
318 PRENTIS HALL
B. Garton 9 [ More Info ]

MUSI G 6631x Advanced Mixed Music Composition

This course creatively examines advanced and unorthodox uses of electronic tools, devices, and techniques in the creation of compositions for live instruments and electronic devices of all types (i.e., fixed "tape," live processing, electric instruments, MIDI controllers, etc.). - D. Adamcyk
3 points

MUSI G 8101-G8102 Seminar in Historical Musicology: the Middle Ages

Topic for Fall 2013: Sound and Image. - S. Boynton
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI G8102
MUSI
8102
28596
001
F 11:10a - 1:00p
TBA
S. Boynton 0 [ More Info ]

MUSI G 8161x Music, Money, and Markets: A Socio-Economic Look at Western Music History

The seminar will explore how the rise of capitalism, commerce, merchant banking and a burgeoning merchant class affected the makers, consumers, and patrons of western music alike from 1450 to the present. Emerging markets in the history of music will be identified, and several publishers, composers, performers, institutions, and financiers who exploited them will be singled out. - J. Kmetz
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G8161
MUSI
8161
99699
001
Tu 9:10a - 11:00a
620 DODGE BUILDING
J. Kmetz 7 / 12 [ More Info ]

MUSI G 8319 Seminar in Music Theory: Interdisciplinary and Humanistic Approaches

A study of the meanings and cultural significance of music and music theory; integration of music theory with areas outside of music, such as aesthetics, literary criticism, cognitive psychology, sociology of music, semiotics, phenomenology, theories of narrative, hierarchy theory, and linguistics.
3 points

MUSI G 8371y Debussy and Modernism

Detailed analysis of selected works by Claude Debussy in conjunction with pertinent theoretical perspectives on modernism and modernity. - B. Steege
3 points

MUSI G 8372y Theorizing Musical Temporality

This course addresses theoretical issues in musical temporality from a variety of angles, including studies in rhythm and meter, as well as philosophical, historical, and cross-cultural perspectives. - M. Kozak
3 points

MUSI G 8416y Seminar in Ethnomusicology: Alan Lomax

This seminar will explore the role that Alan Lomax and his family played in creating a distinctively American approach to folklore and ethnomusicology. Topics will include the history of Anglo- and African American folk song collecting; the Archive of American Folk Song; the popularization of folk song (Lead Belly, Woody Guthrie, Carl Sandburg, Pete Seeger, Zora Neal Hurston, Mary Elizabeth Barnicle, the recording business and radio, the second folk revival, and folk festivals.); Lomax's stay in the UK, Spain and Italy; the mapping of the world's song styles; the use of micro-cultural studies of the body in song, dance, and speech; and new approaches to the use of film, video, and the computer. - J. Szwed
3 points

MUSI G 8425 Archiving Practices

- A. Fox
3 points Ph.D. Students in Music and Anthropology.

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G8425
MUSI
8425
12033
001
W 2:10p - 4:00p
703 DODGE BUILDING
A. Fox 3 [ More Info ]

MUSI G 8610 Miles Davis

A survey of the life and music of Miles Davis, examining the social history and musical traditions that shaped his work, and exploring his influence on music, performance,literature and other arts. - J. Szwed
Prerequisites: A course or its equivalent in Jazz Studies Not offered in 2014-2015.
3 points

MUSI G 9401x or y Advanced Seminar in Ethnomusicology I: The Caribbean

Recent trends in musicological studies have included a greater emphasis on the study of translocal cultural formations, social processes, and musical idioms, as well as on the processes of globalization and intercultural exchange, and less emphasis on geographical specificity. This graduate seminar will explore the implications of this shift by examining how various scholars have approached "the Caribbean" through locally situated research and how they have engaged with locality, transnationalism, and the conditions of coloniality and post-coloniality? We will consider what value "area studies" still holds in musicological research? How does one identify an "area" in globalized spaces? And more generally, how and where do we locate "the Caribbean"? - Ch. Washburne
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G9401
MUSI
9401
63269
001
Th 10:10a - 12:00p
703 DODGE BUILDING
C. Washburne 4 / 15 [ More Info ]

MUSI G 9402xy Advanced Seminar in Ethnomusicology II: Theory, Music & Ethnography

- A. M. Ochoa
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G9402
MUSI
9402
11825
001
M 4:10p - 6:00p
703 DODGE BUILDING
A. Ochoa 14 / 15 [ More Info ]

MUSI G 9403x Popular Music Aesthetics

This course will focus on the question of aesthetics in popular music. When scholars tackle popular music as an object of analysis or critique, it is usually thought of in terms of its use as a space of productive if often muted political agency, as active participant in its own commodification or as the able expression of subaltern or aggrieved communities. In this course, however, while touching on those themes, we will think through the aesthetics - both as a theory of beauty as well as a philosophy of art - of popular music. The majority of the readings deal with Anglophone popular music; however, there will be an effort to include English-language texts that deal with popular music from across the globe. - K. Fellezs
3 points

Graduate/Undergraduate Courses

MUSI G 4030y (Section 001) Sound, The Secular, The Sacred

This course seeks to explore the significance of sound for understanding the negotiation the relation between the sacred and the secular, in light of recent work in critical religious studies. It seeks to explore the acoustic dimensions of the 'turn to religion' by exploring the uses of sound in mediating the relationship between the sacred and the secular in different cultures. - A. M. Ochoa
Prerequisites: None.
3 points

MUSI W 4035y (Section 001) Animal Music

Explores and compares the various listening traditions that have been applied from the late nineteenth century to the present to the songs of birds, whales, dogs, and other nonhuman animals. - R. Mundy
3 points

MUSI W 4117y Music and the Cold War

Study of the principal musical trends and aesthetic debates of the Cold War. Hoe did music respond to and reinforce the political divisions of the Cold War? We will move through a series of chronological units that integrate primary source readings from Adorno to Zhdanov, musical case studies (including works by Shostakovich, Eisler, Lutoslawski, Babbitt, Boulez, Kagel, Schnittke, Rochberg, Copland, Nono, Henze) and recent scholarly writings. Themes will include socialist realism, American influence in Western Europe, nationalism, postmodernism, and historiography. - L. Silverberg
Prerequisites: Previous coursework in Music (including W1123) or permission of the instructor.

MUSI G 4122 (Section 01) Songs of the Troubadours

This interdisciplinary seminar approaches the songs of the troubadours as poetic and musical traditions. Together we will develop methods for analysis and interpretation, situate the songs within literary and social history, and address broad issues such as the nature of performance, the interplay between orality and writing, the origins of troubadour poetry, fin'amor, and gender. Students will learn to analyze the poetic and musical structure of the songs and to transcribe and edit them from medieval manuscripts. Weekly assignments in Paden's Introduction to Old Occitan will familiarize students with the language of the texts; one hour a week will be devoted to going over texts in the original language using Paden's book. Individually designed paper assignments will take students' backgrounds into account;; students from all departments are welcome. - S. Boynton
Prerequisites: Music Humanities W1123, Music V3128
4 points

MUSI G 4125 Jewish Music: Uniqueness and Diversity

Jewish Music is rich and diverse. We known more about the contexts and uses of Jewish music than the music itself. Prior to recordings of music, musical notation is the most accurate record of the "actual" music. Notation of Western music develops and grows from the year 1000. For Jewish music the date of notation of music is 1750. Ashkenazic European liturgical music traditions are the first to be notated in the Jewish traditions. Secular and art music does not begin for well over one years, it begins in the late 1800s. Many liturgical traditions remain in the oral tradition. There are many challenges to understand the history of Jewish music. Investigating the role of culture and contexts of Jewish music opens the door for a productive inquiry. Topics for discussion include: tradition and innovation, nationalism, culture contact, responses to modernity, and music and identity. - M. Kligman
Not offered in 2014-2015.
3 points

MUSI W 4125x (Section 001) Puccini and the Twentieth Century

The popular and academic reputations of Giacomo Puccini have diverged more sharply than those of any other classical composer. This course aims less to "rehabilitate" Puccini than to imagine an alternate history of modernism in which his music plays a central role. Discussions will be centered around six operas, which we will be listening to in their entirety, as well as a variety of films, stage productions, and works by other composers. Major themes will include: sound studies and the history of technology; performance studies; theories of realism and modernism; and the relationship between Italian cultural politics and larger cosmopolitan and imperial formations. - A. Schwartz
3 points

MUSI G 4130y (Section 001) Music and Childhood

This seminar addresses the relationship between music and childhood through a focus on the following areas: child musicians, music written for or about children, the role of music in the creation of "childhood" as a modern cultural construct, and the history of musical education, and the shaping of identity through music. We will address a variety of themes using both diachronic and synchronic analyses. Students will pursue research projects in their own areas of interest that may overlap with or complement the course content.

- S. Boynton
Prerequisites: None.
4 points

MUSI W 4150x (Section 001) Music and Politics in Pre-Revolutionary France

This course examines the relationship between musical and political institutions in France, from the reign of Louis XIV through the fall of the monarchy. We will 1) survey the development of musical style through listening and analysis; and 2) investigate how representative works reflected broad changes in the production and consumption of music during the grand siècle and age of Enlightenment. Topics will include: systems of court patronage and theatrical privilege; the rise of music criticism in the public sphere; the influence of the philosophes; salon culture; and the role of the arts in the historiography of the Revolution. - J. Doe
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W4150
MUSI
4150
27746
001
MW 10:10a - 11:25a
701A DODGE BUILDING
J. Doe 9 [ More Info ]

MUSI W 4241x-W4242y Advanced Projects in Composition

Composition for larger ensembles, supported by study of contemporary repertoire.

- T. Murail
Prerequisites: Grades obtained in V3241-3242; compositions written in V3242; instructor's permission.
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI W4242
MUSI
4242
77230
001
MW 2:40p - 3:55p
620 DODGE BUILDING
G. Lewis 11 / 40 [ More Info ]

MUSI W 4256y (Section 001) Off the Grid: Notation in New Music

Notation is a creative act, neither neutral nor self-evident. Our compositional ideas are inextricably bound up with the symbols we use to represent them. The weight of history bears heavily on these choices, delivering through the ages a conventional system deeply embedded with the priorities and assumptions of the tradition it serves. Yet innovations arise out of crises, and where convention fails new methods of communication are developed. The past century is replete with composers who have adapted and broken with common-practice notation in search of novel modes of music making. In this course we will consider the pragmatic and aesthetic consequences of expanded notation -- scores that to varying degrees of extremity stretch the boundaries of conventional music representation. We will approach these works as composers, as performers, and as analysts. - A. Fure
Prerequisites: Permission of the instructor.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI W4256
MUSI
4256
27188
001
Th 6:10p - 8:00p
620 DODGE BUILDING
A. Fure 6 / 12 [ More Info ]

MUSI W 4330y (Section 001) Recent Approaches to Classical Form

Introduction to William Caplin's theory of formal functions and James Hepokoski and Waren Darcy's Sonata Theory through analysis of works by Haydn, Mozart, and Beethoven.
Prerequisites: HUMA W1123 and V2318-19 or equivalent, or instructor permission.
3 points

MUSI G 4374y (Section 001) Modal Counterpoint

This course provides training in writing, improvising, singing, and analyzing 16th-c. modal counterpoint. Students will be introduced to theoretical ideas found in Renaissance treatises, which they will apply to repertoire examples and to their own compositions. - P. Schubert
Prerequisites: Two semesters of ear training.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI G4374
MUSI
4374
25522
001
Tu 10:10a - 12:00p
TBA
P. Schubert 0 / 12 [ More Info ]

MUSI G 4401x (Section 001) Field Methods and Techniques in Ethnomusicology

The goals of this course are practice-oriented. The end result will be short fieldwork-based project of approxiamtely 20 pages in length. In order to complete the paper, students will conduct fieldwork, read and synthesize relevant literatures, and think carefully about the questions in which they are interested and methods of addressing them through ethnographic inquiry. - Ch. Washburne
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G4401
MUSI
4401
62038
001
Tu 4:10p - 6:00p
701C DODGE BUILDING
A. Fox 7 / 20 [ More Info ]

MUSI W 4420 Music and Property

This courses raises the questions 1) What does it mean to "own" music? 1) In what senses can music be conceptualized as "property?" How do divergent understandings of music's status as "property" shape contemporary debates and discourses in the particular areas of disputes over "illegal downloading" of copyrighted music and the "repatriation" of Native American musical recordings as "cultural property?" Several relevant major recent statements will be considered and responses discussed. Case studies from ethnomusicological, anthropological, media studies and legal literatures engage issues of appropriation, the role of new technologies in shifting the terrain of musical ownership will be studied. Hands-on look at the Columbia Center for Ethnomusicology's ongoing projects to repatriate historic recordings of Native American music (currently 'owned' by Columbia University) to the Navajo and Iñupiat tribes. - A. Fox
Prerequisites: Approval of the instructor.

MUSI W 4430x (Section 001) Listening and Sound in Cross-Cultural Perspective

The objective of this course is to explore the relationship between listening, sound and music across different cultures and in different historical moments and contexts. This will be explored through recent histories of listening, through anthropological work on hearing and sound in different cultures and through the field of acoustic ecology. The course will seek to compare these three scholarly perspectives and their contributions to a historical and contextual understanding of listening practices. - A. M. Ochoa
3 points

MUSI W 4463x (Section 001) Silence

In our daily lives, we hear concomitant fluxes and negotiations of frequencies, of noises, of aural spaces, some seemingly organized, others seemingly chaotic. How do we become attuned to processing the myriad of acoustic information that envelops us? What remains inaudible to us? How are attempts made to make the inaudible audible? What might it mean to "hear without listening," and what are the consequences? Throughout this course, we address these questions and others that arise by thinking through the relationship of silence and its "other." Often, silence is defined in the negative sense-by its assumed opposites such as sound, noise, music, and voice. Decentering the notion of silence as absence, our discussions will draw from interdisciplinary sources and thus be framed by theories of silence and the presence of silence as sensible, historical, philosophical, aesthetic, stylistic, political, and ethical. Theorizing silence in these ways, we will work to understand silence not as the binary opposite of audible expressions, but rather as regulations of them, at times being the impetus for their emergence(s). - J. Schwartz
3 points

MUSI G 4505 Jazz Arranging and Composition

Course designed to train students to arrange and compose in a variety of historical jazz styles, including swing, bebop, hard bop, modal, fusion, Latin, and free jazz.

- D. Sickler
Prerequisites: V2318-19 Diatonic Harmony or equivalent.
3 points

MUSI W 4507y "The New Thing": Jazz 1955-1980

An examination of the new jazz that emerged shortly after the middle of the 20th century. The seminar will include the work of musicians such as Ornette Coleman, Cecil Taylor, Don Cherry, Anthony Braxton, Carla Cley, Albert Ayler, and the Arts Ensemble of Chicago; the economics and politics of the period; parallel developments in other arts; the rise of new performance spaces, recording companies, and collectives; and the accomplishments of the music and the problems it raised for jazz performance and criticism. - J. Szwed
Prerequisites: Permission of the instructor.

MUSI W 4508 Sound and Phonography

An historical overview of the nature of sound and the technologies of its transmission, modification, and recording; the social and artistic consequences of recording, including questions of originality and ownership. Topics may include the art of noise; the soundscape; field recording; and audio-terrorism. - J. Szwed
Prerequisites: Permission of the instructor. Graduate students and seniors given priority. Not offered in 2014-2015.

MUSI W 4525x Instrumentation

Analysis of instrumentation, with directional emphasis on usage, ranges, playing techniques, tone colors, characteristics, interactions and tendencies, all derived from the classic orchestral repertoire. Topics will include theoretical writings on the classical repertory as well as 20th century instrumentation and its advancement. Additional sessions with live orchestral demonstrations are included as part of the course.

- J. Milarsky
Prerequisites: Extensive musical background; open to both graduate and advanced music major undergraduate students.
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI W4525
MUSI
4525
69864
001
TuTh 1:10p - 2:25p
814 DODGE BUILDING
J. Milarsky 16 [ More Info ]

MUSI W 4526y Orchestration

The study of "functional" orchestration in works of the eighteenth and nineteenth centuries. Students will analyze scores by Haydn, Beethoven, Schubert, Brahms, Wagner, Mahler, and other, and will write exercises in the style of these composers. - F. Levy
Prerequisites: MUSI W4525 (Instrumentation), or instructor's permission.
3 points

MUSI W 4540y Histories of Post-1960's Jazz

Historiographical issues surrounding the performance of jazz and improvised musics after 1960. Topics include genre and canon formation, gender, race, and cultural nationalisms, economics and infrastructure, debates around art and the vernacular, globalization, and media reception. Reading knowledge of music is not required.
Prerequisites: HUMA W1123 or the equivalent. Not offered in 2014-2015.
3 points

MUSI G 4601 Musical Interactivity

The course explores programming techniques and concepts in computer music interactivity, or the creation of compositions that incorporate software that responds to live musical performance, environmental activity, and other real-world contingencies. The Max/MSP programming platform is sued for MIDI, digital audio, and other interfacing techniques. Interactive works from the worlds of music, visual art, and performance are also presented. Basic knowledge of computer operation is required; basic knowledge of MIDI, Max/MSP, and/or digital audio is recommended. - G. Lewis
Prerequisites: Basic computer operating system knowledge. Not offered in 2014-2015.

MUSI W 4625 Timbre and Technology

The role of timbre, or tone color, in music of the last century combined with an introduction to recent computer tools for composition, analysis, and performance. Through close listening, we will examine 20th century composers' approaches to complex sounds, including Mahler, Debussy, Ravel, Schoenberg, Varese, Stockhausen, Grisey, Lachenmann and Leroux, as well as examples from popular and non-Western musics. Listening will be accompanied by writings on and by composers as well as background from the literature on music perception. Computer programs including AudioSculpt, OpenMusic, and Max/MSP will be used for lectures and exercises. Students are invited to apply the concepts explored in the course to their own fields of expertise in a final project and presentation. - A. Einbond
Prerequisites: Music Hum W1123 or permission of the instructor. Not offered in 2014-2015.
3 points

MUSI G 6000y (Section 001) Professional Strategies and Skills

This course consolidates two components of the systematic professional training and pedagogical formation of graduate students in the Department of Music. G6000 is taught by the chair of the Core Curriculum course, Masterpieces of Western Music (Music Humanities). The course streamlines the process by which students in the four different doctoral degree programs (historical musicology, ethnomusicology, theory, and composition) are trained to teach their own sections of Music Humanities. Students also learn about applying for academic positions, preparing curriculum vitae, submitting journal articles, preparing book proposals, and other professional skills. - Susan Boynton
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G6000
MUSI
6000
64506
001
TBA E. Sisman 13 [ More Info ]

MUSI G 6135y (Section 001) Music and the Critique of Modernity

This course explores through the prism of Beethoven's music the relationship between musical practice and philosophical discourse in the aesthetic critique of modernity. - E. Salinas
3 points

MUSI G 6300x (Section 001) Introduction to the History of Music Theory

Survey of the theoretical issues underlying musical practice from the Middle Ages to the present day and of the body of theoretical writings about music from Boethius to contemporary theorists. - B. Steege
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G6300
MUSI
6300
60285
001
Tu 2:10p - 4:00p
701A DODGE BUILDING
D. Cohen 9 [ More Info ]

MUSI G 6302x (Section 001) Introduction to Set Theory

A study of the basic principles of set theory. Concepts illustrated with examples from the atonal and twelve-tone repertory.

- J. Dubiel
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI G6302
MUSI
6302
15529
001
Th 9:10a - 11:00a
620 DODGE BUILDING
J. Dubiel 0 / 25 [ More Info ]

MUSI G 6333x Proseminar in Music Theory

Overview of current work in Music Theory, an analysis, perception, and philosophy. Major areas of research and methodological challenges. - J. Dubiel
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI G6333
MUSI
6333
18845
001
Th 5:10p - 7:00p
701A DODGE BUILDING
M. Kozak 0 [ More Info ]

MUSI G 6413y (Section 001) Research Design Seminar

The purpose of this project is to teach the student how to write a research proposal. This research proposal is to be used both as the formal dissertation research proposal and to apply for grants.

- Ana Maria Ochoa
3 points
Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Spring 2015 :: MUSI G6413
MUSI
6413
26008
001
Th 4:10p - 6:00p
TBA
A. Fox 0 [ More Info ]

MUSI G 6425x The Politics of Desire in Latin America

The course explores the politics of desire through three main contrastive and complementary arenas: the politics of desire as mediated by the state; the politics of desire as mediated by music and, the politics of desire as mediated by literature and film. The course will be simultaneously announced at NYU, CUNY and Columbia, programmed at the same time in all campuses. Four classes will be taught in each of the campuses. All professors are present at all lectures and contribute to all lectures. Students register through their home institution. READING SPANISH IS REQUIRED. Enrollment is by permission of the instructor.

- A.M. Ochoa
Prerequisites: Approval from the Instructor.
3 points

MUSI G 6440 Suvivors' Music

This course will examine the role of music in the lives of survivors of traumatic experiences and discover why music is a special expressive resource for such people. Examples from survivors' music about the nature of traumatic events that other expressive and documentary resources do not yield will be utilized. Course is interdisciplinary and the use of these examples to explore these issues is from a social, cultural, psychological and musicological perspective. Geared towards advanced undergraduates and graduate students from all disciplines. - J. Pilzer
Prerequisites: Permission of the instructor. Not offered in 2014-2015.

MUSI G 8231-G8232 Seminar in Music Composition I

Individual projects in composition.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G8231
MUSI
8231
70739
001
W 4:10p - 6:00p
620 DODGE BUILDING
G. Haas
G. Lewis
8 [ More Info ]
Spring 2015 :: MUSI G8232
MUSI
8232
60133
001
W 4:10p - 6:00p
TBA
A. Lerdahl
G. Haas
0 [ More Info ]

MUSI G 8255x (Section 001) Composition and Cognition

The study and evaluation of contemporary compositional organization from the perspective of the cognitive science of music. - A. Lerdahl
3 points

MUSI G 8370 Ruth Crawford Seeger Modernism and Tradition in 20th-c. American Music

Interdisciplinary exploration of the music and life of composer and folk music advocate Ruth Crawford Seeger (1901-1953). Considers her prescient contributions to modernism and American traditional music through analytical study of her compositions and recent Crawford scholarship. - E. Hisama
Not offered in 2014-2015.
3 points

MUSI G 8412 Seminar in Ethnomusicology: Field Methods and Techniques I

A study of the theoretical and practical aspects of ethnomusicological field work, using the New York area as a setting for exercises and individual projects. - A. Fox
Not offered in 2014-2015.
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G8412
MUSI
8412
74208
001
Tu 9:10a - 11:00a
703 DODGE BUILDING
C. Washburne 5 / 15 [ More Info ]

MUSI G 8500xy M.Phil. Seminar

Individual work with an adviser to develope a topic and proposal for the Ph.D. dissertation. - Faculty
3 points

Course
Number
Call Number/
Section
Days & Times/
Location
Instructor Enrollment
Autumn 2014 :: MUSI G8500
MUSI
8500
29829
001
TBA S. Boynton 0 [ More Info ]
MUSI
8500
61470
002
TBA J. Dubiel 0 [ More Info ]
MUSI
8500
20626
003
TBA K. Fellezs 0 [ More Info ]
MUSI
8500
68480
004
TBA A. Fox 0 [ More Info ]
MUSI
8500
62814
005
TBA B. Garton 0 [ More Info ]
MUSI
8500
16495
006
TBA G. Haas 0 [ More Info ]
MUSI
8500
62590
007
TBA E. Hisama 0 [ More Info ]
MUSI
8500
69684
008
TBA M. Kozak 0 [ More Info ]
MUSI
8500
29620
009
TBA G. Lewis 0 [ More Info ]
MUSI
8500
73240
010
TBA A. Ochoa 0 [ More Info ]
MUSI
8500
71484
011
TBA E. Sisman 0 [ More Info ]
MUSI
8500
15803
012
TBA C. Washburne 0 [ More Info ]
MUSI
8500
25341
013
TBA S. Di Castri 0 [ More Info ]
MUSI
8500
74204
014
TBA Instructor To Be Announced 0 [ More Info ]
Spring 2015 :: MUSI G8500
MUSI
8500
29518
001
TBA S. Boynton 0 [ More Info ]
MUSI
8500
15444
002
TBA J. Dubiel 0 [ More Info ]
MUSI
8500
65245
003
TBA K. Fellezs 0 [ More Info ]
MUSI
8500
64301
004
TBA A. Fox 0 [ More Info ]
MUSI
8500
10978
005
TBA W. Frisch 0 [ More Info ]
MUSI
8500
27305
006
TBA B. Garton 0 [ More Info ]
MUSI
8500
24084
007
TBA G. Haas 0 [ More Info ]
MUSI
8500
27618
008
TBA E. Hisama 0 [ More Info ]
MUSI
8500
13121
009
TBA M. Kozak 0 [ More Info ]
MUSI
8500
77199
010
TBA A. Lerdahl 0 [ More Info ]
MUSI
8500
72327
011
TBA G. Lewis 0 [ More Info ]
MUSI
8500
68566
012
TBA C. Washburne 0 [ More Info ]

There are currently no cross-listed courses for your department.