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Music Courses 2010-11
(as of June 17, 2010)
See the bulletins of the School of Music and the Divinity School for full course listings and degree requirements. Courses listed here may be cross-listed in other schools or departments.
Courses fulfilling the distribution requirements for Institute students pursuing the M.Div. are indicated with a letter indicating the relevant subject area: W (Worship), M (Music), and/or A (Religion and the Arts – visual arts or literature).
The letter “a” following the course number denotes the fall term; the letter “b” denotes the spring term.
Performance
MUS 509a-b, 609a-b, 709a-b, Art Song Coaching for Singers. 1 credit per term. Individual private coaching in the art song repertoire, in preparation for required recitals. Students are coached on such elements of musical style as phrasing, rubato, and articulation, and in English, French, Italian, German, and Spanish diction. Students are expected to bring their recital accompaniments to coaching sessions as their recital times approach. Faculty.
MUS 515a,b; 615a,b; 715a,b; 815a,b, Improvisation at the Organ. 2 credits. Development of improvisatory skills at the keyboard. Jeffrey Brillhart.
MUS 523a, Liturgical Keyboard Skills. 2 credits. In this course, students will gain a deeper understanding and appreciation for musical genres, both those familiar to them and different from their own, and learn basic techniques for their application in church service playing. Students will learn to play hymns, congregational songs, service music, and anthems from a variety of sources, including music from the liturgical and free church traditions, including the Black Church experience. Beginning with the piano, students will be encouraged to play by ear, using their aural skills in learning gospel music. This training will extend to the organ, in the form of improvised introductions and varied accompaniments to hymns of all types. We will seek to accomplish these goals by active participation and discussion in class. When not actually playing in class, students will be encouraged to sing to the accompaniment of the person at the keyboard, to further their experience of singing with accompaniment, and to give practical encouragement to the person playing at the time.
Walden Moore.
MUS 519a-b, 619a-b, 719a-b, Colloquium 1 credit per term. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Required of all Institute of Sacred Music students. Martin D. Jean.
MUS 531a-b, 631a-b, 731a-b, Repertory Chorus. 2 credits per term. A reading chorus open by audition and conducted by graduate choral conducting students. The chorus reads, studies, and sings a wide sampling of choral literature. Marguerite Brooks.
MUS 523a, liturgical Keyboard Skills 2 credits. In this course, students gain a deeper understanding and appreciation for musical genres, both those familiar to them and different from their own, and learn basic techniques for their application in church service playing. Students learn to play hymns, congregational songs, service music, and anthems from a variety of sources, including music from the liturgical and free church traditions, including the Black Church experience. Beginning with the piano, students are encouraged to play by ear, using their aural skills in learning gospel music. This training extends to the organ, in the form of improvised introductions and varied accompaniments to hymns of all types. We seek to accomplish these goals by active participation and discussion in class. When not actually playing in class, students are encouraged to sing to the accompaniment of the person at the keyboard, to further their experience of singing with accompaniment and to give practical encouragement to the person playing. Walden Moore.
MUS 531a-b, 631a-b. 741a-b. Repertory Chorus 2 credits per term. A reading chorus open by audition and conducted by graduate choral conducting students. The chorus reads, studies, and sings a wide sampling of choral literature. Marguerite Brooks.
MUS 532a-b, 632a-b, 732a-b, Conducting Repertory Chorus. 2 credits per term. Students in the graduate choral conducting program work with the Repertory Chorus, preparing and conducting a portion of a public concert each term. Open only to choral conducting majors. Marguerite Brooks.
MUS 535a-b, 635a-b, 735a-b, Recital Chorus. 2 credits per term. A chorus open by audition and conducted by graduate choral conducting students. It serves as the choral ensemble for four to five degree recitals per year. Marguerite Brooks.
MUS 536a-b, 636a-b, 736a-b, Conducting Recital Chorus. 2 credits per term. Second- and third-year students in the graduate choral conducting program work with the Recital Chorus, preparing and conducting their degree recitals. Open to choral conducting majors only. Marguerite Brooks.
MUS 537b, Collaborative Piano: Voice 2 credits. A course designed for pianists, focusing on the skills required for vocal accompanying and coaching. The standard song and operatic repertoire is emphasized. Sight-reading, techniques of transposition, figured bass, and effective reduction of operatic materials for the recreation of orchestral sounds at the piano are included in the curriculum. Ted Taylor.
MUS 540a-b, 640a-b, 6740a-b Individual Instruction in the Major. 4 credits per term. Indvidual instruction of one hour per week throughout the academic year, for majors in performance, conducting, and composition. Faculty.
MUS 544a-b, 644a-b, 744a-b, Seminar in the Departmental Major
2 credits per term. An examination of a wide range of problems relating to the area of the major. Specific requirements may differ by department. Required of all School of Music students except pianists who take 533, 633, 733. Faculty.
MUS 546a-b, 646a-b, 746a-b, Yale Camerata. 2 credits per term. Open to all members of the University community by audition, the Yale Camerata presents several performances throughout the year that explore choral literature from all musical periods. Members of the ensemble should have previous choral experience and be willing to devote time to the preparation of music commensurate with the Camerata’s vigorous rehearsal and concert schedule. Marguerite Brooks.
MUS 571a-b, 671a-b, 771a-b, Yale Schola Cantorum. 1 credit per term. Specialist Chamber Choir for the development of advanced ensemble skills and expertise in demanding solo roles (in music before 1750 and from the last 100 years. Enrollment limited to, and required of, voice majors in the early music, song, and chamber ensemble program. Masaaki Suzuki.
MUS 594a - b, Vocal Chamber Music. 2 credits. This performance based class requires a high level of individual participation each week. Grades are based on participation in and preparation for class, and two performances of the repertoire learned. Attendance is mandatory. Occasional weekend sessions and extra rehearsals during production weeks can be expected. Students are expected to learn quickly and must be prepared to tackle a sizeable amount of repertoire. James Taylor.
MUS 595a, b, 695b Performance Practice for Singers. 1 credit per semester. Fall Semester: Introduction (required of all first-year students in the Early Music, Oratorio, and Chamber Ensemble program). An exploration of the major issues of historically informed performance, such as the search for “authenticity” and the roles of the editor and the performer. Specific topics addressed will include performance context, application of sources, original notation and modern editions, national styles, aesthetics, and ornamentation. Students will examine historical sources and will read selections from 17th and 18th century treatises. Open to conductors and instrumentalists with permission of instructor. Spring Semester: Special topics will include: 17th century solo motets from Italy and Germany; transcription from 17th century printed sources; Greek mythology, Arcadia, and related repertoire; and individual recital issues. Open to conductors and instrumentalists with permission of instructor. Judith Malafronte.
Theory and History
MUS 518a, REL 685a, In the Face of Death: Worship, Music, Art. 4 credits. NP. “Remember, you are dust, and to dust you will return.”––This seminar will study the rich traditions that worship, music, and the visual arts have created and continue to offer in the face of death. Our focus in this seminar will be on the Christian faith tradition. Given the breadth of the subject matter, the course will attend to a broad spectrum of themes related to ritual, music and art “In the Face of Death.” Readings of historical sources (textual and non-textual) themselves, scholarly research into the past, and analysis of contemporary materials will form the core material of analysis. The course will create space for a nuanced reflection on this tradition, as both backdrop and resource for contemporary engagement. The course will also show that worship, music and art are not discreet entities in the Christian tradition but profoundly interrelated, especially around issues of death and dying. [W, M] Markus Rathey and Teresa Berger
MUS 561a, Johann Sebastian Bach in the First Half of the 1730s. 4 credits. In the early 1730s Johann Sebastian Bach’s understanding of his office in Leipzig underwent a significant change. He had grown increasingly disappointed with the limitations of his position at St. Thomas and in 1729 he had taken over the Collegium Musicum, an ensemble of students from the university that performed on a regular basis in local coffee houses. A letter to a friend from 1730 reveals that he was trying to find (unsuccessfully) a position in Danzig, and between 1732 and 1736 he contacted the Electoral Court in Dresden repeatedly to award him the title of court composer. Bach almost completely abandoned the composition of cantatas for Sunday morning services and worked instead on larger-scale works like the B Minor Mass and the Christmas Oratorio as well as a large number of secular cantatas for the court in Dresden. He also targeted the music market more aggressively by publishing several prints with keyboard music. The seminar will explore the reasons for this shift of interest and study the compositional consequences of Bach’s new interest in secular, dramatic, and large scaled music. [M] Markus Rathey.
MUS 618b, Intimacy, Love, and Devotion in Seventeenth-Century Music. 4 credits. Musical development in the 17th century, the freer use of the dissonance in Monteverdi’s “seconda prattica”, the liberation of the solo voice through the introduction of the basso continuo, and finally the “invention” of opera as one of the leading genres for musical innovation provided the composer with a vast array of new possibilities to express human emotions. These developments in music went along with a paradigm shift in theology and piety in the 17th century; contemporary theologians emphasized the individual and his/her relationship with the divine. We can see a revival of medieval mysticism, and metaphors of love and emotion are frequently used in religious poetry and devotional prose. The image of bridegroom (Christ) and bride (believer) was especially popular and led numerous composers to set sacred dialogues between the two “lovers” to music. The course will examine the theological and musical developments in the 17th century and analyze the relationship between the musical, literary, philosophical, and theological discourses during the Baroque. [M] Markus Rathey.
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